Mary Mackey’s novel The Village of Bones is now available for purchase as an e-book or trade paperback. This is a prequel to Mary’s The Year The Horses Came.
After endures as a stirring testament, where the erratic tumult of grief slowly dissipates, giving way to renewed purpose and the larger miracle found in turning one’s hands to the earth. In these pages, Robert Gibb’s extraordinary gifts bloom wonder from an impossible ache.
The blurber Ammiel Alcalay (aptly) says about History Now that the book presents “the perspective of someone who has been trained not just to look but to see, and not to miss anything in his field of vision.” I agree, but I’d expand that to say that King doesn’t just see everything (in his field of vision) but he wants to see everything. Surely what King has accomplished in this book (as well as his other accomplishments as both writer and a visual artist) would not have been possible without such an immense desire.
Spring 2017 Book Launch
& Party at Poets House, NYC
When: Friday, May 19, 2017
Time: 6:00 pm - 8:00 pm
Where: Poets House
10 River Terrace
New York City
Free and Open to the Public
Celebrating the publication of:
|PATRICIA CARLIN: Second Nature|
|"Visionary, honed, distilled, charged with the immediacy of a dream before you coax it into a story and the challenges of our baffling history, Carlin's poems remind me- entirely on their own terms- of the intimate 'you must change your life' urgency of the Duino Elegies." -D. Nurkse|
|BASIL KING: History Now|
"'Perspective' is what King brings to his vivid, hybrid writing. It is the perspective of someone who has been trained not just to look but to SEE... King's work always yields what his old now departed friend Amiri Baraka called'emotional validity.'" -Ammiel Alcalay
|BURT KIMMELMAN: Abandoned Angel|
"By way of a precise and pared-down language these poems artfully render a physical world while simultaneously serving as objects to be engaged for the contemplation of such a world... what might at first seem to be simple narrative progressions can often startlingly make manifest deeply heartfelt human illuminations."-Hugh Seidman
|EDWARD FOSTER: Sowing the Wind|
"As a writer, critic, editor, and teacher, Ed Foster is inveterately Apollonian: lucid, balanced, well organized." -American Book Review
Perhaps the best part of Welch’s collection is the continuous presence of two emotions—happiness and sorrow—that occur simultaneously within each poem. These polar opposite feelings are why Welch’s writing oozes intensity and suspense
When Robert Gibb quotes modernist master Ezra Pound saying, “The natural object / is always the adequate symbol,” in his Poundian poem “Cathay,” it’s a sign that what follows leans heavily on imagery and precise language. Gibb doesn’t disappoint as the poem unwinds in a series of painterly images (“The pleached frazzled asphalt / still splotchy with rain … / The guardrail, the river / still blue through the trees”) that add up to something emotionally evocative in his well-crafted lines.
|THE FOURTEENTH ANNUAL MARSH HAWK PRESS POETRY PRIZE|
The Marsh Hawk Press Robert Creeley Memorial Award
Named for the late Poet and Member of the Marsh Hawk Press Advisory Board
The Rochelle Ratner Memorial Award
Named for the late Poet and Marsh Hawk Press Editor
Meena AlexanderMeena Alexander is an award winning author and scholar. Her new book of poetry, Atmospheric Embroidery, was published in 2015 by Hachette India. Her volumes of poetry include Birthplace with Buried Stones, Illiterate Heart (winner of the PEN Open Book Award), Raw Silk and Quickly Changing River. Her poetry has been translated into several languages and set to music. She has written the acclaimed autobiography, Fault Lines as well as two novels. She is author of the academic study Women in Romanticism and the book of essays Poetics of Dislocation. She is Distinguished Professor of English at the City University of New York and teaches at Hunter College and the Graduate Center, City University of New York.
Click here to read poems from Meena Alexander’s newest collection of poetry, Atmospheric Embroidery (2015)
George Quasha’s presence in the life and work of a great many poets, artists, musicians and filmmakers is most remarkable. And so nearly a dozen critical appreciations of his achievements in the arts have been assembled here. Written by luminaries in their own right, they are meant to broaden awareness of Quasha’s unique contributions in a number of fields of endeavor. George and Susan Quasha (a marvelous artist herself) have been mainstays in a community located close enough to New York City to be an instrumental force in the city’s artistic and intellectual goings on, yet far enough north of the city to have developed a collective character and outlook that may owe something to the bucolic experience possible there. The Quashas put down roots, specifically in Barrytown, New York, having already become a part of the avant garde that was taking shape during the 1960s and ‘70s in the city and its environs.
George Quasha was born in White Plains, New York in 1942, and from age three to seventeen he lived in Miami, Florida. Already a musician, he was reading Nietzsche, Thoreau and Eliot at fourteen, and won the Florida State debate championship at fifteen. Connected to his debate activities, while starting college at the University of Miami the following year, he won a scholarship to the then new and unprecedented International School of America. This award took him and sixteen other high school graduates around the world. They lived with local families in thirteen countries over nine months, accompanied by five university faculty including Edgar Snow and artist Emerson Burkhart. Their curriculum included audiences with the likes of Eleanor Roosevelt, I.F. Stone, Jawaharlal Nehru, Rajendra Prasad, and Willie Brandt.
Following that school year, Quasha spent the summer in Paris learning French. He subsequently attended Ohio State (studying poetry with Milton Kessler, German with Sigurd Burckhardt, and philosophy with Morris Weitz), then enrolling in Mexico City College (where he concentrated in Spanish, anthropology, and geology) before going on to the Sorbonne (in order to study French language and literature). At twenty-one, he finished college as an English major at NYU.
Living in the East Village, while attending NYU across town, Quasha frequented the legendary readings at Café Le Métro, and struck up friendships with Jerome Rothenberg, Paul Blackburn, Jackson Mac Low, Diane di Prima, David Antin, Ed Sanders, Carol Bergé, Diane Wakoski, Harold Dicker, Allen Ginsberg, and others working at the forefront of experimental poetry. He began graduate school at NYU (where he was befriended by Anais Nin), studying at length with M. L. Rosenthal (in whose poetry theory seminars he began reading Robert Creeley, Robert Duncan and others, thanks to a presentation in the course by David Antin).