Bøger udgivet af BELTWAY EDITIONS

Iván Argüelles' Talking to Valum Votan begins with a great cry: the animals don't realize susceptible to dyinga death a thousand and years pass through a siphonwell-water turns bitter darkness the exodus of fliesthrough a miasma of rotted verdure the lawnof innocence prey to literature do not acceptthe thought coming to an end of the air that webreatheThe mind circles around various areas of (related) awareness and settles into "Do not accept / the thought of coming to an end." This non-acceptance is of course a way of coming to terms with what the poets knows all too well will be a "coming to an end of the air that we / breathe."Born in 1939, Argüelles has been a powerful force for poetry--for consciousness--since the publication of his first books in 1978, nearly fifty years ago. To enter his intense, stunning, erudite world is to enter an extraordinary awareness of what it means to be alive, to be fully conscious, in this most problematical of periods. Tied to no "school"--including the Surrealist school which is sometimes mentioned in connection to him--he has been, in Pound's phrase, "a lone ant from a broken anthill," a bearer of troubled light. "What have we learned?" he asks: that hands are shapes that remember lossthat we cannot possess whom we truly lovethat the end of time is almost hereAn extraordinary book from an octogenarian whose life has fed and nourished his unique awareness.Jack Foley--Ivan Arguelles

An autobiography (in sonnets) by Michael Lally, Poetry honors include: NYC 92nd St. Y Poetry Center's 1972 Discovery Award for The South Orange Sonnets; two National Endowment for the Arts Poetry Fellowships (1974 and 1981, the second attacked in Congress--the NEA accused of rewarding "pornography" for the poem "My Life"--in the first attempt to defund the NEA); 1997 PEN Oakland Josephine Miles Award for "Excellence in Literature" for Cant Be Wrong; 2000 American Book Award for It's Not Nostalgia. In 2018 Another Way To Play: Poems 1960-2017 published. Also worked as script writer/"doctor," editor, columnist, book reviewer for The Village Voice and The Washington Post among other publications, and TV and film actor (as Michael David Lally). Writes the blog Lally's Alley on poetry, politics, movies, and other arts.--Lally, Michael

Interrogations, self-interrogations, examinations, cross-examinations, evocations--all thesemodes participate in these poems that actively refuse definition, since the poet, Joanna Solfrian, is inpursuit of her conscience, the one that asks about being alive, being dead, being a mother, being atree. I could say, "You name it," but she does in her distinctly marvelous, nodding-to-Lorca fashion, truly keeping the reader on metaphorical yet actual toes, reveling (perhaps the most crucial word) inthe powers of imagination that adhere to genuine poetry.--Baron Wormser, author of The HistoryHotelJoanna Solfrian's Temporary Beast shows a high mastery of surprising images and insights in poemafter poem. A sharp, enviable intelligence permeates all her lines; the poems push into the mysteriesof earthly and mystical love, but adhere to a rubric of recognition: the self in the feminine, the self inthe gravitational force of experience, and the self of possession and obsession. The speaker has anaffectionate temperament in the book that is very generous, and as Allen Grossman said, these arepoems about "something the way a cat is about the house." Solfrian's poems have an inherentstrangeness and joy that demand multiple readings.--Sean Singer, author of Today in the TaxiFormally dexterous and subtly wise, Joanna Solfrian's Temporary Beast offers more than temporarypleasure for both the mind and the heart. "Buried in these words are instructions for weeping,"Solfrian writes, and yes, this is true, but this book also contains instructions for so much else: how tolocate the divine & hold a flute; how to tend to a spouse, love a child, grieve a parent; how to delightin a lover's armpit & run topless through a cornfield. I'm enamored with Solfrian's dedication to thepen and her keen insight into how--by letting that pen move across the page--we gain access to adeeper, truer world.--Nicole Callihan, author of This Strange Garment--Joanna Solfrian

Like a Viewfinder with overlapping reels, Safia Jama examines the way inherited trauma--her parents and brother fleeing military dictatorship in Somalia--can overlay the present day: "when my husband and I parted/ways, it seemed natural to me to pacck, as if, for a day trip/telling no one save two friends." As a new life comes into focus, the speaker of the poems turns her attention to the tiny theater of "my small room"--"gazing out the window: I call it windowing" and marveling at bathroom mold that looks like Charles Bronson. The poems in Crowded House captivatingly delve into the complexities of the self and what constitutes home. -- Matthea Harvey.Safia Jama uses the poetic line in "weird combinations of extravagance/and asceticism" to unearth new glimpses of why human beings act--and dream--as they do. - Sandra LimSafia Jama's Crowded House is a simmering debut... - Donika KellyIn her recuperation of the house as an organizing conceit, Jama demonstrates what..Gaston Bachelard might describe as "the topography of our intimate being;" she interrogates photographs and moments recalled, experienced in her apartment, "the house" is populated by specters, spirits living in relation to our speaker, agents each that urge reconsideration of our world, conditioning her observation and sensibilities.- Joey De Jesus--Jama, Safia

Six Muslim women. One poetry collection exploring family, identity, and homeland.Our Ancestors Did Not Breathe This Air brings fresh voices of poignancy and a much-needed representation in modern poetry. From the scents of a bustling street market in India to the warmth of stories rooted in Venezuela to snippets of college days shared at MIT, the poetry in this book features an ache for grounds no longer walked upon. With a range of distinct styles and voices, the poets' nuanced self-expression amounts to a piece that is both a prayer and a rebellion. Their words, introspective and reminiscing, witty and thoughtful, are an ode to that which makes them who they are and where they come from. Simultaneously, their voices are a rejection of dangerous stigmas, cultural taboos, and oppressive systems. In both verse and image, Our Ancestors Did Not Breathe This Air is a bold and unfiltered collection recounting moments, tears, and dreams that have been generations in the making. The poems in this collection are accompanied by full-color illustrations and photographs.