Bøger udgivet af Moonpath Press

"Eschewing grandiloquence, Edstrom''s poems take a pensive stance towards the immediate, the ''ordinary,'' while quietly rooted in the rhythms of the natural world. A master of simplicity, her prosody carries a balanced, musical, clear stream of language with understated authority. ''Poetry pinned me to bliss,'' sums up the poet, in full possession of her craft."-Lorraine Healy, author of Mostly Luck (MoonPath Press)"In The Language of Tides, Lois Parker Edstrom has gathered over a decade of everyday poems, seasonal poems, ekphrastic poems, poems set in the real light of small-town life, and more. And most every one joyfully intimates how ordinary moments, which are also our moments, belong to the tide in which our particular forms rise and fall. Edstrom poses the poet''s wager-experience your timelessness for the price of embracing your fleetingness, as do, she suggests, the autumn leaves ''skittering along the road like brown-robed monks.''"-Jed Myers, author of The Marriage of Space and Time (MoonPath Press)

Praise for A House, Undone"In T. Clear''s exquisite debut collection, A House, Undone, we consider what home is. From ''a house of scant beginnings...raveling sweaters/and unpainted stairwells'' to the bodies we inhabit to ''roaming the frozen fields...small enough to enter a honeyed hive,'' these striking and precise poems lead us through the hallways of the temporary. Whether the ''wife/wanted out of the couplet'' or beneath a ''sky scrubbed-clean of mudsock grey,''Clear is a master of the image, the narrative arc, and the details of a story. Well-crafted, engaging, and constructed with meticulous care, A House, Undone becomes the beautiful architecture for poetry, where we live in a house of words on ''a bed littered with leaves,/starlight for a roof.''"-Kelli Russell Agodon, author of Dialogues with Rising Tides (Copper Canyon Press)"Not only is T. Clear''s A House, Undone the most downright enjoyable book of poetry I''ve read in a good while, it''s also got me seriously stirred about house and home. These poems turn personal loss and uprootedness into a highly contagious empathy for those whose dwellings we couldn''t call houses. This poet has me laughing out loud then achingly sad and outraged by quick turns through her pages. The book is so right for this American moment, but the truth is, it''s right for all history, everywhere."-Jed Myers, author of Watching the Perseids and The Marriage of Space and Time

"It''s refreshing to read a poet who seems to have missed the postmodern memo about serial randomness being the mind''s great roadtrip. Instead, what we get is a boots-on-the-ground empathy from a real wanderer who has Richard Hugo''s eye for out-of-the-way topics and towns, a sincerity that doesn''t take selfies, a heart that can brake for a blue dress or blueberry patch. With a disarming candor, Sherry''s poems examine small moments which can ramify into large questions, humor, self-scrutiny, guilt, love, or praise. In the end, what the reader gets to examine is the ''archaeology of a life dedicated to the world.'' This book will remind you why you love poetry."         -Joseph Powell, author of The Slow Subtraction: ALS"In ''A David Hockney Landscape Poem,'' when Tim Sherry says, ''It is about the same, same thing-an effort to find a place to find meaning,'' he could as well be describing the rest of the poems in Pages of White Sky. Many of them are set in specific locations-the Chihuly Garden and Glass Collections Cafe, the Ephesus archaeological site, a farm truck hauling grain in in North Dakota, The Crescent City Lighthouse, a little britches rodeo in Halfway, Oregon-but the real terrain of this collection is always the landscape of the human spirit. These poems are windows left open to it, letting its meaning in." -Joe Green, founder of The Peasandcues Press and author of What Water Does at a Time Like This "Approaching like ponies fresh from summer fields, Tim Sherry''s poems, skittish and a little wild, transcend their domestication. His forte is deft renditions of the singular daily moments that make up a life. In a poem like ''I Am Not a Gary Soto,'' he redeems his admission of a strict religious upbringing by reminding us that the poetic moment is not necessarily dramatic, that sometimes the subtle implications of a father''s ''gray flannel suit'' is enough. Though they have fed on star shine and moon-brushed grasses, these works have been bred to carry us fast and far, and do so with grace." -Chris Dahl, author of Mrs. Dahl in the Season of Cub Scouts

"I knew the story already, but I rushed through part one, as if it were a who-dun-it, waiting as Albiso in her well-chosen words and poignantimages tracks the elusive tumor and its hopeful demise. I knew the outcome already, but, facing her death, Albiso gracefully turns not towhat will happen, but to every direction the soul travels as it lives and contemplates. In heightened language, she explores angels and birds,trees and light, Judaism and flight, letting each beloved experience count. The last poem reflects on lines from Neruda to lift us finally into''a radiance that can''t be subdued.''" ~ Alice Derry, author of Hunger"What is it we expect from death?" Sally Albiso asks in her poem "After the Neighbor''s Dog Dies." In her final book, Light Entering My Bones, shechronicles the process of dying, the pain of cancer treatment, and how to inhabit a body she knows will not survive...What time she has left, shemeasures by the rhythms of the natural world, as if this is the only way she can inhabit a body that has turned against her: ''I cough up feathers/and dream of singing/light entering my bones.''...The poems in the book never descend to self-pity, but rather find compassion for her husband,the one who will be left behind...At their core, these are love poems... Brave, articulate, with a sharp curiosity, these poems take us step by stepthrough a journey we know will be our own. At times painful to read, you will emerge from the spell of this book with a renewed appreciation andcompassion for your own brief life." ~ Karen Whalley, author of My Own Name Seems Strange to Me

Praise for Ravenous Bliss: New and Selected Love Poems“Beginning with ‘the whirr of the sewing machine’ and ending with ‘the shining thread to join all small and large lives,’ Ravenous Bliss is a meditation on love in its many incarnations. These poems are full of resonant, natural images and shine with James Bertolino’s big open heart.”            ~ Ellen Bass, author of Mules of Love and The Human Line“For more than four decades, James Bertolino has been writing love poems, poems of bliss so musical and urgent, so nuanced and bold, they’re ravenously ecstatic. These love poems ‘…draw nectar/ from the fractures….’  They join ‘…all small and large lives with what lifts/ us toward the sun….’ What a boon to have Bertolino’s love poems—both selected and new—in this one luminous collection.”            ~ Paulann Petersen, Oregon Poet Laureate and author of Understoryand The Voluptuary

Anita K. Boyle is a poet daring to the rigors of describing the indescribable. Articulate, lush and with a precision of a raindrop falling from eaves of a barn that lists to its side, Boyle’s work attends to a still life portrait of perpetual astonishment.—Tiffany Midge Author of Guiding the Stars to Their Campfire, Driving the Salmon to Their Beds

During her time as a visiting artist/scholar at theAmerican Academy in Rome, she researched the workof post-war novelist Elsa Morante; some of the poemsin The Old Refusals had their genesis in Italy. Germain'swork is influenced by Italian/American culture, especiallythe Little Italy that was once alive in the South End ofAlbany, New York, as well as Upper Midwest farm cultureand the wilderness of northern British Columbia. Ajijic,Jalisco, Mexico has a presence in her work. In addition tolearning from poetry, she is also a visual artist.

"When a poem inspires you to wander down to your local inlet to view the spoonbills, herons and pied stilts, then it's not unreasonable to say the poet has made a connection! Glint is a dazzling three-part collection containing poems of place, nature and family. Lois Parker Edstrom ferments, shapes and bakes words, creating an optimal environment for every poem to develop and flourish. Only when it's reached perfection, she presents it to us, often with a subtle spiciness which teases the palate at the end of the tasting. Filled with humour, delicacy, soulfulness, and boldness, this collection is worthy of world-wide recognition." -Ruth Arnison, QSM, curator of Poems in the Waiting Room, New Zealand "The precise language of these poems is astounding as it works through both sensation in nature and the soul. This poet melds nature, family, and surprising imagery into a unique equation that is both harsh and subtle. I feel blindsided in a perfect way when reading this collection; this is work that sticks hard." -Amy MacLennan, author of The Body, A Tree

"In the first poem in Matthew Campbell Roberts's searching collection, a father advises his son streamside: 'Fish the close waters first, / then work your way out.' And this is exactly what the poet does here, gathering into his net the shorelines, rivers, and estuaries of his beloved Pacific Northwest, its gray, wet skies, its cutthroat trout and salmon, as well as family and the weight and cost of memory. Measuring beauty against poverty, solitude againstloneliness, Roberts writes with lyric intensity and precision about rural, working class lives."-Melissa Kwasny, author of Pictograph and The Nine Senses"Matthew Campbell Roberts gives us poems filled with the music of a bend in the river. His voice is tranquil, steady, and luminous. What a pleasure to be invited into the landscapes and inner life of this poet, 'Just to sit on a log and guess at the tide / or scavenge for sea glass and agates / at the edge of breakers. Or do nothing at all /and not worry about the news or work.' A River Once More is a radiant collection-a refuge on a beautiful shore."-Rena Priest, American Book Award winner for Patriarchy Blues

"These poems find the strange and beautiful in everyday moments: visiting adeli, flying on a plane, sitting on the back steps, noticing a stray cottonwoodtuft, recalling a walk with a child now grown. In this poet's gaze, each elementof the quotidian becomes particular, luminous, and finally, universal. Thiseffect comes from fresh and powerful imagery; from surprising diction,uniquely-apt words used in new ways, as in 'each of us / hung out to die, awish out of water.' The poems move with a freedom born of familiarity withmeter and rhyme, and the lines reverberate with subtle music."-Rebecca Foust, Marin County Poet Laureate andauthor of Paradise Drive, winner of the Press 53 Award for Poetry"The Marriage of Space and Time is more often than not local in its concerns,even intimate. Such is the nature of this particular marriage, in which we alllive. And die. This ongoing here and now. Also then. 'Our sorrows meet in oneshadow,' he writes; later on, he concludes, 'I'm old. I'm coming to life.' Myersaims to see as closely and accurately as he can, and in his seeing, he gives hisreaders a way to see as well, and thus to be genuinely alive, in our own timeand space, for as long as we have it."-Robert Wrigley, author of Box andThe Church of Omnivorous Light: Selected Poems

The mood and scope of the whole are sounded in Part I, The New Odysseus, a series of twenty linked poems, where a somewhat weary new Odysseus invokes his legendary adventures and various gods as he wanders both in the Tacoma present and yet in other lands and times, with an eye on our absurd world of the coffee house, sex change, the mall, pogo sticks, an anomalous game of cricket, poverty, yearning, old age, mortality, a quiet, bleak fading. It is a phantasmagorical trip, told with a kind of rueful even solemn whimsy which is his own. The following two sections reflect Magee's personal odyssey. They give us back the varied worlds he has inhabited, their landscapes and meanings, through the vision of artists and poets whose personae Magee explores and at times adopts. It is a strange world, steeped in art, populated by the active ghosts of Proust, Whitman, Roethke, Chagall, O'Keeffe, Yeats, Cather and others, as well as by spirits like Rapunzel. But then a homeless man speaks as he wakes in his cold blankets near Seattle docks. Or we pause in front of a Dali painting to consider time itself. It is quite a trip.The book is dedicated to Jean Musser, the poet's late wife and fellow poet. She also appears movingly in a few of the poems. Her presence is felt throughout. -Ben Drake

"Between Darkness & Trust moves into the dusky rooms of memory, the shaded places of present time, 'where something is always changing/ until changing finally into itself.' It takes a poet like Ferra, whose careful wordcraft and piercing vision are honed by long experience, to help us recognize that self, and what it can mean in our lives, so that we have 'Another/day, another/chance to change.' 'Trust' comes from an old Norse word meaning 'strength,' like the grandmother she writes of who bakes bread for her family so that they might eat when she lies down to die. Who would not trust such a one?"-Samuel Green, Inaugural Poet Laureate, Washington State"In Ferra's exquisite book, every plain-spoken meditation glows with a radiance that will take your breath away: poems that offer observations- each moment evoked with such precision, such humility, that to readseveral together is to feel like a gong that's been struck, so gently it makes no sound but offers a sense of unexpected connectedness, not only to the poet and the natural world (which she portrays with Zenlikeattention) but also to the human family. No matter what scars you may carry, or what stress you bring home from your days, this collection will be a shawl to warm you, an arm around your shoulders, an encouragement, a balm."-Ingrid Wendt, author of Evensong and Surgeonfish

"'Father Pablo, lord of the elemental,/your Odes my atlas,' Healy writes as invocation and homage to Neruda as she begins her book of praise. And what praise it is, inclusive and democratic, solemn and humorous, touching upon time, weather, mythology, fauna, peaches, garlic, and even butterscotch pudding, as she reminds us how 'the whole universe exists so it can be sung to. Even sorrow. Even guilt.' Insistently affirmative and endlessly inventive, Healy channels praise through sound and syntax, and through a precise and intensely curious gaze." -Michael Waters, author of Celestial Joyride and Gospel Night "Singing the world with the kind of unapologetic abandon and doting craft of Mostly Luck requires an audacity difficult to muster in our times. Healy's odes honor the subject of their affection with consummate precision. In their effervescence one hears echoes of Maxine Kumin's belief that all love poems are elegies at the core. Healy loves the world with the ardor and tenderness of one who also fears for it deeply. Let her show you how to love, how to renew your vows to this world." -Mihaela Moscaliuc, author of Immigrant Model and Father Dirt

Praise for Connie K Walle's What's Left "In potent poems almost as short as the poet, Connie K Walle covers death, love and the passing tides of time. What's Left also offers a candid look back at sex in the midcentury that's as volcanic as 'the shift of the/ tectonic plates.' This poet has a sparkly wit and penchant for O'Henry endings to keep her readers in suspense." -Allen Braden, author of A Wreath of Down and Drops of Blood "What's Left, is full of humor, pathos, compassion and wisdom. Be prepared for the small gasp of surprise you will utter at the end of poems that you first thought of as simple. She meets head-on the many lessons of love-love unrequited, love passionate, love worth the pain, love not worth the pain, love passing through, love lasting a ifetime. With equal courage and verve, she faces the specter of death, while greeting life with a high-five. This book is a good read for a cozy night when you want to wrap yourself in a warm blanket of humanity." -Glenna Cook, author of Thresholds