Bøger udgivet af NYQ Books

MY OLD MAN WAS ALWAYS ON THE LAM is a blues memoir in verse. With brutal honesty and lyrical prowess, Tony Medina plays the changes in an intimate collection that sticks like a stinging Ali punch and moves like a New York City subway train through the raw, unmitigated terrain of his psyche. Sparked by the sudden death of his father in Harlem, MY OLD MAN WAS ALWAYS ON THE LAM examines his relationship with a long-lost mother who abandoned him at birth, exploring his Bronx projects childhood and his relationship with the paternal grandmother who wrestled him from the clutches of the State and raised him, culminating with a reunion with his terminally ill mother, attempting to fill in the gaps of a precarious past destined to collide with its bare-bones present. In this, his fifth full-length collection, Tony Medina is at his most personal and revelatory.

Chip Livingston confronts and immerses himself into new cultural territories in his second poetry collection, CROW-BLUE, CROW-BLACK, an examination-critical, colloquial, and personal-of identity in terms of geography, experience, and blood quantum. A southern, gay, mixed-blood poet is thrust into the big-city literary life of the New York School artists in Greenwich Village, yet finds "home" in Uruguay with an Argentinean. CROW-BLUE, CROW-BLACK crosses traditional Native American narrative and incantatory styles with the quick-witted street poems of the New York School. It crosses the border into the southern hemisphere and bears witness to the influence of the Rio de la Plata, the grand capitols of Montevideo and Buenos Aires on its shores. From rural coastal roots to urban urgency and back to the rhythm of rivers and ocean, CROW-BLUE, CROW-BLACK maps the continents of the Americas.

The Plumber's Apprentice differs from Weil's previous work in that it charts the nature of suffering beyond the limits of his working class "Elizabeth" and focuses more deeply on two aspects of his life: his Irish Catholic sense of communion, with the living and the dead (all who have gone forth marked with the sign of faith), and the essential solitude of being a single, short, bald man who has no offspring, no legacy, no beloved, and is falling, however slowly, to his death. Perhaps the question Weil asks most frequently is: given the inevitable co-ordinates of ongoing failure, how does a poet give the middle finger to grade z forms of Emersonian positivism and have some fun in this vale of tears? In sum: if love is impossible, and life severely limited, and loneliness is devouring the furniture, where's the closest bar, and do they have a good jukebox? For brief moments Weil succeeds in making failure, death and love his drinking buddies. In the poet's messed up ontology, they make for a lively and comical crew.

Amanda J. Bradley's debut book of poems takes the reader on an inward journey from a place of disturbance to a recovered equilibrium. These poems probe intense scenarios and emotional states then step back to inquire what sense can be made of them. Delving for a purpose becomes a purpose in itself and ultimately reaffirms a life well examined."Hopping, skipping and dancing through the labyrinth of love and despair, Bradley creates a fresh figure of triumph through her sensitive, far-reaching poems. The language is both affectionate and stark, gentle and bitter, but always sharp, always poignant. A born observer, by an appealing dry irony she deftly detaches even her 'confessional' work from herself, so that the body in the poems comes out larger than the one behind them. As she brightly says in one of her finest pieces, inaudibly asking, what do we really see when we look? 'So much is altered by revisions,/By tricks of thought, by our inadequacy,//By appearances...' Here's a poet excellently (and ironically) giving us what, in the closing lines of this book she says we can't have-namely, the sense of what matters."-F. D. Reeve"Amanda Bradley's poetry is a tense, taut, and deeply personal work that takes the reader on a Dantesque exploration of the heaven and hell of daily experience, or, as the book partitions them, Disturbance and Equilibrium. From the daily observations in the superficially prosaic lives in 'Apartment Building 3:00 AM,' where 'the dishes were done by hand/with detergent containing aloe' through the agony of 'now that I fear this fight will never end, anesthetize me' in her poem, 'Ambivalence,' Bradley coolly dissects grief, anguish, and suffering, then doles out an uncompromising medicine of emotional truth teaspoonful by luminous teaspoonful."-Fred Yannantuono

Gordon Massman's 0.174: The Complete Numbers Cycle is an intricate exposure of the self. In this 20 years' culmination of work, he has dared to make the invisible visible. Perhaps on some level a perverse project, 0.174 lays open in depth-confession, in laboratory precision Massman's innermost fantasies, obsessions, urges, and fears which might, he hopes, provide at least a splintered reflection into one's own humanity. In either case-whether private or universal-here opens an increasingly cathartic examination of Massman's particular psychology observed as acutely and honestly as he is capable. In so doing he has treated what mainstream society generally considers vulgar or unsavory, as valuable and often beautiful. It is his hope that some who attempt this book will agree that all human thought and feeling is worthy of song. Often satirical in tone, this book represents the nekyia, the down, inward going, of an epic tale that is life itself.

In his first full length collection, Bones & Jokes, published by NYQ Books, Ted Jonathan delivers up poems and stories out of a gritty urban reality that are as raw and original as the characters and streets from which they come. Jonathan weaves the language of the street into a rhythmic frenzy that pleases the ear in both his poetry and prose. He uses this lyricism like the stealth of a cat bringing its owner a mouse to seek a greater understanding of things like violent childhood icons, poker games, and hookers and lays that understanding at the feet of the reader as proof of life. Bones & Jokes is savage, joyous, profound and dead on funny, but behind it all is a gentle love and clear sanity that makes it all memorable.

RABBIT EARS: TV POEMS is a poetic tribute to the medium that has influenced America''s tastes, opinions, politics, language, and lifestyles: television. Within its pages, you''ll read narrative poems, persona poems, poems that employ found text, formal poems, prose poems, haiku and senryu, and poems that incorporate non-poetic forms, like the interview and screenplay. Edited by Joel Allegretti, the anthology contains 129 poems by 130 nationally known and emerging poets including Billy Collins, Ellen Bass, Dorianne Laux, Aram Saroyan, Timothy Liu, Tony Hoagland, and Hal Sirowitz. The title, named for the pair of indoor TV antennae developed in the 1950s, comes courtesy of former U.S. Poet Laureate Billy Collins. These poems explore a robust array of subjects: the history and early days of TV, sit-coms, children''s programming, the news, horror and science fiction, detective shows, soap operas and romance, reality TV, and commercials, among others. The poems are funny, poignant, witty, mysterious, and educational. In short, the poems are much like TV itself.