Bøger udgivet af SONG CAVE

"Through a spiraling sequence of lyric poems, a cast of voices- oracles, ghosts, water- speaks to a long history of genocide, displacement, and ecological devastation."--

"Everything and Other Poems" is a new collection of poetry by Charles North. North has published eleven books of poems, three books of critical prose, and collaborations with artists and other poets. With James Schuyler, he edited the poet/painter anthologies "Broadway" and "Broadway 2." His "New and Selected: What It Is Like" headed NPR's Best Poetry Books of 2011, and he has received a Foundation for Contemporary Arts Grant, two NEA grants, four Fund For Poetry Awards, and a Poets Foundation Award. He lives with his wife, the painter Paula North, in New York City. More info at charles-north.com"--

Meet Kip. A mischievous mouse who wears sunglasses, runs around with a knot in his tail, and carries with him the mystery of why he has part of his ear missing. Kip will wiggle his way into your funny bone with his antics, and have you pulling your hair out from the pranks he plays.

"This updated and expanded edition has been a long time coming, but at last we have an anthology that truly represents the wide array of remarkable poets who called this legendary 'psychedelic Peyton Place' home." --Kevin OpstedalThe Song Cave presents an expanded edition of the long out of print City Lights Books classic On the Mesa: An Anthology of Bolinas Writing in celebration of its 50th anniversary. This is a gathering of poets, writers and artists living on or around the mesa in Bolinas, California. Not so much a school of thought as a meeting of those who happened to be at this geographical location at this wobbly point in time, several divergent movements in American poetry (Black Mountain, San Francisco Renaissance, Beat and New York School poets) came together with new Western and mystic elements at the unpaved crossroads of Bolinas.Authors include: Gordin Bladwin, Bill Berkson, Ted Berrigan, Michael Bond, Ebbe Borregaard, Joe Brainard, Richard Brautigan, Jim Brodey, Bill Brown, Jim Carroll, Tom Clark, Robert Creeley, Max Crosley, Diane Di Prima, John Doss, Bobbie Louise Hawkins, Lawrence Kearney, Joanne Kyger, Keith Lampe, Lewis Macadams, Phoebe Macadams, Duncan McNaughton, David Meltzer, Alice Notley, Arthur Okamura, Stephen Ratcliffe, Aram Saroyan, Gailyn Saroyan, John Thorpe, Charlie Vermont, Anne Waldman, Lewis Warsh, Joel Weishaus, Philip Whalen.

This story begins not long after Jack tossed out a flippant invitation to God. You will see that he got much more than expected in nightly dreams. In twenty-one dreams, with a few breaks along the way, God answered all of Jack's questions. Why is this life the way it is, and what would it be like living God's way rather than his my-way?

Ancient Egypt. Ptolemaic Egypt. Carthage. Rome. Czarist Russia. Manchukuo. The British Empire. Rhodesia. What happens to people when they become stateless? What happens to the human wreckage that escapes from vanished Empires and countries? What emerges from the chaotic breakdown of countries and empires?The past is often forgotten, but the future is inescapable. Gemma, Poppy, Kulli, and Violet, after a transformative year, find themselves moving in different directions. Gemma, now engaged to Enoch Tara, contemplates life after marriage. Kulli returns to Estonia in an attempt to reconstruct and restore her family's past. Poppy, pregnant and living in the Lake District, finds herself largely alone while Brian, in London, struggles to understand and contain a growing financial crisis. Violet sees her daughter off to university, reconnects with Akiko, her former Oxford University roommate, and hosts a hunt weekend at her Palladian countryhouse in Northumberland. And Carter Holland, the secretive London financier, attempts to guide the course of history.

Dr. Peter Wyns shows us in the Bible, God's promise of end-time revivals. He takes us through the exceptional history of America and points to God's laws of sowing and reaping. It is easy to recognize America's failures, but God also sees her valiant exploits, and He does not forget. It is time for the church to embrace a victorious eschatology. 'America in the Last Days' will inspire faith and help posture you to be in step with heaven. It's time to embrace a message of hope for America.

Poetry. In her highly anticipated debut collection, FORT NOT, Emily Skillings creates an atmosphere for encounter, akin to searching for meaning through lip-reading. We soon realize that these poems are speaking to us in tones that appear elegantly improvisational. And while the poems may shout from the periphery, it is not without reason, but because of their desire to direct the reader to a created space--a world that allows for curved logic, that dirty, off-gold color, middle-class nausea, and metallic power to coexist. The mysteries here embrace a natural, physical music, pulling us into a moving current of painted images, poetic histories, and draped bodies evaporating to reveal others behind them, as quickly as they appear. Although her language sometimes suggests she is from another planet, Emily Skillings knows how history happens on ours: 'There was a history there of men overtaking and rebuilding and casting to ruin, then drawing up new plans, beginning anew, hesitating, revising only to tear down and build again, and always slightly off-center.' This is about as normal as things get in this staggeringly beautiful, wildly offkilter account of daily life, or in Auden's words, 'A way of happening, a mouth.' Whatever. FORT NOT is a savagely brilliant debut.--John Ashbery Emily Skillings' beauteous first book is an instruction manual on how to live your life. What is a book when it's a blush? A dropdown etiquette c/o flowers and a way to teach yourself: how to backchannel your garden, how to be a matron of no, how to wipe your dirt on other people, how to talk nice to the Holland Tunnel, how to shake in Carpet Town, how to make your sinuses more operatic, how to surrender a glacier. With each lesson, FORT NOT brushes back our inhibitions and dismantles our intentions.--Tan Lin Emily Skillings throws you a lot of curves and I like that. Her poems are actually pretty dense and then suddenly she shifts (knowingly) into a radiant simplicity. I love her trembling, and though she asks 'is trembling / always bad?' it's clear she knows it's not. Emily's just trying to make us watch better. I love this poet's compulsive sense of risk, her sense of humor. I love her dread. I love her love of detail. Her revulsion. So finally, basing this opinion on my exploration of this one writer, I'll say that bitches are smart. Emily Skillings is very special. I'll keep reading her.--Eileen Myles

Poetry. Edited by Ben Estes and Alan Felsenthal. Introduction by Geof Hewitt. Though Hamilton wrote thousands of poems during his lifetime, only a small percentage of them ever found their way into print. His poems appeared in small poetry journals during the 60s, 70s and 80s; two chapbooks, The Big Parade and Sphinx; and one full-length collection, The Poems of Alfred Starr Hamilton, published by The Jargon Society in 1970. In this new volume, Ben Estes and Alan Felsenthal present a collection of Hamilton's poems from these publications, along with many of Hamilton's poems that were previously considered lost and poems from posthumously found notebooks."Hamilton is the author of spare, wry, slightly surreal poems that have, so far as I can see, no real equivalent in American English."--Ron Silliman"Alfred Starr Hamilton 'wrote to the governor of poetry / And simply signed [his] own name.' Consider this collection--assembled by two very dedicated allographers--an essential expansion on said letter. People who've encountered Hamilton's work previously will be glad for the chance to see familiar poems alongside many marvelous new ones. And how I envy first-time readers of this most generous and genuine American writer."--Graham Foust"It is a hidden world, a hushabye place that Alfred Starr Hamilton occupies, a secluded place where he is free to summon daffodils and stars, chimes and angels, thread and old-fashioned spoons. There is Hungarian damage, blue revolutionary stars, a sedge hammer (which is not a typo). He is obsessively drawn to fine metals--bronze, silver and gold. He would be golden, but can never grasp the elusive sad: 'One cloud, one day / Came as a shadow in my life / And then left, and came back again; and st

The painter Trevor Winkfield--born in Leeds in 1944 and residing in New York City since 1969--has been a sought-after contributor to publications such as Arts Magazine, Art in America and Modern Painters for two decades. Editors have long trusted his unique sensibilities and relied on his capacity to usher in fresh understandings of art. Take, for instance, Winkfield's pure excitement and audacity at weaving the work of the proto-Surrealist author Raymond Roussel into an essay on Leonardo da Vinci's "Last Supper." Unapologetically the writings of an artist, not a critic, in Georges Braque & Others, Winkfield engages some of the greatest names in art (Vermeer, Chardin, Signac, Ryder, Dadd, Brancusi, Cornell, Duchamp, Johns and of course Braque, among others)--asking questions, seeing the details and sharing the obscure facts that only an artist like Winkfield could notice and convey with such great charm.

"A landmark collection of poetry by acclaimed fiction writer, translator, and MacArthur Fellow John Keene ... a generous treasury in seven sections that spans decades and includes previously unpublished and brand new work. With depth and breadth, PUNKS weaves together historic narratives of loss, lust, and love. The many voices that emerge in these poems--from historic Black personalities, both familial and famous, to the poet's friends and lovers in gay bars and bedrooms--form a cast of characters capable of addressing desire, oppression, AIDS, and grief through sorrowful songs that we sing as hard as we live. At home in countless poetic forms, PUNKS reconfirms John Keene as one of the most important voices in contemporary poetry"--

Poetry. Translated from the French by Jonathan Larson. On the 50th anniversary of its publication, The Song Cave is honored to publish the first English translation of Francis Ponge's NIOQUE OF THE EARLY-SPRING. Ostensibly a book written to honor the season itself and the cycle of time, upon its first publication in Paris, May 1968, these notes took on a greater metaphorical meaning within this context, addressing the need for new beginnings and revolution. April is not always the cruelest month. In these stray notations dated early April 1950, Ponge provides a latter-day version of Stravinsky's 'Sacre du printemps' or of William Carlos Williams' 'Spring and All'--a vernal enactment of all the resurrectional energies of a spring-time-to-come, as witnessed firsthand at the farmhouse of 'La Fleurie' in southern France. When subsequently published in Tel Que in May 1968, eighteen years later, Ponge's rural, pastoral text now acquired a specific urban history and Utopianism, its Lucretian 'Nioque, ' or gnosis, now speaking to the gnomic revolutionary slogans of the Left Bank barricades: 'Be realistic, demand the impossible, ' 'Beneath the cobblestones, the beach.' Jonathan Larson's careful engagement with Ponge manages to seize what is most prosaic about his poetry--its fierce communism of the ordinary, its insistence that taking the part of things means taking words at their most etymological everydayness.--Richard Sieburth This startlingly fresh and necessary document of the 1950s by Francis Ponge comes to us via the all too rare feat of true poetic reenactment. Understanding that each poet creates language anew, Jonathan Larson has found a poetics suitable for the occasion of Ponge's own poetic logic In this rendering, Larson's absolute care and attention to syllabic weight and measure, to the syntax and length of each line as it unwinds, allows us--as readers--to come into the drama of a text newly made, in other words, to discover a new poem in its very making. Yet, none of this comes at the cost of accuracy or through the subjugation of the original at the hands of one wielding the imperial language This is no mean feat in this day and age and, by way of Larson's exquisite ear, we are again given the poignancy and urgency of Ponge's own moment.--Ammiel Alcalay