Bøger udgivet af Station Hill Press,U.S.

This widely acclaimed, brilliantly written book can alter both how we think about love and sex and what we do in intimate practice. The focus is neither on manipulative technique nor personal history, but on the process of energy itself. It provides exercises to be experienced alone or with a partner and offers insight into how to move energy, collect it, heighten it, and share it. This expanded edition adds new exercises, reader testimonials, and a chapter on working with the energy of feeling through Movement, Breath, and Sound.

FROM TRINITY TO TRINITY recounts the pilgrimage of Japanese atomic-bomb survivor Kyoko Hayashi to the Trinity Site in northern New Mexico, where the world's first atomic bomb test was conducted. Her journey takes her into unfamiliar terrain, both past and present, as she not only confronts American attitudes, disconcertingly detached from the suffering of nuclear destruction, but discovers as well a profound kinship with desert plants and animals, the bomb's "first victims." Translator Eiko Otake, a renowned artist in dance (Eiko & Koma), offers further insight into Hayashi's life and work, illuminating how her identity as "outsider" helped shape her vision. Together author and translator present one woman's transformation from victim to witness, a portrait of endurance as a power of "being" against all odds.

M.C. Richards' CENTERING, published 25 years ago, went on to sell 120,000 copies and became a classic on the melding of spirit and art and the discovery of the self through creativity. This is the first major collection of her richly imagistic poetry which combines previous work with new poems written in the past decade. Richards here inquires about the essence and power of the imagination, and advocates viewing the world in images that "make us whole." "The world will change," she says, "when we imagine it differently," This new book includes eight color paintings by Thomas Buechner, with the poems they inspired.

"Starting in 1995 and for eight year Miriam Sanders wrote a weekly nature column for The Woodstock Journal, co-founded by Ed Sanders, the poet and musician. Here are eighty of them, in all their beauty and glory"--

Bernadette Mayer and Lewis Warsh wrote Piece of Cake as a work of collaborative prose poetry, based on a process of each writing on alternate days in the course of August of 1976-the bicentennial year of the America''s Declaration of Independence. It recounts the quotidian details of daily activities, negotiating the exigencies of young, married-with-children life, the artistic path and citizenship. It has the classic "I did this, I did that" of a New York School of Poetry text, as characterized by the poetry of Frank O''Hara, and is somewhat reminiscent of Mayer''s work Studying Hunger Journal, written not long before taking up Piece of Cake. Another distinguishing feature of this work is that it is arguably the first significant male-female collaboration in 20th century American poetry. Regarding the possible derivation of the work''s title, and exemplary of the work''s tenor, is the start of Warsh''s entry of August 29: "I also recall getting up and eating a piece of left-over cake (a very sweet store-bought cake with green or possibly pinkish icing) and drinking a glass of milk at the kitchen window. Empty streets, no moon. Michael and Twinkie asleep on the floor of Bernadette''s room, Guy and Karen in mine, Bill on the couch in the living room. Marie in her crib. Everyone ''dead to the world,'' a phrase I dislike, what a full house."

Vyt Bakaitis, poet and eminent translator from the Lithuanian, has gathered here poems from the past decade. This new collection, Refuge & Occasion, pursues several strands that ultimately braid together with characteristic freedom of shape and music whereby the requirements of the utterance design its flow. He writes: "Strange all I found and still carry/ what I remember left me to wonder." Elegies and lyrics of erotic loss, tensely noted and feelingly unwound form one strand. The poet turns his eye and heart to cruder disappointments of the current political moment in several longer poems that aggressively explore the failures of human action and illusory consolation. "What''s real is the fact" the poet wryly notes. There are also several poems to honor significant occasions of being moved and sustained by art along with a number of outright odes to his muses. The charged enigma that winds through all of the poems, however, is the tension of enduring spiritual stasis and uncertainty. "Let''s pull out some maps. There are none" is where the poet starts. The mystery of life''s refusals is countered by a profound sense of the flow willing "times curvature to catch" both in memory and in ecstatic instances that "the wild wave struck ... young as the storming moment."

Homophonic translations create poems that foreground the sound of the original more than the lexical meaning: sound-alike poems or "sound writing." This essay presents a dizzying number of examples of sound mimesis as a way to explore the poetics of sound and the politics of translation. Covering modernists (such as Pound, Bunting, and Khelbnikov) and contemporaries (such as David Melnick and Caroline Bergvall), the Bernstein also addresses homophonics in popular culture including an extended discussion of TV comedian Sid Caear's "double talking." The essay raises a thorny question: Are homophonic poems a form of cultural appropriation or a form of transnationalism?

Poetry. SCORNED BEAUTY COMES UP FROM BEHIND: PREVERBS is one of seven "preverb complexes" comprising the unpublished book Exchanging Intentions, itself one of seven books of preverbs, of which the first to be published was Verbal Paradise (Zasterle: 2011). A preverb is like a proverb, a one-line capture of wisdom, but at the raw stage before wisdom. Such an open intentional act of language invites configurative reading as a singular event of variable meaning. An instance of axial poetics, it puts language on its own stepped-up recognizance. Robert Kelly writes, "SCORNED BEAUTY is the most gripping series of poems I've read in a long time. Wise, funny, humble, arrogant, lovesick, swooning into uncountable clarities. It seems the full maturation of work, of presence."

In 1972 Bernadette Mayer began this project as an aid to psychological counseling, writing in parallel journals so that, as she wrote in one (in bed, on subways, at parties, etc.), her psychiatrist read the other. Using colored pens to "color-code emotions," she recorded dreams, events, memories, and reflections in a language at once free-ranging and precise-a work that creates its own poetics. She sought "a workable code, or shorthand, for the transcription of every event, every motion, every transition" of her own mind and to "perform this process of translation" on herself in the interest of evolving an innovative, inquiring language. STUDYING HUNGER JOURNALS registers this intention within a body of poetry John Ashbery has called "magnificent." Made public at last in its gorgeous various and unstinting entirety, STUDYING HUNGER JOURNALS reveals itself to be one of the great in fact epic works of a movement that could never be given a name. No label fit for such limitless activity, its terms being those of our restless language and its relentless go-betweens that move and may alter. Attend therefore and let them have their way, these words given without let and best received in kind. -Clark Coolidge

Something has gone wrong in the "pre-established harmony" between Divine Plan and the Best of All Possible Worlds! Souls and even material objects are being reborn in a chaos of cross-identities and anarchic phantasmagoria: historical epochs and personalities kaleidoscope and intertwine, and, most spectacularly, 17th century philosopher-mathematician Leibnitz''s "windowless monad" reincarnates as a drunkenly omniscient room that tumbles through time like the phone booth of Dr. Who. Two extraordinarily gifted 19th century Massachusetts mediums publically channel G. W. Leibnitz and Isaac Newton, who perform minor miracles while carrying on their insults and counterclaims of yore. Thorpe Feidt''s long-awaited novel explodes with erudition and joy, exposing occult and not so occult forces at play in major reality claims. The ensuing tale is both crazily enigmatic and mind-bendingly refreshing. With its own species of magical realism, the novel proceeds with fugue-like repetitions and digressions à la Tristram Shandy and stirs up the infamous intellectual battle between Leibniz and Newton who, among other matters, both claim to have invented the calculus. If Herman Melville, Philip K. Dick, and Gabriel García Márquez incarnated in one body, the result could be The Oracular Room."Sad because E.T.A. Hoffman, Italo Calvino, and J.L. Borges are dead? Tired of bourgeois realism with its ''old, stale, passive empiricism''? Isn''t it time you switched to The Oracular Room by Thorpe Feidt? You''ll be glad you did! (although slightly haunted)." Peter Lamborn Wilson, author of T.A.Z.: Temporary Autonomous Zones and Pirate Utopias

Before Sartre, before Beckett, before Robbe-Grillet, Maurice Blanchot created the "new novel, " the ultimate post-modern fiction. Written between 1932 and 1940, Blanchot's first novel, here brilliantly translated by Robert Lamberton, contains all the remarkable aspects of his famous and perplexing invention, "the ontological narrative"-a tale whose subject is the nature of being itself. This paradoxical work discovers being in the absence of being, mystery in the absence of mystery, both to be searched for limitlessly. As Blanchot launches this endless search in his own masterful way, he transforms the possibilities of the novel. First issued in English in 1973 in a limited edition, this re-issue includes an illuminating essay on translation by Lamberton.

Normal0falsefalsefalseEN-USX-NONEX-NONEMicrosoftInternetExplorer4 In|Filtration is an anthology of contemporary Hudson Valley poetry that in one sense or another is innovative. The poets'' work is sometimes formally original and other times innovative in the use of more familiar poetic forms: old bottle/new wine; new bottle/old wine; and, quite often, new bottle/new wine. Much of the poetry here is directly or indirectly in conversation with national and international movements directed toward more exploratory uses of the medium-work that goes beyond the explorer''s map into uncharted territories, places where the map tatters in the explorer''s pocket and another world begins. Like explorers the editors have sought to map the contemporary currents of radical poetics in the Hudson Valley. There is truly an enormous wealth of poetic activity in the region, and of course such an exploration cannot be comprehensive Themselves poets, the editors present what they take to be the salient characteristic of the region in their essay "A Hudson Valley Salt Line" at the end of the anthology, pointing to the geological, human and cultural histories of the Hudson Valley as they dovetail with its poetries. They also provide their rationale for the title In|Filtration with particular reference to the Hudson River''s salt line, which becomes the essay''s key trope.

False Documents , by Peter Lamborn Wilson (Hakim Bey), is a series of "Borgesian" and "Nabokovian" fictions, each pretending to be a "document" from various literary, commercial, or otherwise culturally-pertinent contexts. Together they comprise an exciting, mysterious and mind-alteringly funny tour de force of structural imagination: an intricate reflection on the "alchemy" of creation and dissolution for a contemporary world whose discursive forms tend to obscure as often as illumine. We as readers journey through the layers of human consciousness into the arena of mythology, religion, conspiracy, history, sexuality and folklore, where fact and fiction meet in a collision of scholarly playful texts, covering centuries of forgotten or unknown windows, opening forth into a land that drips with forbidden knowledge, where true or false disappear into the yarn. Famous for his writings in anarchist philosophy and practice (including the coining of the phrase "Temporary Autonomous Zone," or TAZ), Peter Lamborn Wilson/Hakim Bey again illustrates that only a position outside of history can truly zero-in on its deformed heart, which he does with laughter, insight and poignant care.

Poetry. Literary Nonfiction. Literary Criticism. Including selected poems from Charles North, Tony Towle and Paul Violi. Edited and with commentary by Andrew McCarron. With a foreword by John Koethe. What is the shape of a life dedicated to poetry--and how, and from where, does such a dedication take hold? Moreover is that foundation a matter of decision, necessity and/or "grace"--or all three to degrees--and what are its costs? Combined with a selection of poems from these three distinguished poets, who together form a core of the Second Generation of New York School poets, Andrew McCarron pursues these questions, and more, through a series of biographical essays addressing each poet's life story and psychological complexion-and what critical insights such gleanings might lead. The poetry alone of North, Towle and Violi--exact in its execution and wide in its--is of enduring value and utility; juxtaposed with and in part seen through McCarron's exegeses, these qualities assume a poignancy that seems to lead us further into an examination of our human fate and of what it's all about: or as Towle writes, "in between the great saga of America, / lying like a lost nickel in New York's platonic gutter." As long as interest in the New York School holds--and in fact continues to grow--THREE NEW YORK POETS will remain an essential guide.