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.

Awareness Inside Language is the most comprehensive discussion of poet-artist George Quasha's "axial poetics" as it plays out in his work of the past twenty years, called "preverbs," represented in four published volumes: Verbal Paradise, Things Done for Themselves, The Daimon of the Moment, and Glossodelia Attract. In the form of an interview conducted by poet Thomas Fink, it addresses how apparently difficult poetry teaches new ways of reading and thinking.

House Crossing is a book of 32 poems about where we live or, more properly, dwell, with each poem entitled by a different attribute of domestic architecture as it is commonly known: Cupola, eaves, attic, beams, etc. Such might lend itself to description, but--reminiscent in part of Ronald Johnson's oeuvre (The Foundations, The Spires and The Ramparts)--in the vision of poet and scholar Laurie Patton each component becomes alive to an actuality beyond physical construct: The poetics of how we hold our ground, even if it is in flux--or as she writes, "A river runs... below the house." The instigation for this poetic cycle is Gaston Bachelard's The Poetics of Space, with this collection a homage to that classic phenomenological analysis. As she writes in her introduction, House Crossing arose as "a straightforward observation about the endurance of Bachelard's work: if a poetics is good enough, and I believe Bachelard's is, then it does not only comment on poetry, but can give rise to poetry as well." What Patton gives rise to is in part an opportunity for us each to live more evocatively in our days and nights in each our own place, building a being, as "Noah's ark stands / at the end of our hallway."

Out of the Question: Selected Poems 1963-2003 gathers together a generous sample of work from Lewis Warsh's many earlier collections. Warsh has been associated with the community of New York School writers who first met at The Poetry Project in Manhattan in the late 1960s, but as poet Forrest Gander writes, in a review of Warsh's book Inseparable, "his influence has been felt nationally and internationally." Out of the Question includes two long poems: The Suicide Rates, first published in 1967, and The Corset, which appeared in 1986. Novelist Paul Auster described The Corset as "not a poem so much as a new way of seeing the world. There is a stunning intelligence at work here, a fierce, deadpan wit that disturbs and enlightens in equal measure." Auster's comment can be applied to all of Warsh's ongoing experiments, as both a poet and a fiction writer, and Out of the Question is the best possible introduction to anyone unfamiliar with his multi-layered body of work.

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."

This new edition of Jerome McGann''s exciting work, out of print for years, has been called the most significant intervention in Romantic studies since his The Romantic Ideology. It takes as its prime aim the reading of neglected poetry, principally by women, which qualifies as either poetry of sensibility or poetry of sentiment, and as such it contributes significantly to feminist perspectives. McGann''s analyses continue to provoke discussion among those interested in the hundred years of poetry it considers. Writers discussed include: Ann Batten Cristall, Benardin, Coleridge, Erasmus Darwin, Thomas Gray, Francis Greville, Felicia Hemans, William Jones, Keats, Ossian, Mary Robinson, Schiller, Shelley, Wordsworth, and Ann Yearsley. This sui generis work by the preeminent critic of Romantic poetry will attract students and scholars of English literature and Women''s Studies.

Over the course of his seventy years, Mikhail Horowitz reports being an English Romantic poet of the early 19th century, a Chinese hermit poet of the Tang Dynasty, a neo-Beat jazz poet of the Third Millennium, a proto-Surrealist and Oulipo poet of Paris between the wars, and a postmodern poet and spoken word performer in an increasingly medieval America. This volume offers a generous selection of his various avatars, featuring poems and prose pieces that are bracing, ludic, and often madly obsessive.

is a book of image + words, made in a calendar year in the mid-00s when Sam Truitt was a full-time business writer for a New York-based publisher of commercial real estate research, statistics and analysis. The business was just west of Fifth Avenue on the north side of Thirty-Seventh, and our writing group was located initially on the top floor. I composed the "state" strips on the roof, which had an excellent view of most of the Empire State Building. In the spring our group moved to the fourth floor, removing easy rooftop access. I continued to compose intermittently through the day, yet now standing on the fire escape at the back of the building. That area also served as an airshaft. state/shaft shaft/state''s text is a direct transcription of words spoken into an Olympus W10 recorder, that allows you to take photos while voice recording an avi file. While their order here is somewhat arbitrary, the way the image + words are arranged in this series is not wholly. This book includes a QR link to a video of the original recordings.

Normal0falsefalsefalseEN-USX-NONEX-NONE Here the Siddha master Yogmata-Ji asserts that through the hermetic practices of the Himalayan Wisdom Tradition one may not just acquire true and lasting happiness and success in this life but ultimately dissolve into the very heart of love. She guides the reader through the eight stages of Samadhi, revealing the secrets of mind and body and of forms of Himalayan meditation that, evolved over five-thousand years of experimentation, are designed to remove all existential weights, allowing practitioners to become as radiant as the sun—the Anugraha ("divine grace"). Written in a clear and inspiring style, this practical guide includes a glossary of Himalayan Wisdom Tradition terms and an easy-access system of sub headings.

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?

Cosmic Diaspora is Jake Marmer''s third collection of poems. It brings together fantasy, hard-boiled sci-fi, Jewish mysticism, experimental poetics, free jazz, and dark, deadpan humour. Born in the wild steppes of Ukraine, Marmer brings his immigrant experience into a cosmic, diasporic disorientation and attempts to imagine the deep future of myth, spirit, and language. In Cosmic Diaspora, you may also find more than hints of the Talmud, Midrash, and Zohar that allude to alternative realities, some of which exist alongside our own, while others are tangled within it -- or are completely unrelated, made of pure Light or pure Text.

Debra Ollivier16.00Normal0falsefalsefalseEN-USX-NONEX-NONE Particularly focused on those in pain and in need of comfort and healing, and intended to touch and open the human heart, this book is a unique introduction to the Himalayan Wisdom Tradition. A Himalayan Siddha master is one who through a course of ascetic trainings has reached the highest truth, and Yogmata-Ji is one of only a few such masters alive today to transmit the Himalayan Wisdom to the world. As Yogmata-Ji writes, "I am here to guide you on a journey of transformation to expand your consciousness and help you reconnect to the sacred source." This she does with compassion and wit and a continual refrain to her own experience. The lessons are wide ranging, touching on many facets of our self-ascribed limitations, which with patience and love she explores and explodes. The focused, incisive, and caring nature of 108 Teachings makes it a perfect work of daily meditations, the practice of which places the reader on a unique path of discovery and self-realization.

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.