Bøger i Pitt Poetry Series serien

Written during the last five years of the poet's father's life, Creature is a book about love, destruction, and the self, all standing in relation to family and the natural world. The poems themselves try to move toward what can't be said by finding connection with other life forms: hawks, hummingbirds, pelicans, lizards, horses, ravens, squid. By moving past linguistic walls into otherness, words become proximate to mystery and inhabit territory where expanses open and embodiment is always on the verge of transformation.

In Parachutes Descending follows the speaker's decision to leave her Bostonian husband for Jane, a San Franciscan artist, while charting the sensual consequences of our bodily entanglements. These poems capture personal desires fermenting among current earthly cataclysms, including climate change and global capitalism. In doing so, this collection asks us to think inclusively about the ways we become with all humans and nonhumans, all of us--past, present, and future--intimately entwined with others.

Elton Glaser's ninth book of poems is haunted by the loss of his wife, each April bringing back the memory of her death. The opening line confesses the struggle to find a language for this grief: "I'm learning to speak in the accents of adieu." As the book progresses through the seasons, it evokes the places that remind him of their times together, in the South of their youths, in the Midwest of their long marriage, and in their travels here and abroad. And yet there is also another strain that keeps breaking through, the particulars of joy in family and the natural world, grandsons and "swaggering lilies," and a swan like "a sullen bride in her white finery." With an irrepressible wit and a music that enlivens his lines in both celebration and elegy, Glaser never forgets that, as Wallace Stevens said, "Memory without passion would be better lost."

Change arises as something both desired and mourned in poems that reckon with a world where perspectives blur, names drift "billowing, unattached," and language yields a broken music. Meditative and richly imaginative, these poems cast and recast the self and its relation to other selves, and to memory, history, power, and the natural world.

In Auction, her first poetry collection in eight years, the poet, novelist, and playwright Quan Barry travels the globe in her signature quest into the existential nature of experience.

A Poetic Autobiography-Intimate, Sorrowful, and Funny Lynn Emanuel's sixth collection of poetry is not sequential or straightforward. It explores and centers on the possibilities and limitations of art in the face of disappearances of many kinds, including the disappearance that is most personal-the poet's own.

Despite the many entertainments and distractions of modern life, Anzhelina Polonskaya's spare but cutting poems in Take Me to Stavanger declare a wholehearted "Yes." This bilingual Russian-English volume makes a refuge for the poet and her readers, plumbing the depths of contemporary melancholy and ennui.

Winner of the 2022 Donald Hall Prize for Poetry

Trailer Park Psalms traces the speaker's journey beyond his boyhood trailer park, through an American landscape marked by violence-from a gas line explosion in his hometown to his father's war memories to the scars of colonialism inscribed in place, language, and ecology.

"Revolving around the death of Smith's mother and how the poet, a gay man, faces his upbringing where his sexuality was viewed as sinful and unnatural, these poems plumb the complexities of what families say and choose not to say. How does one grieve when a relationship will forever remain unresolved? What does it mean to both regret and not regret one's decisions? What if survival doesn't look like what we're told it should?"--

That Ship Has Sailed synthesizes the serious and comic to address sex, love, loss, death, belief, the afterlife, and the past. The poems are honest and direct without sacrificing "the uncertainties, mysteries, and doubts" that Keats singles out in his notion of "negative capability," alluded to in the title poem. Amplified by the poet's work as a traditional Irish musician and composer, language is the adhesive that brings the work together across the avant-garde to traditional forms and meters.

Anuradha Bhowmik's life as a Bangladeshi-born American girl growing up as a first-generation immigrant in the United States gives shape to this debut collection. Brown Girl Chromatography interrogates issues of race, class, gender, and sexuality in a post-9/11 America while navigating the poet's millennial childhood, adolescence, and adulthood. The poems follow Bhowmik as she learns about the cruelties in both American and Bangladeshi worlds without any guidance or instruction on how to survive these conflicting spheres. Any visible traces of her Bangladeshi life result in racial ridicule from her peers, while participating and assimilating into American culture is met with violence and abuse at home. As language and memory intersect, Bhowmik draws on pop culture and free association to examine her displacement from many angles and make meaning out of hurt.

A rebuttal to Aeschylus' Oresteia, Every Form of Ruin posits the Erinyes' fury as righteous, understanding Clytemnestra's rageful response to loss, and refusing Iphigenia's relegation to a footnoted sacrifice. A fierce and darkly funny examination of anger, these lyrical poems push back against silencing by paying witness to a world where the experiences of women, nonbinary, and femme-identifying people are too often ignored, their responses dismissed as hysterical. These poems are also investigations into the loneliness of mid-life; the search for one's own self when that self has given its life to service. Every Form of Ruin counters our culture's erasure of women and resists the categorizations of maiden, mother, crone by blurring those distinctions through the creation of voices that are moved by rage and resistance.

By confronting the urgencies of daily life, from questions of identity to sexual abuse to racial unrest to the ubiquity of plastic, these poems investigate ways to sustain ourselves in our fraught public and private lives.

"The poems in Paul Hlava Ceballos's debut collection banana [ ] reveal the extractive relationship the United States has with the Americas and its people through poetic portraits of migrants, family, and personal memories. At the heart of the book is a long poem that traces the history of bananas in Latin America using only found text from sources such as history books, declassified CIA documents, and commercials. The book includes collage, Ecuadorian decimas, a sonnet series in the voices of Incan royalty at the moment of colonization, and a long poem interspersed with photos and the author's mother's bilingual idioms. Traversing language and borders, history and story, traditional and invented forms, this book guides us beyond survival to love."--Publisher marketing.

The Morning Line is David Lehman's most ambitious book to date, combining wit, quotidian charm, and off-the-cuff spontaneity of poems written with candid and moving meditations on life, love, aging, disease, friendship, chance, and the possibility of redemption in a godless age.

Winner of the 2020 Cave Canem Poetry Prize.

With fine detail and observation, these poems work in some way like poetic weirs: readers of Kane's work will see the artic and subarctic, but also, more broadly, America, and the exigencies of motherhood, indigenous experience, feminism, and climate crises alongside the near-necropastoral of misogyny, violence, and systemic failures.

New poems from the author of Imperial, and Blood Pages.

Prelude explores the gay female experience through a poetic reconstruction of the girlhood and adolescence of Saint Catherine of Siena

A collection of poems examining life from a quasi-science-fiction perspective.

The Thicket opens into intimate encounters with the more-than-human world - rivers, birds, stones - and with a "you" that is not a person, necessarily, but also not not a person: maybe God, maybe an aspect of the self, maybe neither or both.

Hello I Must Be Going, David Hernandez's fifth collection of poems, offers a unique take on poetry informed by works of art. With narrative and lyrical brushstrokes, Hernandez crafts vibrant landscapes that depict the chaos of the modern world and the beauty entwined within it.

This collection of poems reflects multiple voices around the theme of connections.

Winner of the 2020 Agnes Lynch Starrett Prize for Poetry.

In about:blank, Tracy Fuad builds a poetics of contemporary dissociation. about:blank - the title of which is the universal URL for a blank web page - complicates questions of longing and belonging.