Bøger af Thomas Lux

Terminus Magazine is a literary arts publication/anthology of new writing. Terminus seeks to publish the most thought-provoking, socially and culturally aware writing available. We want to push the boundaries of general aesthetics and standards, as well as publish writing that is accessible to a wide audience.

Reader's familiar with Thomas Lux's quick-witted images ("Language without simile is like a lung/ without air") and his rambunctious, Cirque-Du-Soleil-like imagination ("The Under-Appreciated Pontooniers") will find in his new collection, Child Made of Sand, not only the signature funny, provocative, and poignant super-surrealism that has made him, along with Charles Simic, James Tate, and Dean Young, one of America's most inventive and humane poets, but they will also find in a surprising series of homages, elegies, rants, and autobiographical poems a new register of language in which time and mortality echo and reverberate in quieter notes. In "West Shining Tree," we can hear this shift in register when he asks: "I'll head dead West and ask of all I see: / Which is the way, the long or the short way, / to the West Shining Tree?"

The world displayed in the poems of Thomas Lux is a fairly dangerous place, a half promised land, a region where turtles languish of thirst, where a lifebuoy crawls with spiders, where a moving car hits a moving moose and both survive, where what tends to terrify us tends also to make us feel safe, where "rattlesnakes feel at home," where "your belief in justice/merges with your belief in dreams."

The Cradle Place is a collection from Thomas Lux, a self-described "recovering surrealist" and winner of the Kingsley Tufts Award. These fifty-two poems bring to full life the "refreshing iconoclasms" Rita Dove so admired in Lux's earlier work. His voice is plainspoken but moody, humorous and edgy, and ever surprising. These are philosophical poems that ask questions about language and intention, about the sometimes untidy connections between the human and natural worlds. In the poem "Terminal Lake," Lux undermines notions of benign nature, finding dark currents beneath the surface: "it's a huge black coin, / it's as if the real lake is drained / and this lake is the drain: gaping, language- / less, suck- and sinkhole." In the ominous "Render, Render," the narrator asks us to consider a concentration of the essences of our lives: all that is physical, spiritual, remembered, and dreamed for, melded together to make the messy self we present to the world. Lux's voice is intelligent without being bookish, urgent and unrelentingly evocative. He has long been a strong advocate for the relevance of poetry in American culture. The Los Angeles Times praises Lux for his "compelling rhythms, his biting irony, and his steady devotion to a craft that often seems thankless." As Sven Birkerts noted, "Lux may be one of the poets on whom the future of the genre depends."

Thomas Lux is the author of such books as Sunday, Half Promised Land, and The Drowned River. His poetry has been fulfilling every expectation by penetrating deeper into the plain-spoken, saturnine, witty language that he virtually invented. In his latest work, Lux's level gaze, cool talk, weird rhythms, and quirky humor place him in a special territory - entirely original - of contemporary American poetry. These new poems, like Split Horizon itself, have unusual titles (Loudmouth Soup, Virgule,Each Startled Touch Returns the Touch Unstartled) and circle around their subjects in strange ways, most often dealing with the lonely oddity of the individual in a society that inflexibly ignores individuality.

First UK Selected Poems by one of America's leading poets, known for his highly entertaining and provocative poetry. Launched with a UK reading tour.