Bøger udgivet af Glass Lyre Press

Respiration, breath, touch, breeze, influx, infusion, nearness, the closeness of words-these, and much more, form poet Yoko Danno's native language. What you hear is right here beside you, where you are watching and catching waves to shores both strange and familiar, floating in waters on a current of togetherness, buoyant and shared in an atmosphere overflowing with beginnings, with words that, heated by imagination's mirrors, spread and flourish into shapes of desire. --Alan Botsford, Poet and Editor of Poetry Kanto

Angles of Separation explores the ways in which humans divide and isolate themselves from nature, one another, and their own spiritual centers, in poems rich with organic images, myths, and sensory details. This book, with its taut lyricism and uncompromising honesty, reveals the fragility of bonds and life itself. Angles of Separation is replete with a virtuosity which shines through the crafting and complexity of language; its subtle emotional heft will disturb and pull at the heart. This collection of finely wrought and linguistically elegant poems is sure to catch the reader up in a slow burn.

Dowser's Apprentice takes us directly yet deeply into daily life with news of canyon and desert, crop dust, and snow. "Hurry up and break / into life" the poems say. They steady themselves in the sky ("It's a night of fat, bright planets"), look up to the sun and stars ("The Milky Way above us - / that's our shadow river"), and move across the land, from rural California to the "undulant, green Pyrenees," to make a cosmology that we can all share. - Joyce Jenkins, editor of Poetry Flash

Developing a Photograph of God by Robert S. King is a wonderfully cohesive and morally serious examination of the topic he evokes in the poem When the Road Curves Back "to find out why I'm here." This collection engages the 'dark night of the soul' and the presumptions of optimism; that life has meaning as King says in the last poem "that my small telescope can pull both past/and future back to show me how far/the curious soul has traveled." With a maturity of vision and a language drenched in lyric, King leaves us with remarkable images such as "Serpents of rain/ puzzle of noise and clumsy dance." "the places/where regret nags, dreams freeze and hope crackles down in fire" and "Smell the feathers of the angels burning." These poems, intimate and agonized, swinging between the horns of hope and despair, shed illumination on the grave and haunting philosophical questions. Joan Colby, author of Joan Colby: Selected Poems and other collections"

"As a title, Moon Over Zabriskie immediately invokes the theme of place, of landscape. And perhaps also a kind of mirroring, because Zabriskie is itself a kind of moonscape. This deeply sensitive, beautifully written book locates us in the grandeur of the American landscape, which functions as a kind of mirror, because this is not a book about the outside, but about the inside. Landscape is not a sole subject, or a limitation; we have Caravaggio and Chekhov, and the book's relentless focus is the self: the writer's self, the reader's self. What we have is life: family and flowers, rivers and deserts, paintings and songs. Everyone wants solace for their marrow-deep grief, and here we'll find it." Edward Smallfield, author of Equinox and co-founder of Apogee Press.

Raymond Gibson's sparse, intense, lovely, and ghostly chapbook, Speak, Shade, is born of light and sight. Each poem within is a candle-orange rays of illumination, flickering brief and breathless. Gibson reveals tapers of timeless beauty, yet cautions us not to fly too close to the sun. Beginning with "The Cataracts" and ending with "Blink" and "Blind Timescapes," the poet dares us to see what we ordinarily try to shield our eyes from, while offering us salve and salvation for all of the "red absences." Using every color of the spectrum, especially the spectral ones, Gibson always returns to light and the perception of light, casting white-hot beams on our fragility and futility. In this book you will find little wounds, tiny licks of flame, alternately burning and melting over the glowing (and majestic) fires of our lives. -Cin Hochman, Editor-in-Chief, First Literary Review-East

First Water is the culmination of five years of superlative poetry from Pirene's Fountain. This anthology represents a diverse selection of compelling voices and talents, one that will be cherished by readers everywhere.

Becoming AppalAsian is a homage to Lisa Kwong's parents, ancestors, ancestral land, homeland, and chosen land. China influences the cadence through which she experiences all spaces, whether that be Radford, Virginia where she worked as a waitress in her parents' restaurant or in Bloomington, Indiana as an artist and academic in a predominantly white University town. Lisa carries the pride of her father's quest to achieve the American Dream as a Chinese immigrant as well as the triumph and turmoil of defying stereotypes in a western landscape. She is AppalAsian: a Southern woman of Asian descent raised in Appalachia who lays claim to soul food, a Southern drawl, chicken feet, and dumplings. Her poetry offers fresh language to express the complexities of her identity. -Ciara Miller, author of Silver Bullet and founder/CEO of Miller's Learning Center (Chicago)

Even the grass grieves in Amy Small-McKinney's heart wrenchingly honest collection of deeply felt wounds and the kinds of courage needed to face such traumas. In One Day I Am a Field, Small-McKinney, whose "body is a blade", "etches absence" from what beauty remains of her shrinking world. After the loss of her husband, suffering incredible grief, she must find a way to honor his memory while also redefining herself. A rich testament to the power of love and the human spirit, these poems paint an intimate portrait of tragedy, tenderness, identity, and the ever-present need for empathy. Small-McKinney showcases a true talent for imbuing the smallest details with authenticity and layered meanings. Overflowing with vivid and accessible language, One Day I Am a Field is both intellectually stimulating and emotionally engaging, written with clear eyes and an open, curious heart. I dare anyone to read these poems and not be moved.- John Sibley Williams, author of As One Fire Consumes Another

Becca Mills has been on the run for five years, hiding from the husband who assaulted her and thinks she is dead. With her own life in shambles, and having discovered that her self-inflicted exile brought David no repercussions, she seeks revenge by reviving suspicion against him and following him when he moves to another state. But she fears her cat and mouse game has turned deadly for real this time. Unable to tell the world she is still alive, Becca must uncover the truth before she becomes a casualty for the second time.

Pirene's Fountain's tradition of excellence in writing and thought continues in this special double-feature edition. Features, interviews, reviews, and brilliant works of poetry are brought together to inspire and nurture the creative spirit. The voices in Pirene's Fountain create a meaningful and lasting dialogue for all lovers of exceptional poetry and writing.

Representing a breadth of renowned contemporary poets, with varying aesthetics, this volume of the Aeolian Harp Series showcases the talents of ten poets as they revel in the fierce joy of writing. In this anthology Scott Ferry, Kari Gunter-Seymour, Michael Meyerhofer, Connie Post, Kimberly Ann Priest, Lindsey Royce, Barbara Ungar, Alexandrine Vo, Jeanne Wagner, and Martin Willitts Jr. reveal the best of their work and their underlying philosophies.

Without its "hue and profusion," Annette Sisson reminds us, "the world is an orphan." And often these poems seek to clothe some austere loneliness in the multiplicity of life's visions and illusions. There are dramas of the natural landscape and still lives of urban isolation. Like all good poetry, Sisson's shows that everything that matters, whether tragic, as in her poem "Eclipse," or buoyant, as in her poem "Résistance," takes place on earth, in our world. This book is a loving celebration of the connections and tensions that help us to live our lives.Mark Jarman, author of The Heronry and Dailiness

Cleave, loss, spell, hand, home: words that have existed in the English language for over a thousand years. In the poems of Thousand-Year-Old Words, Nan Cohen explores such words, revealing both their touching sturdiness through a thousand years of constant use, and the radiant individuality of the experiences they describe.

Gail Goepfert's Self-Portrait with Thorns is a master class in the ekphrastic. If Frida Kahlo's paintings both veil and confess, so do these poems. Also thriving as personal lyric, Goepfert weaves a tapestry over the confessional that is both unflinching and surreal. Goepfert shows another way into Kahlo's work while also demonstrating her own mettle as a substantial artist. Proving every reason, she too, deserves to be seen.-Rogan Kelly, poet and editor of The Night Heron Barks

In these moving poems, many of them dramatic monologues spoken by women, Patricia Caspers conjures up the lives of historical individuals-a black slave midwife who"[gives] Justice her dowry," Amelia Earhart's mother, waiting hopefully for her daughter's return. And she reimagines the figures of Greek and Hebrew legend-the Gorgon who begs for "the gift of monstrosity," the biblical Ruth, revealing a sensuality the Bible does not allow her. She also draws on her own experiences as girl, woman, wife and mother. Alive to possibility, the speakers of her poems are characterized by their energetic response to setbacks."Tear apart the cosmos," says a wife to her husband. "Let there be a new kind of light." Patricia Caspers' poems flourish and grow by turning themselves undaunted to the light. -Chana Bloch, author ofSwimming in the Rain: New and Selected Poems"

"If only I could step through / the canvas," writes Shannon K. Winston in this dazzling collection, and in these poems, she does exactly that; she inhabits the works of art that her poems examine, not to describe those works back to us, but to show us something strange and unknowable about ourselves. The Girl Who Talked to Paintings is a gorgeous book with a brilliant ekphrastic heart-tender, luminous, and unforgettable."Matthew Olzmann

Nina Corwin's Dear Future is a tour of the bright circus that awaits us. Humorous and somber, playful and dark, Corwin offers the future as preview, as marketing campaign, as something that might be listening so we can tell it what we need. There is urgency here, and "the need to name on the table of my tongue." Here are stock tips and packing tips for the apocalypse. Here is a future we can bear because Corwin has helped us see the pleasures and sorrows coming for us.--Traci Brimhall, author of Saudade

When Dobreer comes to the poetry party, she brings her gypsy wagon with her, her vardo, lovingly carved from a life of élan. Dobreer wraps her lyric scarves around the reader's psyche where one is drawn into the dance. And this dance is never stilted or predictable. It only asks the reader to meet its rhythms, the rock and sway, the tango-laced eroticism that threads Forbidden Plums. She works an almost cerebral mysticism into the lines as she tightropes our desires and reminds us that there is sustenance in longing. Like the "one bright flower in a crib of soft mud, like a solitary cloud wisping for miracles". -Lois P. Jones, author of Night Ladder

Night Court leaves us hungry for more of the poet's open, probing, leaping intelligence, her "wild associations" and surprises in the unexpected "shivering" sweetness of a love story where "joy scrambles sadness." We hear "the clatter of souls entering bodies" and experience "spring's lizard stealth" as sadness, longing and reluctance are transformed by breath-stopping beauty. Like a creature in the forest, the poet will "rub my cheek against the night." And she reminds us a prince waits, perhaps for centuries, until we wake.--Susan G. Wooldridge, author of poemcrazy: freeing your life with words

In Ash, Gloria Mindock writes a gritty, beautifully haunting collection of poetry. Ash is what remains behind after destruction, ruin, death, and burning. Similarly, the poems in this collection are what will remain. Fight the shadows and wade through the darkness on a path paved by Mindock's vivid imagery, stark language, and dynamic voice, all of which, make for a most memorable experience. Now more than ever, we need these poems. With the utmost economy of words, skillful syntax, and emotional connections, each poem reverberates into the depths of your consciousness. Dark, intense, and wholly unique, Ash, by Gloria Mindock is what you've been waiting for- a collection of poetry that consumes and smolders. Are you ready?-Renuka Raghavan, author of Out of the Blue and The Face I Desire

In Silver Seasons of Heartache, Naoko Fujimoto walks a tightrope of language, making her way word by word across the chasm where hope can fall prey to heartbreak, the maybes and might-bes of life transformed into what simply (and complicatedly) is. She is a poet of heart and humor, of insight and image. In carefully crafted yet conversational lines, Fujimoto describes the complications of our modern lives where "enough is never enough," but where you also might still be lucky enough to stop and savor the moment when your "breath is quiet-- / waiting to catch the last lightning bug." --Matthew  Thorburn, author of Dear Almost

"Is anything common?" Katherine Gekker asks in her debut collection, In Search of Warm Breathing Things. The answer, in these richly detailed poems, is no. Gekker is a keen observer, able to "unlock the beauty hidden" in the ordinary. An iridescent grackle becomes a symbol of hope, "collarbones shimmer like wings." Weaving images of the natural world with glimpses of a struggling marriage, Gekker portrays life in all its emotional complexity. "Two bees are fighting or courting-- I can't tell which," she writes in "To Cast a Shadow Again." Yet there are moments of joy, the promise of transformation. "My shift billows, diaphanous.... I can seduce anyone tonight beneath fronds slicing like blades." -- Ellen Bass

"Dennis Maloney's exquisite new collection of poetry, Listening to Tao Yuan Ming, offers his superb versions (or 'visions' as he calls them) of Tao Yuan Ming's seminal Twenty Poems After Drinking Wine as well as a sequence of delicate "harmonizing" poems-before the book concludes with its title section, a lyric album of powerful personal reflections. Listening to Tao Yuan Ming is nothing less than a deeply moving conversation across history and culture, as if we were fortunate enough to overhear these two marvelous poets sharing their wine, their times, and their poetry." --David St. John

Like e.e. cummings, Desrosiers writes about love and death. There is such sadness in her poetry, but beauty in her memories. She is carrying on in this life without her mother, father, and many others she has lost, yet she reflects on her love for her husband and stays in the now. Reading Desrosiers' poetry is like reading small odes. We all are eavesdropping on words that are delicate and private such as: You can put your sorrows down now Mother / It is your daughter's turn to take / the concerns you carried for us. / I put your worries into this stone. / I carry it for you. Reading this book of poetry should be a pact we have with life. So beautifully written.--Gloria Mindock, editor of Červená Barva Press, author of Whiteness of Bone

Years drain the energy from some poets, but Joan Colby's work is as fresh and creative as ever, perhaps more so. Ribcage showcases the poet's rich imagination on subjects attempting to reconcile body and mind. The first section of the book ("The Body in Question") extends metaphors from various body parts (heart, blood, nerves, finger and hands, etc.), and the last section ("The Mind at Play") continues with a rich lyric and imagery often sung from a mystic sensibility. Humor and irony are also part of the poet's toolbox, as in "Chewed to Meat Hooks" in which the purposes of the hand are revealed: Which leads us to the signifier/Insolent as a poker. To be used/For motorists who cut me off. Particularly in the last section, the imagery carves itself a place in the memory because it shocks with profound truth, as in my favorite, "The Nature of Freedom," which begins with "An open door is terrifying." Thankfully, the poet has opened doors into views we need to see. -Robert S. King, author of Developing a Photograph of God

"In a fearless love letter to his mother--a daughter of the Great Migration who dared to go West and never gave up in her ill-fated quest for companionship--and his ditch-digger daddy "calling from the other side," Stewart Shaw takes readers on a Freudian journey that plumbs the ache so many same-gender-loving men know too well. Ten he digs deeper into his sage soul's diasporic wisdom and dares to pose questions as insightful as "Can bodies gone for centuries uphold their outlines?" With his apostasies and confessions, Shaw invites us into a stark mirror of ourselves. Take a look, if you dare, world. Behold, how beautiful, how right-on-time, how unapologetically black this American voice is." --L. Lamar Wilson, PhD, author of Sacrilegion and Prime