Bøger udgivet af Story Line Press

"In his extraordinary book Memoirs of a Minotaur: From Merrill Lynch to Patty Hearst to Poetry, Robin Magowan (grandson of the founder of Merrill Lynch and nephew of one of the greatest poets of the twentieth century, James Merrill) turns his uncompromising vision and diamond-edged language toward the emotional terrain and the kind of privileged life very few of us have known, and against which he rebels."—Helen Houghton and Bill Handley

Each person lives but a single life-yet this is not wholly true. While our lives progress as a result of the choices we make-this career, that husband, this town, that house-we are left imagining a life we might have lived. If we are defined by our choices, in what ways are we limited by them? What of the spiritual lives we lead, the inner lives that others cannot truly know? Which life is truest?A woman recalls her special bond with her father and compares it with her ties to other men; a man copes with his unloved life and finds a way to secretly inherit it; after making love for the first time, a young woman wishes to go back in time, erase what she's done.In readable, finely wrought, resonant, and memorable poems about the nature of longing and disappointment, desire and betrayal, pleasure and sorrow, The Other Life explores the dualities in life that every person experiences.

In the forty poems of her first full-length book, House Without a Dreamer, winner of the 1993 Nicholas Roerich Poetry Prize, Andrea Hollander explores the complicated emotions that accompany both common and uncommon occurrences within ordinary lives, especially as the years pass. How does one decide what dress a mother should be buried in? When and how do feelings change? What do you do when your therapist falls asleep while you're revealing your deepest hurts?

Breath in Every Room intertwines parents and children with encounters in the natural world. Ranging from birds in the forest to a boy's captured frogs, from rattlesnakes in the prairie to a bat fallen from the sky. The book weaves in and out of myth and dream.

Without Asking marks Jane Ransom's debut as a book author, initially placing her within the poetic tradition of narrative Confessionalism. But one can already sense here the ambivalence that would lead both to a break from narrative-in her second poetry book, Scene of theCrime-and her subsequent return to narrative in Bye-Bye, her first novel. This is a writer whose epistemological inquiry continuously turns both inward and outward, from linear to non-linear and back again, in an unrelenting quest for Truth.

Scene of the Crime exposes the poet's inner criminality, where matricide and mother tongue engage in diabolic discourse. Confessing her outlaw sexuality, Ransom grapples with feminist theory and disembowels postmodern philosophy. Delighting in the multiplicity of self, language and desire, Ransom fires puns dead-aimed to riddle any interpretive reduction.

This book is about Latina identity, a timely subject in today's America. The author's journey begins as she, full of love for Mexico and its culture despite her closest blood connection being her bisabuela, boards a bus. She starts out determined: "Yes foreign is a word for fear. Yes I am coming home." But then, because "it is afraid, staying in a language where you were not born," she retreats, hiding first behind we, then behind masks. But when it becomes clear that the masks are her true self, she loses her fear, and barrels ahead as I, fully committed, all the way to the end.

The precise gaze and chiseled language of the poems in Oldest Mortal Myth authoritatively convey a broad and deep knowledge. Whether a reimagining a Greek myth in order to infuse it with a contemporary pain, extending empathy and humorous Mitmenschkeit to both denizens and voyeurs of the world's freakshows, or describing with wit and experience the spiritual affects of medical conditions, the book is infused with restrained but piercing emotion, a subtle metrical ear, and enough daring and wit to write in rhymed couplets to take the obvious, easy way. For instance, with the last line of "De Wallen, Amsterdam": "The moon above the spires, a sexless disk,/eyes us coolly as an odalisque." I so admire the refusal to make that last line scan as a perfect iambic pentameter line. It would be so easy; all you'd have to do is add the grammatical, but colloquial, "as." Which would have ruined the line, and the poem. Oh, and the rhymes in the canzone! There's much to admire here, much to enjoy.-Marilyn Nelson

Adele Slaughter's first book of poems, What the Body Remembers, was published by Story Line Press in 1994. It is an autobiographical collection of glimpses into a childhood fraught with familial violence, alcoholism, and trauma, and the life that has been led in its wake; the failure of a marriage and the experiences that forever mold us as human beings. Through all the abuse and suffering these poems portray, however, the driving theme behind What the Body Remembers never falters: the reader is left with an inspiring picture of courage, perseverance, femininity, and the survival of the truest self. The subject of the work remains always the poet, the speaker, even as great attention is drawn to the circumstance surrounding her, providing an impactful example of how our greatest pains may leave us changed, but not defined, and never defeated. Pat Monaghan called the book "a stunning debut volume."

Structured like the movements of a New Orleans jazz funeral, this all-sonnet collection deals with death, loss, war, disaster, the binding power of community, and the celebratory spirit that reemerges after all. In the words of poet and critic David Mason: "Part elegy for a city and a way of life, part meditation on mortality and grace, this book is wonderfully, defiantly alive."

Sharon Hashimoto explores themes of what is heard and misinterpreted, what is left unexplained, and what is passed down in The Crane Wife. In these pieces, the Sansei poet leafs through old photographs-one of which is of a newlywed couple with the groom's image cut away. Here is the rediscovered piece of barbed wire from outside the Heart Mountain concentration camp. That wire, a lei, and a car trip to an empty lot are all bits of evidence. Her questions address grandparents, mother and father, siblings, and the next generation. Hashimoto also reinvents Japanese folk tales and explores the different voices of the members of a downed JAL jet. Her poems travel in new directions in an attempt to fill in the gaps.

"Lola Haskins's range is broad; her perceptions are always surprising. Natural objects surpass themselves and episodes of women's history are rewritten in this lively, adventuresome collection."-Maxine Kumin" . . . Hunger is a cabinet of crystals each one with a cutting edge. It's a wonder."-Beloit Poetry Journal"She knows we are rooted to the earth but long for the stars. . . . And she's wise enough to know that love searches us out. Dazzling."-Northwest Arkansas Times"[The poems] richly present the experience of women, as the complexity of their material, emotional, and imaginative lives presses against the constraints of their assigned roles. . . wonderfully evocative."-The Hudson Review". . . Convincing and exquisitely visual. It plays off a painterly use of visualization and technique even as it enacts the limits of such artistry in the face of real feeling. . . . It is the clarity of Haskins's poems and (her speakers') observations, combined with the sometimes elegant, sometimes searing restraint with which the observations are made, that gives these poems their impact."-Colorado Review