Bøker utgitt av Spuyten Duyvil

Sharon Doubiago's writing is fluid, unpredictable, and never stops giving. All the old songs sound new, and the lines between past, present and future dissolve in a rush of pleasure and sensual delight. The world is imperfect and in need of repair and she takes nothing for granted. My Beard reminds me most of Denis Johnson's Jesus's Son-and the absence of closure is a source of both joy and despair. She is in unchartered waters, but the rules of the game are her own. Lewis Warsh I was amazed by her reading. This whole soul came out and in detail and quite complete. She's very conscious. She sounds like Kerouac or someone, like really good. The energy but it's more the details, precise details. Doubiago sees things, she notices things in the middle of these crisis moments. Allen Ginsberg Doubiago's My Beard is an essential book, essential to her body of work, essential to her on-going story, and just as essential for its outsider's account of the insider literary scenes of our time. I wonder how many great American poets could write THIS story, a story of mothering the sports star and the return of the ex-wife to the town of the marriage … Doubiago is at turns the poet (check out the detail of Max's hands) and Lucia Berlin hard-reality story writer. Let's attribute accomplishment to her projective verse poet's eye and her talent for narrative. Rich Blevins I was mesmerized by "Fornography." I'm not quiet sure why. The evocation of a familiar scene from long ago. The tensions around love and gender. The precariousness of your life. Like everything you do, it's raw and challenging, pushing everything of lighter weight out of the way. You're a fearless writer, and yet there is just below the surface the greatest tenderness, the greatest desire not to engage but to be at peace." Barry Lopez

Ed Sanders's great document is generative Ur screed for all investigation. It reclaims power for poets designating "'istorin", as scrappy yet sophisticated, timeless, adventure. Investigate the Abyss! perfect rallying cry for the Kali Yuga mess we're in. Data as sanity, as earth-touching mudra to awakened mind. Down with cognitive dissonance! Key scripture to Jack Kerouac School Naropa's pedagogy since early inception, Investigative Poetics holds ground in this elegant new edition with elucidating preface by Don Byrd. Long live the cultural intervention this text already was and continues to be. Facing ethical and ecological crisis and loss of historical memory and dynastic corporate control and greed, we needed Sanders's IP anew and available. It is powerful apotropaic medicine to the syndicates of samsara, a tool kit for survival, mind and senses in tact. And as brilliant antidote to distraction culture, you can actually wake up in the morning and DO something! We had early heady days at Naropa in Boulder Colorado, close to the great divide, and negative ions, and east & west sympathies and symmetries, and eidolons of TAZ and rhizome and icons and scions of the New American Poetry converging to test their mettle and imagination with one another, with horrors of Viet Nam barely over, sixties burnout, New Contract with America on horizon. We know the rest. During our protests at Rocky Flats, Allen Ginsberg wrote his doc-po "Plutonian Ode" I think influenced by Ed's method. We all knew how useful Ed's ideas were and carried them with us to other places and into the work as well. Some of the energy for my own obsession with archive come to mind, as well as the trickle down to field poets everywhere. Anne Waldman

For much of recorded history, travelers on the Nile considered vast swampland called the Sudd to be an impassable barrier (al-sadd, from which "Sudd" derives, is akin to "obstacle" in Arabic). The Sudd frustrated countless attempts to locate the source of the Nile. The Plague Cycle recounts an outbreak of Ebola virus.

Extraordinary content with spiritual insight and academic depth…Few, if any writers of our day can ground one part of the mind in the material world while allowing the other to roam in philosophical eternity like Ginger Zaimis, as if it were the neighborhood she grew up in. Part of her psyche-creative intelligence-resides in the world of Heraclitus, Sophocles and the other in the light of presence…Her ability to unite dualities; synthesize opposites as One that are greater than the sum of their parts…Breathtaking! Lee Slonimsky Poet, Author of Pythagoras in Love and Literary Executor Daniel Hoffman Archive, Library of CongressGinger Zaimis' idea of observing Greek, Norse and biblical mythologies through an architectural lens stands boldly at the intersection of contemporary and comparative literature. Her 'text-tile' is poetry as well as philosophy, while her walls, ceilings, and floors are metaphors' built of letters and words shaped by a vivid curiosity. Her work reveals the in-between of worlds, strata and disciplines by inventing new prototypes. Cecile I. Margellos Critic, Translator and Co-Founder Margellos Republic of Letters, Yale University PressSomeone who bridges the arts with mythology, history and philosophy from the ancient world…Ginger is a poet, thinker and serial creative who doesn't fit in-to-a-box but rather perceives life out-of-the-box…A polymath and philhellene, she connects abstractions while bringing architectural order to the world by shaping words, poetry and perception-radiance. Maria Georgopoulou Director, The Gennadius Library American School of Classical Studies at Athens

With gentle humor and passionate meditation, Lion, Gnat, Lee Slonimsky's latest poetry collection, soars above the clamor of modern life and "steel against indifference". These poems argue vigorously that not only is nature man's origin, but also his destiny. Like the winter oak, nature sheds light on life's enduring lessons and shows the path forward. Luminous, deeply felt, Lion, Gnat once again establishes Slonimsky's singular voice in contemporary poetry. Pui Ying Wong, author of An Emigrant's WinterLee Slonimsky has long been master of the sonnet, as both nature poem and persona poem, often in the voice of the ancient Greek philosopher Pythagoras, in love with the pure order of the cosmos. In "Geometry in Paradise," Slonimsky finds "math's everywhere," and in the title poem, "Lion, Gnat," he observes "the lust of molecules to rearrange / themselves quite differently: as lion, gnat." In this collection, he extends his range, exploring other forms such as triolet, haiku, and free verse, while turning his piercing intelligence inward on the conundrum of romantic love. What is love, marital and extra-marital, current and passed? He brings us face to face with this enigma with startling clarity. Finally, this is a book about love, pervading the micro- to the macro-cosm: in "Electrons Love to Dance," Slonimsky sees how electrons "romance / their protons while they whirl." Barbara Ungar, author of Charlotte Brontë, You Ruined My Life and Immortal MedusaI'm convinced that though he respects the lion, it's the gnat-like things of the world that most often fuel Lee Slonimsky's admiration. And in Lion, Gnat, he shows us the riches to be found in ants ("each one a President/ of his or her own life"), the talons of birds, tree bark, dust and the varied life of electrons, even how they love to dance. The human animal too gets its say: couples who learn to achieve something like bliss (his take on Ghent will fire the romantic in you), a stockbroker who turns a bit into a Thoreau as he watches the flight of birds, a poet's meditation on poetry and the joy of teaching-while the mysterious Weldon Kees rises from the windswept ocean. The last section of the book celebrates Pythagoras, the mathematician Slonimsky has turned into one of the great characters of poetry, enlightening us all again with the Greek who's at once young and old, timeless. In the title poem of the collection, Slonimsky offers "Complexity determines everything"-yes, but it's his poetry that reminds us of the simplicity we often overlook in our often busy lives that makes the complex a concern to us. Lion, Gnat and Lee Slonimsky-listen hard (as he might put it), the Universe is being written. Tim Suermondt, author of Election Night And The Five Satins

Katie Jean Shinkle is our new master writer of the nightmare. In Ruination she has created a classic world of infestation and prophets and terrorist sisters. It's a world where girls are sent to eradication centers for sprouting flowers and mushrooms and forsythia bushes from their skin. The prose is tender and bold and sharp. If you were to carve the initials of this book on your knee, you would have to spell one word: amazing. Scott McClanahan, author of The Sarah Book and The Incantations of Daniel Johnston

Meklina's writing skill in English is astonishing. Ursula K. Le Guin Meklina's writing is metamorphic, tangling comedy, irony, tragedy and beauty together. Alicia Ostriker In these startling and engaging stories, Meklina presents the familiar and the unfamiliar through bright beams of language, and wonderful flourishes of narrative craft. Her literary eye is one that wisely observes and wisely embroiders simultaneously, and I came away ready to think about everyone I know in wiser ways. Rod Val Moore, author of Igloo Among Palms (Iowa Fiction Award) Meklina's short prose portrays with jarring realism the gritty street life of big cities, and the inner Angst of people on the edge, through the naive perspective of immigrant narrators and helpful fools. The characters are frequently the quintessential American oddities or expatriates, people who nonetheless carry the taste of every-day reality in large 21st Century cities anywhere. These narratives weave together the stream-of-experience images that, in a few hundred words, say more about city life and daily struggle than some books of as many pages. D.A. Rich, author of The Tsar's Colonels: Professionalism, Strategy, and Subversion in Late Imperial Russia

Focused deeply on a language to navigate the outward space of the body, the heart of these poems beats between want and its relief, no matter how briefly it's obtained. Gagnon's poems forage, find their bearings, then sing out of the body's reorientation in a territory it is continuously desiring to understand, they gallop "as a flame / does, against / the turbulence / of convictions." Pam RehmThese poems are fluent in the language of pool, sky, bath, afternoon, body, earth-the way things pass into and out of the mind, the way a bird's song can become: "the slow ancient call of the bird/ in the distant flicker." Gagnon has much to say about how and where we find one another, how and what we see in the field of the world's luminous circumstance. For the sheer dexterity of phrase, the pleasure of perceiving, and the music of quiet crescendo, this is a book to be savored and read and savored again. Mark McMorrisIn ravishing language that blends ecstasis with visionary wonder, Matt Gagnon's poems plumb the phenomenological terrain of our creaturely experience. "This terra parches wonderment / and leaves us still and ghosted," Gagnon writes, and the work gathered here speaks to the serious introit of desire and ghostliness that limn our anthropomorphic selves. Forwarding Louis Zukofsky's "upper limit music" and the prescient romanticism of Robert Duncan's lyric address, Gagnon masterfully weaves together the scales and signs of our worldly attention, providing necessary evidence of the body's "molecular advance twilit, sheened, abraded." Querulous, ruminative, distilling narratives from the molecular tide of diurnal experience, Gagnon's haunting Song of the Systole asks "Is it possible to love more than one world, to see clear across to the other side?" This beautiful book, "hounded by rituals of loss," inscribes its pain-worn and joyous journey in an effort to make that crossing visible and audible to each of us. Andrew Mossin