Bøker utgitt av Station Hill Press,U.S.

FROM TRINITY TO TRINITY recounts the pilgrimage of Japanese atomic-bomb survivor Kyoko Hayashi to the Trinity Site in northern New Mexico, where the world's first atomic bomb test was conducted. Her journey takes her into unfamiliar terrain, both past and present, as she not only confronts American attitudes, disconcertingly detached from the suffering of nuclear destruction, but discovers as well a profound kinship with desert plants and animals, the bomb's "first victims." Translator Eiko Otake, a renowned artist in dance (Eiko & Koma), offers further insight into Hayashi's life and work, illuminating how her identity as "outsider" helped shape her vision. Together author and translator present one woman's transformation from victim to witness, a portrait of endurance as a power of "being" against all odds.

is a book of image + words, made in a calendar year in the mid-00s when Sam Truitt was a full-time business writer for a New York-based publisher of commercial real estate research, statistics and analysis. The business was just west of Fifth Avenue on the north side of Thirty-Seventh, and our writing group was located initially on the top floor. I composed the "state" strips on the roof, which had an excellent view of most of the Empire State Building. In the spring our group moved to the fourth floor, removing easy rooftop access. I continued to compose intermittently through the day, yet now standing on the fire escape at the back of the building. That area also served as an airshaft. state/shaft shaft/state''s text is a direct transcription of words spoken into an Olympus W10 recorder, that allows you to take photos while voice recording an avi file. While their order here is somewhat arbitrary, the way the image + words are arranged in this series is not wholly. This book includes a QR link to a video of the original recordings.

In 1972 Bernadette Mayer began this project as an aid to psychological counseling, writing in parallel journals so that, as she wrote in one (in bed, on subways, at parties, etc.), her psychiatrist read the other. Using colored pens to "color-code emotions," she recorded dreams, events, memories, and reflections in a language at once free-ranging and precise-a work that creates its own poetics. She sought "a workable code, or shorthand, for the transcription of every event, every motion, every transition" of her own mind and to "perform this process of translation" on herself in the interest of evolving an innovative, inquiring language. STUDYING HUNGER JOURNALS registers this intention within a body of poetry John Ashbery has called "magnificent." Made public at last in its gorgeous various and unstinting entirety, STUDYING HUNGER JOURNALS reveals itself to be one of the great in fact epic works of a movement that could never be given a name. No label fit for such limitless activity, its terms being those of our restless language and its relentless go-betweens that move and may alter. Attend therefore and let them have their way, these words given without let and best received in kind. -Clark Coolidge

Poetry. Andy Mister's LINER NOTES is a semi-narrative prose poem, a meditation on alienation and pop culture. Beginning with the Beach Boy's unfinished masterpiece "Smile," Mister describes a world populated by ghosts. Adrift on a sea of drug use, boredom and popular entertainment, Mister traces his relationship to the obsessive collection of ephemera and the coterminous feelings of isolation and loss. Like an iPod on shuffle, lyrical descriptions of urban landscapes and memories of failed relationships mix with song lyrics and deadpan anecdotes of death, failure. In the end a life, like the book itself, is assembled from the detritus of pop culture. As he writes, "Each billboard is a monument to our ability to believe in anything, at least for a moment. Then it's gone." But belief's shadow remains, amid the news of a world shot full of holes, which LINER NOTES' hauntings seem to delineate like the chalk figure at the center of every homicide scene we've ever imagined ourselves appearing within.... "There'll probably be some music there, lining your eyelids.""I love the blunt care for real time, with all its gaps & noises & bends, Andy Mister takes in the searching, powerful scroll of paragraphs that make up LINER NOTES. Working through the implied vision of an undecided note taker prone to stark assertions and excavating insights to perception, Mister puts songs at the heart of his relationship to language & digs away at the disappearances they reflect in their, and his, histories. 'The world becomes boring when you brush away the detritus' says the same mind that listens to own its aloneness, & desires, evenly, 'to dissolve each distance in distance.'"--Anselm Berrigan"Andy Mister's loving and disturbing 'notes' create a complex harmony (sympathy) between public noise and private revelation. In the midst of LINER