With a title playing on the small book of poems Pound produced for fellow poet Hilda Doolittle (H.D.) while the two were still young, this volume offers a selection of poems influenced by by Pound.
The South Carolina Review (SCR) is reimagining the southern literary magazine
The South Carolina Review (SCR) is reimagining the southern literary magazine.
SCR has an illustrious history, having published the likes of Joyce Carol Oates, Eudora Welty, and Kurt Vonnegut. Now in its 50th year, SCR has a new general editor (the novelist Keith Lee Morris) and a fresh new look.
Mirroring the narrative possibilities of fabric that is both luxury and utility, this poetry collection occupies the space between the real and imagined. Forty-four poems and twenty illustrations interact to explore themes ranging from interarts expression to the time/timelessness of derelict spaces to queerness and love. The illustrations incorporate relief prints made from actual lace manufactured in the now-abandoned Scranton Lace factory.
“Let Us Imagine Her Name is as remarkable as any book I’ve read in a long time: a memoir of a life that began with a huge strike against it, by a woman trying on identities to find one that best fits. Sue Walker’s writing sparkles. The whole book is an amazing tour de force certain to fascinate and regale.” —X. J. Kennedy, author of In a Prominent Bar in Secaucus
This volume features more than a dozen voices resounding with Ezra Pound's and singing his legacy.
"This is poetry that goes for the jugular. Allen's poetry is marked by its potent, dynamic syntax, and also by his storyteller's sensibility." —Alan Gillis, Poet & Editor of The Edinburgh Review
The discovery of Gerard Manley Hopkins’s poetry in the twentieth century was a revelation for postwar poets, who discovered in both Hopkins’s style and subject matter a voice seemingly bottled for their own time. This influence has not faded in the twenty-first century. The poets collected in The World Is Charged: Poetic Engagements with Gerard Manley Hopkins demonstrate together the centrality of his influence in contemporary poetry.
"The great poems are poems of retrieval or thanks or both, and Ronald Moran's plain-spoken, affecting lyrics are squarely in this last category. He searches for and finds the people, now gone, who made his life what it is: his parents, the girls he dated, his beloved wife Jane. In doing so, this grateful, gifted poet teaches us how to burrow into and recognize the riches in our own lives." —David Kirby
"Forget Duck Dynasty and True Detective. Read Bayou Coeur and enter a world as different from the homogeneity of American life as étouffée is different from Campbell's soup. Gray leads us through this unique culture like a skilled cajun accordionist laying down his chords and pursuing a melodic line that evokes nostalgia and mystery and resolves into surprising harmonies." —Bill Dowie, author of critical biographies of Peter Matthiessen and James Salter in the Twayne U.S. Authors Series
"The most striking thing about Dilemmas is the deft manipulation of tone—these poems dance around from polemical to erotic to nostalgic to intimate to stubborn to scientific and back again and then off again to other climes. It is rare to find one voice well-tuned enough to pull this off, but William Ramsey manages beautifully. With a lovely formal touch—meter, rhyme and free-verse abound—Ramsey’s new poems remind us just how many component timbres and modes are often needed to make a single authentic sound." —Nathaniel Perry
"Girls Like You is a masterful collection—at turns haunting, hilarious and heartbreaking. Douaihy pulls off a magic trick: by focusing our attention to deeply intimate moments and memories, her gorgeously wrought poems conjure the epic." —Stephen Karam, 2012 Pulitzer Prize Finalist, author of Sons of the Prophet
"Ultimately, this book about love and loss becomes a celebration and an expression of gratitude. No more stirring tribute to the power of another in our life, to a relationship, to love, has been written. " —Scott Owens
"Kathryn Kirkpatrick's tour de force, Her Small Hands Were Not Beautiful, proves once and for all that the scholar's detective work can serve the poet's task." —Molly Peacock
A novel featuring ancient mystery and international intrigue.
Women Against Tyranny: Poems of Resistance during the Holocaust tells the forgotten stories of women, from a variety of cultural and religious backgrounds, who resisted throughout Europe during World War II.
"Though it might not be yet apparent, what the world hungers for—not just the poetry world but all sentient beings—are the rapturous, precise, lyrical revelations in Charles Rafferty's Appetites, a startling collection full of poems that chart desire through an abandoned couch transformed into redeeming ecstasy, that channel the 'popcorned and sawdusty air' of the circus tent where folks gather to turn away from themselves, that show us the subversive art of souvenir-taking in the form of a sliver of Picasso's signature smuggled under a fingernail, and that give us a 'Prelude' for our time. " —Ravi Shankar
"Scott Owens and Priscilla Campbell create characters by reading our souls, create scenes by framing the pictures that live in our memories, too raw to remember, too vivid to ever completely ignore, and in these poems, they have a die-hard nonfiction writer turning pages as fast as possible to see what happens next. I didn't know poets could do that. Scott Owens and Pris Campbell can." —Shari Smith, author of Gunpowder, Cowboy Boots, and Mascara
In an early poem in this collection, The Jane Poems, Ronald Moran recounts how, as a lovestruck young man hoping to catch his chosen girl's eye, he once spent an afternoon "mowing the same / patch of lawn over and over"—shirtless, just in case she should happen by. This awkward "offering of my unrehearsed / goods in early summer" was the prelude to a successful marriage that endured for half a century.
"Siedlarz’s debut collection of poems about her brother's life as a soldier in Afghanistan shimmers like the heat over desert sand where civilians and soldiers alike are caught and often destroyed by powers that cannot be controlled." —Vivian Shipley, author of When There Is No Shore, winner Connecticut Book Award for Poetry
"Bodiless, like wisps of smoke on windless days / they rose," begins one poem in this collection. "Not the holy spirit or the granules of the past, / but strands of memory freed up of their own will." With his trademark blend of poignancy and humor, and what a fellow poet has called the "quiet fireworks" of his language, Moran has drawn together many floating strands—not just memories, but also dreams, emotions, events, reactions, musings, images—and woven them into poetry.
"Ronald Moran has a remarkable sense of belovedness and belongingness. The quiet intensity of these poems pierced me like an old-fashioned red rose. . . . What haunted me most, and served as my guide, as I traveled through this stormcloud of a book, was the tick of a ghostly watch." —Karon Luddy, author of Spelldown and Wolf Heart
Karon Luddy is an exciting talent, the product of a vivid, conflicted experience of Upstate South Carolina by a quick, rebellious temperament. In this respect, these free-verse poems are highly original as a body yet not without precedent in American literature.
"Ron Moran's poetry immediately leaps from the page to the feet and ankles of the reader's experience. You're on the sidewalk with his characters, you're a flash dancer in his every scenario. He stole one of your monologues right out of your own phone conversation—how does he do that? Across the board, and no matter the particular style of the Moran day, his poems are the view across the street, the dinner beside you at the restaurant, and they are, if you were a poet, too, the outrageously creative language experience you wish you'd have in you." —Jennifer Bosveld, Pudding House Publications
"In this strong collection of stories, John Doble shows a rare ability to expose the foibles of very average folk—baseball pitchers, soldiers, college students, low-level Manhattan office workers—with compassion, not condescension." —Greg Mitchell