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Poetry. CIVILIZATION is Elizabeth Arnold's second volume of poetry. In deft yet emphatic syntax, these poems move from politics and history to an intimate gesture, from ancient fragments and architectural facades to a father's face. The layers she excavates in the process are both archaeological and psychological, at the limits of civilization we find both silence and archaic force, "the white-noise granulated light, a sand-storm whiteout." As...

Poetry. Chosen by the Poetry Foundation as one of the best poetry books of 2009. Jennifer Moxley's CLAMPDOWN captures a time of political despair and self-doubt. Our "so-called common ground" erodes where liberal thought, implicated in the systems it critiques, finds no traction and becomes the site of new divisions. Against the reality of distant wars, everyday pleasures--even love itself--become frayed by anxiety and shame. Likewise, the pas...

Literary Nonfiction. Conversational, humane, and forthright, Jennifer Moxley brings her remarkable strengths as a poet to bear on the essay tradition. At once literary and personal, THERE ARE THINGS WE LIVE AMONG follows the thread connecting texts and objects in her life, from her girlhood saddle to her mother's sewing machine, from her favorite books to an old set of frying pans. As she suggests, these things serve variously as accomplishmen...

Poetry. Hoover writes of ceaseless change in life and culture, seeking to capture "the unrelenting/rush of things/in their freezing." These poems glide seamlessly from philosophy to family to American landscapes, all observed with keen wit as well as melancholy. Gillian Conoley has accurately referred to the "appetitive inclusionary impulse" of Hoover's work. Yet for all its exuberance, WINTER (MIRROR) expresses quiet wonder at the impenetrabl...

Poetry. First published as two separate chapbooks in 1995 and 1996, Often Capital explores the tensions between political commitment and personal desire. Moxley draws in part on the love letters of the Polish radical Rosa Luxemburg in searching out a habitable space for resistance. Moxley employs techniques of collage and juxtaposition as well as narration to sound her subject. Yet the lean, sonorous lines that result leap out of any categoric...

Poetry. African American Studies. Drifting from New Mexico with lawman Elfego Baca to Ricardo Molinari's Buenos Aires all the way back to ancient Alexandria, DISORIENTATIONS: GROUNDINGS offers an erudite and at times dizzying exploration of our mortal limits. Metaphysical in both content and manner of metaphor, these poems are in constant dialogue with the physical sciences, mathematics, and number theory. The result is a startling, quixotic, ...

Drama. Poetry. Translated from the Greek by John Tipton. SEVEN AGAINST THEBES concerns a battle between the sons of Oedipus for control of Thebes. As the play opens, the seven captains of Polynices stand ready to storm the seven gates of the city, with the seven heroes of Eteocles opposing them. The drama that unfolds has the mysterious resonance of an ancient ceremony, as a messenger announces each warrior in turn, describing the device on hi...

Poetry. "No one gets dark (or gets darkness) like Graham Foust. He's the one who'll say: 'A touch horrific is the green with which / the ground will tear the winter' while everyone else is writing their paean to spring. His (and ours) is a world of violence and ennui set to catchy numbers. 'I heard a fly buzz. / I don't know when I died.' In TIME DOWN TO MIND, Foust, now in early middle age, feels time's pressure as never before. He faces back...

Fiction. Episodic and picaresque, Fanny Howe's novella WHAT DID I DO WRONG? tells the story of a revolutionary mutt's journey through the kennels, parks, and suburban waste spaces around Boston in search of true freedom. This dog offers a firsthand account of the cruelty meted out to both animals and forgotten members of human society. Like The Golden Ass, WHAT DID I DO WRONG?takes on moral and spiritual questions without abandoning earthly ap...

Poetry. In THE BARK OF THE DOG, Merrill Gilfillan summons lyric equivalents to landscapes and day shapes, drawing on off-hand song, bird's-eye bearings, and the vortical power of place names. Like Basho's haiku, Gilfillan's poems are anchored in time as well as space: an hour of the day, inflected by thunder or a pear, a month of the year, marked by the trees-in-wind or birds "moving through the mesh of the dangerous starlight." Whether in cas...

Poetry. With exuberance and economy, Merrill Gilfillan's UNDANCEABLE evokesthe landscape of the American West through the geographic word. Placenames, the texture of speech, and a certain aroma of nature permeatethese pages. Ever alert to unforeseen connections, Gilfillan followsboth eye and ear, his poems unfolding at the pace of consciousness. Be sure to check out Gilfillan's many other titles also available from SPD.

Fiction. Largely set in Boston, Fanny Howe's ECONOMICS examines with an unwavering eye the necessary errors of the 1960s liberalism and consequences of cold war politics. A white liberal couple adopts a black child with troubling results, two old friends from the Kennedy campaign meet years later to discover how different their lives have become, a separated working-class couple drives to the Cape in order to collect the prize from an instant ...

An inventive new collection from the acclaimed African-American poet Jay Wright.In POSTAGE STAMPS, Jay Wright continues his lifelong exploration as a sojourner, a pilgrim, the "homo viator, " who speaks through and by an embellishment of a constantly changing movement to discover the incomplete sense and measure, the temporal invention of all relation, the soul in flight. Poetry. African & African American Studies.

Poetry. In The Times Literary Supplement, David Wheatley calls Robert Adamson "one of the finest Australian poets at work today." NET NEEDLE brings together the presiding influences of his life, early and late. He casts an affectionate eye on the Hawkesbury fishermen who "stitched their lives into my days, " childhood escapades, lost literary comrades, the light and tides of the river, and the ambiance of his youth. Throughout, he is character...

Poetry. LIFE is Elizabeth Arnold's fourth volume of poems. John Palattella has written of her poetry in The Nation: "Elemental and unsparing, quiet and startling, Arnold's supple syntax is a source of gravity and vertigo. It is an acute expression of a mind's awareness of the tragedy of effacement: in burning through it, we gain a keener sense of our predicament.

Poetry. "'What do I see' when I look into the eyes of another? What kind of exchange takes place when that look is returned? The poems in Elizabeth Arnold's devastating SKELETON COAST investigate the ways we are formed by such encounters--especially, at the core of the collection, by encounters with evil in the face of a person one loves, or has loved, or has wanted to love. These poems alternate between spare, psychological explorations and m...

Poetry. Graham Foust's third book offers agile poems of dread and humor. Robert Creeley writes, "These poems move in close to luxuriant circles, round and round each particular syllable, neither hurrying nor dragging behind--just there. At times there seems an almost physical presence to them, a third dimension, which is substance." Foust is also the author of AS IN EVERY DEAFNESS and LEAVE THE ROOM TO ITSELF, available from SPD. He teaches Cr...

Poetry. "Moving with penetrating attention through avenues of cityscape and dreamscape, Michael O'Brien's poem is a cartography of experience, inner and outer--splendors and vanishing points, snapshots, aphorisms, brief lives, the discarded ideograms of history, the eerily suspended clarities retrieved by memory--ordered by the syntactic music of a rare intelligence."--Geoffrey O'Brien

Poetry. THE OPEN SECRET is a recipe for paradox and mystery. At once formal, candid, and familiar, Jennifer Moxley invokes a common if inchoate sense of shared experience, the very passing of time, with its unforeseen effects on both love and creative life. In doing so, she asks us to consider the cost of long-held devotions and commitments, as well as our relationship to the larger whole.