Bücher veröffentlicht von NYQ Books

Chip Livingston confronts and immerses himself into new cultural territories in his second poetry collection, CROW-BLUE, CROW-BLACK, an examination-critical, colloquial, and personal-of identity in terms of geography, experience, and blood quantum. A southern, gay, mixed-blood poet is thrust into the big-city literary life of the New York School artists in Greenwich Village, yet finds "home" in Uruguay with an Argentinean. CROW-BLUE, CROW-BLACK crosses traditional Native American narrative and incantatory styles with the quick-witted street poems of the New York School. It crosses the border into the southern hemisphere and bears witness to the influence of the Rio de la Plata, the grand capitols of Montevideo and Buenos Aires on its shores. From rural coastal roots to urban urgency and back to the rhythm of rivers and ocean, CROW-BLUE, CROW-BLACK maps the continents of the Americas.

The Plumber's Apprentice differs from Weil's previous work in that it charts the nature of suffering beyond the limits of his working class "Elizabeth" and focuses more deeply on two aspects of his life: his Irish Catholic sense of communion, with the living and the dead (all who have gone forth marked with the sign of faith), and the essential solitude of being a single, short, bald man who has no offspring, no legacy, no beloved, and is falling, however slowly, to his death. Perhaps the question Weil asks most frequently is: given the inevitable co-ordinates of ongoing failure, how does a poet give the middle finger to grade z forms of Emersonian positivism and have some fun in this vale of tears? In sum: if love is impossible, and life severely limited, and loneliness is devouring the furniture, where's the closest bar, and do they have a good jukebox? For brief moments Weil succeeds in making failure, death and love his drinking buddies. In the poet's messed up ontology, they make for a lively and comical crew.

Amanda J. Bradley's debut book of poems takes the reader on an inward journey from a place of disturbance to a recovered equilibrium. These poems probe intense scenarios and emotional states then step back to inquire what sense can be made of them. Delving for a purpose becomes a purpose in itself and ultimately reaffirms a life well examined."Hopping, skipping and dancing through the labyrinth of love and despair, Bradley creates a fresh figure of triumph through her sensitive, far-reaching poems. The language is both affectionate and stark, gentle and bitter, but always sharp, always poignant. A born observer, by an appealing dry irony she deftly detaches even her 'confessional' work from herself, so that the body in the poems comes out larger than the one behind them. As she brightly says in one of her finest pieces, inaudibly asking, what do we really see when we look? 'So much is altered by revisions,/By tricks of thought, by our inadequacy,//By appearances...' Here's a poet excellently (and ironically) giving us what, in the closing lines of this book she says we can't have-namely, the sense of what matters."-F. D. Reeve"Amanda Bradley's poetry is a tense, taut, and deeply personal work that takes the reader on a Dantesque exploration of the heaven and hell of daily experience, or, as the book partitions them, Disturbance and Equilibrium. From the daily observations in the superficially prosaic lives in 'Apartment Building 3:00 AM,' where 'the dishes were done by hand/with detergent containing aloe' through the agony of 'now that I fear this fight will never end, anesthetize me' in her poem, 'Ambivalence,' Bradley coolly dissects grief, anguish, and suffering, then doles out an uncompromising medicine of emotional truth teaspoonful by luminous teaspoonful."-Fred Yannantuono

Gordon Massman's 0.174: The Complete Numbers Cycle is an intricate exposure of the self. In this 20 years' culmination of work, he has dared to make the invisible visible. Perhaps on some level a perverse project, 0.174 lays open in depth-confession, in laboratory precision Massman's innermost fantasies, obsessions, urges, and fears which might, he hopes, provide at least a splintered reflection into one's own humanity. In either case-whether private or universal-here opens an increasingly cathartic examination of Massman's particular psychology observed as acutely and honestly as he is capable. In so doing he has treated what mainstream society generally considers vulgar or unsavory, as valuable and often beautiful. It is his hope that some who attempt this book will agree that all human thought and feeling is worthy of song. Often satirical in tone, this book represents the nekyia, the down, inward going, of an epic tale that is life itself.

In his first full length collection, Bones & Jokes, published by NYQ Books, Ted Jonathan delivers up poems and stories out of a gritty urban reality that are as raw and original as the characters and streets from which they come. Jonathan weaves the language of the street into a rhythmic frenzy that pleases the ear in both his poetry and prose. He uses this lyricism like the stealth of a cat bringing its owner a mouse to seek a greater understanding of things like violent childhood icons, poker games, and hookers and lays that understanding at the feet of the reader as proof of life. Bones & Jokes is savage, joyous, profound and dead on funny, but behind it all is a gentle love and clear sanity that makes it all memorable.

RABBIT EARS: TV POEMS is a poetic tribute to the medium that has influenced America''s tastes, opinions, politics, language, and lifestyles: television. Within its pages, you''ll read narrative poems, persona poems, poems that employ found text, formal poems, prose poems, haiku and senryu, and poems that incorporate non-poetic forms, like the interview and screenplay. Edited by Joel Allegretti, the anthology contains 129 poems by 130 nationally known and emerging poets including Billy Collins, Ellen Bass, Dorianne Laux, Aram Saroyan, Timothy Liu, Tony Hoagland, and Hal Sirowitz. The title, named for the pair of indoor TV antennae developed in the 1950s, comes courtesy of former U.S. Poet Laureate Billy Collins. These poems explore a robust array of subjects: the history and early days of TV, sit-coms, children''s programming, the news, horror and science fiction, detective shows, soap operas and romance, reality TV, and commercials, among others. The poems are funny, poignant, witty, mysterious, and educational. In short, the poems are much like TV itself.

In his first full-length collection, GRUEL, Bunkong Tuon documents the lives of Cambodian refugees and explores the poetic landscape of a Cambodian America. Written tenderly, with honesty, intelligence, and occasional humor, GRUEL is populated by survivors such as a boy who loses his mother to the Khmer Rouge regime, a grandmother who risks her life to steal a few grains of rice for her grandson, an uncle who is beaten by Thai military police for night fishing outside a refugee camp, an aunt who leaves the East Coast to buy a donut shop in California, a father who re-experiences the traumas of the Cambodian Genocide, a young man who discovers Charles Bukowski in a Long Beach public library, a professor who teaches about the horrors of war to college students at a private college in Upstate New York, to name a few. It's a book about memories, ghosts and haunting, personal loss and historical traumas, losing and finding home, discovery and self-invention; above all, it's a book about love, sacrifice, and hope.

From summer's blonde height of swarming sunlight, through autumns gentle falling, and into the dark spell of winter of 2012, Emily Vogel both endured and reveled in the pregnancy which brought her first child in early December of that year. The poems in this book trace the trajectory of the pregnant months and into the first year of her daughter, Clare Sophia's life. Some of these speak from underneath the tenuous surfaces of water where post-partum tendencies ensue, and some from the overwhelming joy of having given birth, as in relation to her husband, who gave the seed for the blessing of life, and also in the transformation of the new mother-skin. These poems are about a shifting in perspective and identity, and about growth and renewal, both in the world, and within the self.

Dramatic and intimate, the poems in Does She Have a Name? trace the journeys of two women-one middle aged, the other her infant granddaughter-through near-mortal encounters with medical crises. Both survive their trials, passing from life to death and back again; both face wrenching, unpredictable challenges; both emerge from years of therapy, made whole but alone, changed by experience in apparent and invisible ways.Moving from a neonatal intensive care unit's urgent ministrations to the patient work of neurologists and speech pathologists, told from the perspectives of parent, child, husband, and witness, and exploring questions of disability, difference, and the calculated value of human life, Does She Have a Name? is an affecting, provocative book of poems.