Bücher veröffentlicht von Spuyten Duyvil

Third Eye Rising explores the neurodiversity of India through two of the country's most compelling aspects: family ties and spiritual faith. In a land where divisions of caste and class threaten survival, where the religious are corrupt and the corrupt religious, and where dogmas and superstitions impede economic and individual progress, Shroff shows how spiritual realizations impact daily lives and how they help withstand circumstances of corruption, greed, betrayal, prejudice, and personal loss. In the title story, "Third Eye Rising," a young wife must prove her innocence to her sadistic in-laws; in "The Kitemaker's Dilemma" a nomadic kitemaker takes it on himself to save a melancholic boy from exile; in "Bhikoo Badshah's Poison" a migrant youth, employed in the city, attempts to shed the burden of his caste; in "Diwali Star" a retired police inspector draws on the events of the epic Ramayana to redefine his relationship with his sons; in "A Matter of Misfortune" two childhood friends have a face-off over the two faces of India: urban and rural; in "Oh Dad!" a dutiful son takes it on himself to protect his father from an unscrupulous taxman; in "An Invisible Truth" an employer delves into his manservant's life only to get a life-changing insight into his own. Through these stories, we learn how in India it is spiritual faith that unifies, inspires, and frees its recipients from the bondage of struggle. Shroff has tackled his subject-the darker side of India-with the full democracy of his imagination and an empathy that believes in the eternal unity of man.

Streaming straight out of the Surrealist matrix, Valery Oisteanu's poetry takes us back to the movement's origins and simultaneously propels us forward, giving us the energy and values of what Breton-Péret-Desnos et al. synthesized while "making it new" for our day. These poems are powerful, thrilling, wise, and politically right on target.

Evan Reynolds is destined to be one of the leading poets in mad studies. This book of poetry is filled with great sophistication about madness including the emotions and linguistic sensorium surrounding and immersing distracted states of being. The poetry becomes the very thing it is describing.

As celebrated as Akutagawa Ry¿nosuke is as a short story writer, his haiku-the first of which was composed in 1906, the same year Akutagawa began to read contemporary Japanese literature-is relatively unknown outside of Japan, and rarely translated. Akutagawa's teikei (fixed-form) haiku, like his fiction, mostly eschews modernism in its embrace of classical forms, and derives as much from literary tradition as from lived experience. If not for their precision, learning, and psychological depth, Akutagawa's haiku share more in common with the haikai of the 17th and 18th century than with 20th century haiku. Frequently they portray a modern consciousness in relationship with an idealized nature that exists more in the Japanese psyche than the landscape that surrounds him. Included in this volume are over 500 of Akutagawa's haiku in a new translation

In this Boomer memoir, Driving Miss Daisy meets One Flew Over the Cuckoo's Nest. With lilting eloquence, Summer Brenner captures the tumultuous fifties and sixties of a genteel Jewish family in Atlanta, with the South's oppressive segregation and anti-Semitism. The family drama is fraught: the brother is a schizophrenic, the mother a Gucci-clad Medusa, and the father a suicide. After extensive travels, Brenner frees herself in the Bay Area to become "more beatnik than debutante." Framed by historic events, this is the moving coming-of-age story of a generation.

This book puts on the table the work of the poet (and of the creator in general) in a convulsed world, in a time where indifference is not an option. Civil Poems explores Mexico's current affairs through poems that employ images and apocalyptic language to portray the profound national crisis it is suffering. Mexico's brutal reality seen through the gaze of a civil concern that will make you rethink your own reality.

Harold Jaffe is a master of the disembodied voice. These fictions-transgressive, political, dryly comic-are grounded in an ancient tradition, that of the speech of the storyteller. Interlocutors talk as if out of dark caves, and the result is a marvel of conversation that takes the reader to places somehow beyond the "real world," only to comment, often searingly, upon its absurdities.

"Sun Eye Moon Eye engages and entertains, alternating rhapsodic, almost-hallucinogenic language with clean prose that grounds the reader and clarifies the action. [...] an important contribution to literature's compendium of significant works." -Indie Reader "Captivating ... a lyrical masterpiece." -Seattle Book Review "Atmospheric, evocative, thought-provoking." -Midwest Book Review "Compelling ... reading the book felt like reading a dream." -Portland Book Review "The experience of reading the book, pondering its mysteries and savoring its power, feels timeless." -The Arts Fuse

In a timid age fraught with self-consciousness and convention, Robert Perchan sounds the depths of fresh authenticity, conviction and humor. He belongs to the family of Henry Miller, Georges Bataille and Boccaccio. Chorea an open window on an exotic and true world that is also sentimentally universal. A journey and an education!

In Listenings, Weiss "listens to the world breathing" in this insightful, often humorous, personal journey. These adventures in listening to music (iconic Woodstock, live concerts, on the radio), nature, sounds in the bedroom, in the body, on the street, language in translation, overheard conversations, strangers and loved ones, living and dead, immerses readers in a smart, surprising, and timely exploration of the ways we listen to the world and ourselves.

Fierce, blood-stained and breathtaking, The Last Judgement is a lamentation on America's original sin of slavery and its attempted expiation in the civil war. Focusing on the dying and unconscious Lincoln, the novel weaves its terrible and stylish magic around questions of guilt, atonement, shame and retribution. No comforting Zen bardo here, this is old testament history, where vengeance is the Lord's and redemption uncertain.

Jiwon Choi doesn't hold back when it comes to the outer life we all deal with, or the inner life with its particular wrenchings and beauties. Her tough-minded, original poems-and her wonderful eye for detail-remind us that poems can be haunting whether they focus on chronic problems in our society or the death of someone close-or the kind of white bread "that reminds you of flesh off the backside or that resides inner thigh."

Would her life have been better if she'd had sex with her supervisor when she was 23? Hester Smith is a woman who always played life near the sidelines-until she decides to rescue a teenage Mexican prostitute. She's up against the border sex trade in SouthernCalifornia that works like a drug cartel, where the smuggled contraband is teenage girls forced to work as prostitutes in undeveloped canyons just outside suburbia. Law enforcement agencies know it happens, as do investigative journalists, yet the illegal sex trade continues to exist. Most people, comfortable in their homes only miles away, express some brand of shock in the moment they hear about it-and then they go on with their lives, assured there's nothing they can do. While she prepares for the rescue, Hester discovers that the man with whom she almost had an affair-her mentor when she was a 23 year-old student teacher-had been simultaneously having a sexual relationship with a 16 year-old student. Hester mines her own memories of the would-be affair and ultimately tracks down the former 16 year-old. When these two women with a shared scandal in their pasts confront one another, the meeting coincides with the last step necessary to rescue the teenage prostitute Hester has tried to protect. It is only this mayhem that allows Hester to finally take ownership of her decisions and regrets.

"I wrote my experimental novel Reap Violet Hiss in my 20s through the 1970s in my East Village apartment. It is an abstract, almost cubist novel, where planes of thought intersect with one another, splicing life into constantly shifting images; it may also be read as a prose poem. Drawing upon my unconscious mind, I am a poet who wrote a novel. Just for you."

With transcriptions based on notes and oral teaching from guests such as Jane Augustine, Joanne Kyger, Michael Heller, Bernadette Mayer, and Erica Hunt as well as others from summer sessions, we encounter a host of generative surrealist women writers including Clarice Lispector, and modernists, Mina Loy, Gertrude Stein, Lorine Niedecker, as well as an elegant H.D. as seen through the eyes of Barbara Guest as encountered by Joanne Kyger.

Not that he was immensely well known in his lifetime-a somewhat (though not completely) isolated writer, he seems to have had no contact with the more significant and/or prominent modernist figures of the day, such as e e cummings, Marsden Hartley, Hart Crane, Waldo Frank, Jean Toomer or Kenneth Burke.

The inventor of the Hempattery quits her corporate job to pursue her visionary biotech experiments only to find a back-burnered idea of hers was stolen, bioengineered, and disseminated by mysterious biohackers, leading to a new malleable fungus that takes on properties no one expected. The Robertson family, a sprawling black San Francisco clan, finds itself at the heart of this swirling urban saga. From the 101-year-old matriarch through her youngest son Frank, a UCSF cop, to the urban farming granddaughter Janet, sons and daughters move through this strangely familiar San Francisco.

Female Body Retold by Giorgia Pavlidou is an anchor-imperfect, yes, but there nonetheless-thrown into the chaos we live in. It doesn't matter if that chaos comes from identity politics and the ephemeral arguments they provoke or the more pressing invasion of human space by digital technologies masquerading as thought and, with robots, as body; to keep us well sexualized (though onanism, no matter how mediated, goes only so far)-themes that Giorgia explores.

Samantha Barendson's My Lemon Tree inhabits that rare space where poetry and prose meet and blend to create a story that is raw, honest, and ultimately redemptive. Christine Chen and M Jaime Zuckerman's English version is a triumph of translation. It captures the music and the drive of Barendson's masterful work in language that is clear and compelling.

In America, we tend to look at poetry written in English in siloed ways, according to rubrics that allow for distinct academic distinctions and syllabi and the logic of reviews, and also because our poets have answered the conditions of American life and history, our diversity, the history of racism, our relationship to the world as a global power, colonialism, the post-colonial sympathies of thinking Americans, and Empire itself. We don't necessarily have the conceptual equipment to perceive the nuances of Anglophone poetry, which is so like the proliferation of Greek language poetry across the classical world, when it diverges from the stories that we feel we need to understand to make the world a better place, and even when there could be a path through existing intellectual infrastructure, if we are reading in America, we don't necessarily stumble upon the new book, say, by the Zimbabwean poet Togara Muzanenhamo published in England. Then there are also poets like Vincenz who work from the centers of multiple traditions, but who are in some ways artistically stateless because of the idiosyncratic natures of their poetic biographies

Mark Spitzer lived a life of monstrous passion, continuous inspiration, and constant fascination; but at 57 years, it wasn't long enough. He published nearly forty books: most about fish and the environment, plus novels, memoirs, literary translations, creative writing pedagogy, and, of course, poetry. He was a creative writing professor at Truman State University in Missouri and the University of Central Arkansas where he designed and founded the Arkansas Writers MFA Workshop. He also edited the legendary Toad Suck Review, which evolved into the poetry series Toad Suck Éditions. Having lived in the American North, South, Midwest, and West, and having traveled as much of the world as possible, he spent the coda of his most epic poem (his own damn life) loving family and friends in historic Hyde Park, New York.

...she shows him her birds, birds with bowl-like bodies. he can't believe that she made them with just a Swiss Army knife. and he laughs when she throws him that line from The Winter's Tale-Though I am not naturally honest, I am sometimes so by chance. he buys the birds, saves her life. The Singing Bowl is the story of Rob Morgan-sculptor, liar, Shakespeare lover. She runs away from home as a teen, winds up in Manhattan in nascent Soho and hits the big time only to find that the biggest challenge she faces is to sculpt herself.

1000 page poem centered around the daily views from one window. 100 page poem centered around the daily views from one window. 100 page poem centered around the daily views from one window.100 page poem centered around the daily views from one window.

How much dexterity does a writer need to write a "story" in a single sentence? In their virtuosic collection, brevity masters Harold Jaffe and Tom Whalen, drawing from a host of injustices currently at play on our teetering earth, meet this challenge with a variety of formal strategies: prose poems, micro-fictions, creation myths, pensées, headlines, fables, fragments, quotations, and graffiti. With its nuanced, often antiphonal structure, readers of Single-Sentence Stories will be engaged, entertained and informed by this unique collaboration.

Nina Zivancevic's SMRTi belongs to a hybrid genre of fictional poetics cum anthropological essays. These essays are somewhat included in a vast genre of travelogues but these journals are more akin to the explorations of Margaret Mead and Levi-Strauss who believed in the anthropology of the Big Other not the strictly geographical descriptions of the lands we visit.

Christmas 2014: the self is admitted and both self and sister are then discharged after the New Year. We follow the daily life of the psychiatric ward and experience everything from toilet visits, medication, meals, sexual desires to the longing for the outside world.

If "the realm of the personal and sexual has always been literary for men [...] and confessional for women," as Lori Saint-Martin puts it, Marisa Crawford's Diary explodes the literary/confessional binary, pushing the limits of what it means to write a poem, a diary entry, a marketing copy block. A woman works, walks, and writes, traversing Midtown Manhattan on a lunch break from a corporate day job: like her predecessors Frank O'Hara and Clarissa Dalloway, she sweeps through streets and stores, navigating the entangled pleasures and horrors of city life in late capitalism. Family, literary, and personal histories of New York appear around every corner, braiding themselves into poems that glow with longing for this life and for all the others-in memory and fantasy-that shimmer behind it.¿¿

The poet hurts, his "scab is a lake where bull shark flits toward chum." In punchy, clipped poetic prose, he parses out our commonweal psychic pain, each poem a blind alley in which he must retrace his steps to get to the next imagistic manifesto. As always, Seidman is a master of lacerating catalogues, each noun the flick-lash of a whip, regicide the endgame.

Jim, Carole and David engage in teenage clandestine romantic and erotic adventures, plotting and executing revenge against dangerous adults who have done them harm and physically threaten their lives. The novel grips us in a dark delight as they become the people they will become, and, in turn, perhaps have us trace back to the fruition of our own forgotten history. Fireball tells a tale of the immensity of children's lives, those they live out in secret, far from the reach of adult supervision and awareness.