Bücher veröffentlicht von Spuyten Duyvil

Grimes' The Economist continues probing the ways economies and public policies intersect with individual lives and personal conflicts. To bring pathos to an emerging "deplorable" takes this novel far beyond social commentary and well into art.

David Miller has been writing some of the most beautiful, adventurous and intelligent poetry he has ever written in the last few years, which makes the present (poetry is always in the present) a blessed time for readers like myself. Each new work astonishes and delights.

THE BULGARIAN PSYCHIATRIST arrived with a suitcase filled with ties, and knowing how to wear a dead man''s clothes, and how to initiate a son into the art of beating a prisoner to death and ... all of which did not prepare him for a life of listening in the USA.

Novellas that espouse anti-war history and social relationships in an intertwine of various narrations, sensibilities and cataracts of consciousness.We are in the hands of a first-rate storyteller.

The intoxicating poetics of Stefania Irene Marthakis' Case Memory explore the surreality of the quotidian, vividly portrayed here in an uncanny documentary form.

By turns lyric and hypnotic, How Long is Now examines the delicate membranes separating past and present, authenticity of experience and transgressive truth. A Jewish-American writer, plagued by poetry and history, leaves his dying father and faithless marriage to travel to Germany and later Morocco to attend a William Burroughs conference, an unwritten novel on his plate.

In the age-old tradition of alphabet poems, from Psalm 119, to St. Augustine, to Chaucer, to Edward Lear and the present, Neeli Cherkovski''s ABC''S expand the poet''s singing voice, discovering remarkable musicality in the verse''s every turn. Throughout the sequence, Cherkovski delivers intoxicating melodies, forms of silence often dizzying in their new familiarity.

What does Jenny Irish''s Tooth Box hold? A rabid girlhood of hybrid understanding, a quiet body yearning to express itself, and a wilderness of adults with mixed intentions. This book is stunning in its ability to move through and across form as a means to best express childhood discovery and trauma. Leaving readers wondering, where is my tooth box? What secret selves does my tooth box hold? Inventive, gut-wrenching, and full of strength, Irish''s work is in a category of its own.

Dystopia meets Orpheus in Blake Edward Hamilton''s Hiraeth. Through near-future plots that explore a range of concepts from global warming to homelessness to familial bonding, Hamilton skillfully and seamlessly stretches our known reality to a possible scenario where reincarnation is an invitation one can accept

At the Poetry Foundation, Laura Mullen says of Alexandria Peary that she is "one of those wonderful writers who know how to stay, as de Kooning put it, ''on the edge of something.''" 

It is fitting for the youth of a nation to provide the freshest metaphor for citizenship. M. K. Garrison''s metaphor is a teenager''s therapy sessions and the local world around them.

Like Sartre's Nausea gives intention and personality to external reality, in Eye, Apocalypse, Fuhrer brings the Apocalypse to the kitchen table.

Dick Martin's lawless imagination consumes language at an alarming rate, seemingly heedless of conserving a literary future, and leaving in its wake reality-induced characters like drugs for addicts. ("Come on, let's get unreal.") Chapter & Verse is addicting, like good reading. The crowd of characters could describe your section for a night game at Fenway: Beau Smith and Zygote, Pauline Silvernail and Marty Schnitzel, Penelope Dee Slimwhall and Dusty Figure-Head.

Below the unadorned surface of Natania Rosenfeld's poetry, there swim archetypal or (as one title puts it) aboriginal elements which manifest in dreams and in dreamlike vignettes of private lives and of the public traumas of history. In their use of color to convey the ineffable, the poems in "The Blue Bed" are at once abstract and painterly.

As its title suggests, Resurrection Fail is a worthy paradox, blending John Wall Barger's enviable economy of style with a luxury of spirit that glimmers beneath both his speaker's fetching enthusiasms and deep sorrows. These poems capture how the world's beauty and brutality are bound together; that we fail and-if we're lucky-find the will to resurrect ourselves over and over again. But for all this poet's clear seriousness of purpose, there's a vivid, often witty life force here that reminds me that I'm glad to be alive. I really loved getting to know this book and I bet you will, too.

Eric is a fraud as a sadhu. He has none of the appropriate credentials: no religion, no wisdom. His meditations are self-absorbed, nihilistic musings on the failures of both his aspirations and achievements.

Pearson's scalpel-like critique of the voyage, each word a careful enunciation of where the line has been, there remains the constant question of where it will go and what it will become. For just as Emily Dickinson once asked, "Is my verse alive?" so Pearson, with every word, challenges us to face down (if quietly and with grace) the dormant future. And it isn't metaphor. Pearson is all-too-aware of the tenuous state of our condition, our art.