Bücher veröffentlicht von Tupelo Press

"Love Letter to Who Owns the Heavens considers the way that the absence of touch-in acts of war via the drone, in acts of love via the sext, in aesthetics itself-abstracts the human body, transforming it into a proxy for the real. "What love poem / could be written when men can no longer / look up?" this book asks, always in a state of flux between doubt and belief-in wars, in gods, in fathers, in love. Through epistolary addresses to these figures of power and others, these poems attempt to make bodies concrete and dangerous, immediate and addressable, once again"--

The book begins with deaths: chiefly the poet's mother's, but also those of cherished mentors and friends. Poems explore living beyond those deaths and approaching old age, and then do some traveling. Williamson takes a pilgrimage to Japan and India, inspired by his practice of Zen meditation, and placed under the aegis of a saying from the great Rinzai Zen monastery at Daitoku-ji: "If you cannot endure this moment, what can you endure?" A theme then becomes enduring the public moment, with all its griefs and opportunities for growth. The reader is then transported with the poet to Italy. In 2000, Williamson began visiting Tuscany regularly, and eventually became a property owner there. The poems set in Italy dwell on an encounter with old culture, and its potential to encourage both resignation and mysticism, with moods that persist from the tutelary geniuses of two great Italian poets: the nihilistic Leopardi and the tentatively mystical Montale. Gathering around those experiences multiple lore from music, philosophy and science, it becomes an extended meditation on mental suffering, glimpses of the ecstatic, and the double nature of our life, "skull / and beatific face," with "the immortal recombinants of fire and water."

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"American Massif follows the first stages of one American Mastodon in his attempts to evolve. His life begins to resemble a human life. His mother appears human. His wife and children, human. His own birthplace and childhood. His appetites, sins, faith, cynicism, big plans. All apparently human. At the same time, all of these things are relinquished or increasingly subject to the story of his own extinction. The massif's landscapes are as varied as pinewoods, clay hills and prairie, but grow more abstract. In his naive way, A.M. moves through or ponders the Higgs Field, art, national and family states of emergency. From his own house to an airport, from volcano to museum, he goes foraging for images good enough to eat, for friends, for antidotes to apocalypse"--

Goblets of gin, fans of feathers, war-bombed bricks, loaves of bread, soot, smoke, and paper money-such are the tangible things that touched the lives of women who worked as wage laborers during an era of Europe of cabaret and hyperinflation. The crises of modernity and capital, as well as the human experiences of women and who loved, lost, and fought against the structures of privilege that all the while aided them during a fraught stretch of time between wars, come alive in City Scattered, a chapbook of poems that invite us to experience and examine the conditions of labor that echo those of our current day.'City Scattered invokes the bleak not-so-cabaret-life of an imagined Berlin in four voices. Along with a German woman, there's an ethnographer who plays a Victrola and takes notes ("but you can already/ find all that in novels," answers an informant), an interlocutor critiquing, and a chorus (counted as one voice). The Berlin woman "being self-serving, promiscuous, and unmotherly, was nevertheless the darling of a new consumer culture" negotiates the realm. "The real power of light is presence" writes author Tyler Mills, but the light shed in the series "I / Self / Woman in Berlin" is a power itself "with coal staining the sheets/like ink." Congratulations!'Terese Svoboda'In City Scattered, through gorgeous strands of speech, Tyler Mills perceptively reintegrates our sacred, forgotten past into a portrait of a woman whose self-possession and complexity are palpably rendered. Only a poet with such sensitivities of language can so clearly hear and interpret the immortal silence of history; only a poet attuned to her own incandescent spirit can test the oneiric nature of poetry with such vigor of mind.'Major Jackson'Tyler Mills' The City Scattered is a rich document of the "inner architecture" and social displacements that occur under the "skies / of capital." Its choral structure deftly links the late days of the Weimar Republic to labor in the age of Amazon. Through swift images and attention to the complexity of pleasure, Mills' poems show the independence and alienation of workers, particularly women, for whom the "purse thickens" while unemployment rises and money is "losing value." Her crisp, suggestive case study illuminates the confluence of precarity and prosperity at the heart of our era. "Do not lean out," warns a sign on a window in one poem; but we're already leaning closer to read.'Zach Savich

These fourteen-line poems give voice to the individual and collective experiences of women. They are windows into a stark otherworld, one filled with the raw materials of experience: sex, birth, cloth, pain. Spare and strange beauty marks the lives and worlds of these women, defined by their struggle for survival in the physical and psychological captivity of the domestic realm. The speaker moves between the singular and plural, sounding out the overlapping experiences of women as both subject and object of the domination inherent in settler colonialism.

"...begins by considering philosophical questions arising from the experience of desire and intimacy: What does love reveal about-and make possible within-the individual? Can we ever truyly understand another person's experience of the world around them? To what extent is the other ultimately inaccessible, a world unto herself?"--

In her newest collection, award-winning poet and memoirist Jennifer Militello confronts obsession, intimacy, and abuse. Through love poems inspired by such disparate spaces as a British art museum and the reptile house of a local zoo, poems comparing a romantic affair to the religious cult at Jonestown and a mother's role to a Congolese power figure bristling with nails, The Pact offers an indictment against affection and a portent against zeal. This book places pleasure alongside pain, even as it delivers Militello's trademark talent for innovation and ritualization of the strange.

Waldrep's seventh collection begins where his prior collection, feast gently, left off: "This / is how the witness ends: touch, withdraw; touch again," according to the opening poem in The Earliest Witnesses. If these are poems of witness, then they are also testators to the craft of seeing: eye-proofs of an epiphenomenal world. "Can you see this," the ophthalmologist in "A Mystic's Guide to Arches" asks over and over again. Sight becomes both the facilitator and impediment of desire, in collusion with language itself. "She said, When you say pear, I see p-e-a-r for a second before I see, in my mind's eye, a pear," Waldrep carefully records in "[West Stow Orchard Poem (II)]." The desire-poems in The Earliest Witnesses want the thing itself, its image of the mind, and the language that transmutes both thing and image into song.

The bodies of this book are supplicant yet seething-they want nothing more than to survive... but illness is one of the masters of this book.... The female bodies of Master Suffering want power; power to control and to correct the suffering they both witness and withstand.

An actress. A thinker. A filmmaker. Built of archives and the imagination, the three fictive women narrating Blood Feather articulate a feminist philosophy of art-making and life-making for our fractured world.

The essays in What Came Before say without saying. Combining and blurring the genres of myth, essay, and poetry, these small works explore subjects as diverse as the death of Moses, the special relationship between gay men and cats, the movie "Titanic," rock collections, and the afterlife.

What happens when a central part of life as we know it does not exist? Noah Falck's latest collection answers this question in a playfully gloomy way that reveals the strange edges of our reality. Anyone who has experienced that rug-pulling sensation of change, of strangeness, will relate to Noah Falk's Exclusions. Each lyric poem "excludes" a common subject, including topics such as fiction, modern technology, answers, government, and romance. By setting these subjects against a backdrop of obscurity and strangeness, Falck skillfully keeps readers invested and off-balance. Exclusions brings readers into a world where "the wind is nothing more than a brilliant collection of sighs" and "the sun flattens into a sort of messy bruise over the lake." Even excluding many of the things we take for granted, Falck's lyric poetry includes so much: death, smoke, shadows, sadness, history. This collection will leave readers with a changed perspective on what is necessary, and how to deal with immense change. A 2020 Believer Book Awards Finalist, Exclusions has been praised for its ability to "[keep readers] off balance, stumbling forward, and absolutely alive with both the inventive possibilities of lyric poetry and that rare experience of watching the genre redefine itself in a pair of this art's most capable hands." This is a genre-defining book of poetry that allows us to look into the past, present, and future to understand "the foundations of sadness beginning with the needs of children."

Delving into dark desire and mystery, Slick Like Dark pierces through the noise of aimless reality. These collected poems are haunting and passionate, honest and vivid, asking who bears the blame as they scatter us about the South. Poet Meg Wade carefully crafts an examination of the Southern body and the experience of a woman living in it. Depicting relationships, personal struggles and religion, lines such as "A wasp/nest, gristled angels/it's strange, how scared/I am-quick write/down" show the complexities of creativity. Wade brings us into the intensity of this strangely relatable life while reflecting on the darker sides of what could be done or what could have been. In her characteristic, poignant style, Wade writes "This could have been a place where I would love him like a woman/who wants to have babies would", leaving open the harsh possibilities of love unredeemed. As thrilling as they are contemplative, these poems bring us to realizations we would have shied from before.

America that island off the coast of France speaks to the impossibility of emigration, of ever being the citizen of only one country. Born in France, raised in Florida, Kercheval now divides her time between the U.S. and Uruguay. The poems hurtle across literary and linguistic borders toward a lyricism that slows down experience to create a new form of elegiac memoir. Against the backdrops of Paris, Montevideo, and Florida, the poems explore citizenship and homelessness, motherhood and self, family and freedom, turning over and over again the very meaning of the word home, as the poems, like the poet, make the fraught journey back and forth between America and France. As Kercheval wonders in her poem "The Red Balloon," "is leaving / ever painless? Is returning?"

Poetry. Women's Studies. Winner of the Sunken Garden Poetry Prize, chosen by Timothy Donnelly. DIURNE is a procedural project, a line each hour of waking / a poem each day of making, that explores how poetry is durational rather than inspirational, work rather than epiphany. It is part autobiography, part journalism, part theory, and part apology for not being traditional poetry. Whip-smart, allusive, aphoristic, cheekily instructive...shot with lyricism, endlessly playful, intimate, anxious, and often laugh-out-loud funny, DIURNE achieves with great grace and relative efficiency what the best examples of its subgenre have to offer: it limns a sense of consciousness through whatever's at hand as it places the noteworthy on equal footing with the banal.--Timothy Donnelly

What happens when the imagined life and the stories we tell ourselves become terrifying, given our human ability to inhabit both mental and physical worlds? Bertram's third full-length collection of poems shows how the factual is tinted and stylized, filtered through a self grappling with the difficulty of knowing what is "real."

In this unprecedented anthology, acclaimed poets from around the world select poems from their countries of origin, poems all in English but springing from widely varied voices, histories, and geographies. Readers will find eloquence, urgency, and enchantment. These poems confirm English to be vital and evolving, deployed by revered and emerging poets in Aotearoa/New Zealand (selected by Hinemoana Baker) and Australia (by Les Murray), Canada (by Todd Swift), the Caribbean (by Ishion Hutchinson and five other Caribbean poets), Ghana (by Kwame Dawes), India (by Sudeep Sen), and South Africa (by Rustum Kozain).

Poetry. Winner of The Berkshire Prize, Tupelo Press's First / Second Book Award, chosen by Dan Beachy-Quick. Kristina Jipson's HALVE peels away the layers of orderly narrative with which we try and tame the chaos of mourning. At once frank and elusive, Jipson's poems resist the pull of storytelling and personal confiding, instead using formal variation to embody emotion and memory. These poems lay bare the experience of losing a brother and evoke the haunting that results as language fails to contain either grief or the love that precedes such a loss.

Both a cyber-thriller and a simmering romance, MY IMMACULATE ASSASSIN raises disturbing and timely questions about the technology and morality of "idealistic" murder.

Poetry. Bilingual Edition. Translated from the French by Nancy Naomi Carlson. "Early Surrealist, resistance fighter, anti-nuclear activist, and exquisite poet, Rene Char is at the heart of 20th century French poetry.... Carlson gives English-language readers a real sense of Char's depth and breadth. And her masterful translations catch the barely contained drama that gives Char's work such tension and presence"--Cole Swensen.

Poetry. Fascinated by what emerges from unlikely sources when absorbed into memory, Gale Marie Thompson's poems delight in what remains: John Wayne, Bewitched, turnip fields, camellias and canned figs, and--of course--kitchens. SOLDIER ON uses the light of the kitchen as a starting (and ending) point to explore remembered spaces, which take on new facets and textures in a flood of associations and the mind's endless cross-indexing. Inside a world of objects, people, and artifacts, SOLDIER ON constructs the language in which we love and lose love.

As gradual as a cloud passing or a blossom opening, this is the story of a woman very slowly dying, accompanied by her husband and an astonishing number of offspring, from infants to young adults. David Huddle's nineteenth book explores how children grieve, and shows how the wit and courage of even the littlest brothers and sisters can be a source of resilience. Familial conversation composes an intimate requiem, transforming loss into comprehension. Only one of our finest writers could manage this delicate material. THE FAULKES CHRONICLE is subtle, and autumnal novel - made of momentary details yet with an encompassing grandeur.

Poetry. Honorable Mention, Berkshire Prize for First or Second Book, chosen by the Tupelo Press Editors. Each poem in THE INFANT SCHOLAR is an homage to those born brilliant and vulnerable, those who carry around with them a great comprehension at odds with their age. These poems are built upon facts and observations unearthed while panning the world for gold: diamonds sewn into the Romanov corsets that deflected bullets, or a lift-off in some early space flight to the moon, with a chimpanzee at the helm; Iphigenia saying goodbye to her beloved daylight, and Edward R. Murrow describing what soldiers heard as they entered prison camps at the end of World War II: "the handclapping of babies."

"Natasha Sajé's new book Bend divulges the spirit of a sensualist and the habits of a contemplative; sometimes vice versa. Colors are separated with the veracity of paint. Shifts in temperature are registered and background noises distinguished, not only for texture's sake but for their essential contribution to the poems' substance. . . . For company Sajé summons a curious assortment of lettered forbears including Cotton Mather, Henry Vaughan, Nietzsche, Proust, Gertrude Stein, and Mary Shelley. A virtuous and subtly depraved book is Bend." -C.D. Wright

Literary Nonfiction. Life in Art Series. Poet and essayist Peter Stitt describes not a perfect life achieved, but his search for that ideal, writing of books he has loved and of the often difficult lives of writers, including his teachers John Berryman and James Wright. Generous and alert in his fascinations, Stitt explores the quest for freedom in thought and action among the Amish, the French partisans, and the "heretical" Cathars, and he offers a fresh perspective on parenting, meditating on the life of an adopted stepdaughter. "THE PERFECT LIFE is no miscellany. Its very personal narrator is a wanderer in time as well as place--from the mysteries of childhood to the failures of an adult; from the American Midwest and Gettysburg to enclaves in Sonoran Mexico and the region of the Languedoc. All the pieces here are of a piece. Along the way there are poignant portraits of some of our most significant poets and precise meditations on examples of war. What connects the disparate parts of Stitt's journey is a lyric intelligence unafraid of self-analysis, in stories that do not turn away and in prose that does not yield."--Stanley Plumly "This deviously serious stealth memoir cum literary whodunit is light as a feather."--Suzannah Lessard

The astonishing second book by a lively and inventive American poet of Filipina-Indian descent. Naomi Shihab Nye says of this book, "Aimee Nezhukumatathil's poems are . . . ripe, funny and fresh. They're the fullness of days, deliciously woven of heart and verve, rich with sources and elements-animals, insects, sugar, cardamom, legends, countries, relatives, soaps, fruits-taste and touch. I love the nubby layerings of lines, luscious textures and constructions. . . . She knows that many worlds may live in one house. . . ."