Bøker utgitt av NYQ Books

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.

For melissa christine goodrum, definitions are acts of subversive re-definings and un-definings, in lines which forcibly penetrate surfaces, sing and swiftly cross multiple layers of text/geography through a turbulent and politically aware dialogue. Her composition coils around spaces between language and thought, word and page, ink and print in spatial movements of three. The final ascension lifts the reader to an innovative/ jazz-like understanding and invites alternating systems of seeing-multiple sensory actions of rising-uprising-"from death" or "from bed" or "from sitting" or "of a woman after confinement"- "against authority or for [a] common purpose" (OED uprising defs.1,2a,b,c & 7).

In his dark and often humorous debut, THE EARLY DEATH OF MEN, Clint Margrave gives us poems that provide no railings for the honest, frank edge on which they stand, poems that peek through telescopes and key holes in equal astonishment, devour words like stars devour planets, or lovers one another. Written in a language as accessible and sturdy as our bones, THE EARLY DEATH OF MEN is humane, deliberate, and witty. An impactful, original, and fierce collection that despite its name promises to remain vital long after you put it down.

Tony Quagliano's contributions to Hawai'i and to the world of poetry weremany and wide ranging. His was a singular voice in poetry. He reveled inthe possibilities of language, the sounds of words, and the potential forphilosophical complexities. He was feisty, humorous, joyfully exuberantand had an inviolable sense of justice. This collection of his workexemplifies that existence and shows us all that Language Matters.

Donald Lev's latest book, A VERY FUNNY FELLOW, published by NYQ Books, is a compilation of ninety-two short poems, mostly written over the last decade and a half, and appearing in periodicals, but not included in any of the dozen collections gleaned for his THE DARKNESS ABOVE: SELECTED POEMS 1968-2002 (CRS Outloudbooks, 2008), or the two chapbooks subsequent to those. These are poems of inner observation, of quotidian magic or lack of magic, in which one finds wisdom, wry humor, and echoes of one's own complexities. The book opens in a Brooklyn donut shop with the author's irritation at the delay in the refilling of his breakfast special coffee, continues through bar room, temple, and snake hole, and ends in a house whose floor is covered by "box loads of books and neuroses." The real subject of each poem is the knot in the core of human existence, which each reader is allowed the pleasure of untying.

Poetry. Do you remember going out into the yard and spinning aroundand around until you couldn't tell the difference between the sky andthe ground anymore? Melanie Moro-Huber's first full-length collection,AXE IN HAND, is very much like that. A mixture of humor and tragedy,experimental and traditional forms, Moro-Huber pulls you into theabsurd as well as the sacred moments of parenthood and familialrelationships, delving into the daily chaos of life in an attempt tofind meaning. The poetry in this collection invokes ghosts, givingvoice to intergenerational concerns surrounding our daily environmentand the way we communicate and learn from one another. Moro-Hubertakes the reader from the mountains to the river to the sea and backagain, and in the course of the journey the reader is always led rightback to their own understanding of life and meaning.

Daring, contemplative, witty, and moving, the poems in Kris Bigalk's debut collection REPEAT THE FLESH IN NUMBERS unflinchingly examine human frailty from multiple perspectives, and ultimately arrive at a place of generosity, regeneration, and grace. The musical precision and vivid images invite us in to poetry that surprises, inspires, and haunts, reminding us that what we do to ourselves, and to each other-and what we do for ourselves, and for each other, is ultimately what defines us.

"Drastic Dislocations" is the title poem of the section of new poems in this SELECTED POEMS by Barry Wallenstein, and this title is consistent with many of his concerns registered in the poetry he began writing in his teens. His first publications were in the old TRANSATLANTIC REVIEW in 1964, but it wasn't until 1977 that BOA Editions published his first book of poems, BEAST IS A WOLF WITH BROWN FIRE. This new volume includes the author's choices from each of his six previous books, poems reflecting the socio-political life of the time as well as the perennial, transcendent themes of eros and thanatos. For the past 40 years this poet, who was also a professor of modern poetry at the City University of New York for that many years, has worked closely with jazz artists in the performance and recording of his work. The late poet William Matthews noted about Wallenstein's poetry, "There is an off-handed canniness of phrasing about these poems, a way of registering both emotional freight and the time it takes to carry it, that identifies a Barry Wallenstein poem right away. It's a tribute, I suspect, to his lifelong love of jazz, and the source of both jazz and poetry, the syncopated heart." Another poet, Alicia Ostriker said, "Barry Wallenstein's voice is unique in American poetry: magic, seductive, cryptic, more than a little frightening, as if some perfume from the Les Fleurs du Mal clung to its overtones." As if extending this observation, the poet and critic, M. L. Rosenthal wrote about this poetry, "[it's] a pure distillation, vivid, buoyant, and serious. What it distills is the whole psyche of an illusionless dreamer, a man of the present moment, very American yet a blood-brother to modern Mediterranean poets as well."

OZ AT NIGHT lives up to its title: it is dark and fantastical, frightening and playful. A courageous looking is at the center of Bradley's poetic project, and in this her second book of poems, her gaze never falters. OZ AT NIGHT tackles philosophical musings and personal insights with equal passion, yet its interlude section contains lightly comedic poems. Its poetic forms cover as much ground as its topics, incorporating everything from short-lined free verse to strict and loose sonnets, a prose poem, an acrostic, haiku. Through the variety of OZ AT NIGHT run a consistent sincerity and an unwavering desire to understand.

Yu Yan Chen's debut collection takes us on a wandering across continents. Whether it is a courtyard in rural China, a ferry in Istanbul, or Times Square in New York, each poem is an unbeaten track imbued with poet's at once intense but refreshing insights about family, home, identity and the quest for inner strength.The opening verse asks the readers to imagine guitar legend Djongo Reinhardt's fingers grinding the strings after two of them were badly burned in a fire, and "every nerve aflame" is the prelude to poems that transcend memories and losses into melodies of hope and light. These distilled joys and fears, set against the backdrops of Yu Yan Chen's creative use of language and her cinematic visions, will transport the readers to a passionate conversation about the essence of being alive. SMALL HOURS lights up your sky and brings flowers to your table.

Poetry should make you feel, and that is exactly what the powerful andplain-spoken poems in Mathias Nelson's DIP MY PACIFIER IN WHISKEY do.They make you feel deeply, sometimes like you have been kicked in thecrotch, but feel nonetheless. This is the first poetry book in a long timethat you can embrace one moment and throw across the room thenext-the one thing, however, I guarantee you won't do is put it down.

And God Said: Let there be Evolution! was written during Steve Henn's sometimes relieved, sometimes reluctant, and ultimately aborted return to the Catholic church. The poems express faith, doubt, the conflict between dogmatism and reason, and a disdain for orthodoxy that Henn picked up while teaching 1984 over and over to public school students. Some of the poems, though, are about a bad beard trim at Great Clips, or a bunch of made-up reasons why California doctors grant medical marijuana licenses. You never can tell what Henn will think of next, but then again neither can he. And God Said: Let there be Evolution! is heretical yet nevertheless spiritual, profound yet profane, looking toward salvation even as Henn questions the virtue of religious and spiritual certainty. Henn is hoping the sins of this authorship are ultimately venial from the perspective of Whoever's In Charge, and not mortal.

Mather Schneider's second full-length collection of poems, HE TOOK A CAB, takes the reader on an unforgettable ride of a lifetime. With each poem, Schneider propels the reader into a mindset of having just hailed a cab in a David Lynch movie--one where seemingly simple stories resonate deeper and deeper within the reader every time the book is read.