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“This poet brings a sparkling consciousness to the page and an exciting new voice to American poetry.”—Library Journal “Most appealing is Olstein's sensitive, quietly pained and earnest tone, w hich, more than the unusual subject, is the real star of this book.”—Publishers Weekly, starred review In Lisa Olstein’s daring new book, an unnamed lepidopterist—living in a hut on the edge of an unnamed village—is drawn ever deeper into the engrossing world of moths, light, and seeing. Structured as a naturalist’s notebook, the four-part sequence of prose poems create a layered pilgrimage into the consequences of intensive study, the trials of being an outsider, and the process of metamorphosis. In an interview, Olstein once said, “I don’t want poetry to limit itself to reflecting or recapitulating experience; I want it to be an experience.” I have learned to peer at specimens through a small crack at the center of my fist. It’s a habit herders use for distance: vision is concentrated, the crude tunnel brings into focus whatever small expanse lies on the other side, something in the narrowing magnifies what remains. At the table, my hand tires of clenching, my left eye of closing, my right of its squint, but the effect: a blurred carpet of wing becomes a careful weave of eyelashes colored, curved, exquisitely laid . . . Lisa Olstein is the author of the Hayden Carruth Award–winning volume Radio Crackling, Radio Gone. She earned her MFA from the University of Massachusetts and directs the Juniper Initiative for Literary Arts and Action in Amherst, Massachusetts.
Though New Zealand author Janet Frame (1924–2004) lived at a time of growing dissatisfaction with European cultural models, and though her (auto-)biography, fiction and letters all testify to the fact that a direct encounter between herself and Buddhism occurred, her work has, so far, never been examined from the vantage point of its indebtedness to Buddhism. It is of the utmost significance, however, that a Buddhist navigation of Frame’s texts should shed fresh light on large segments of the Framean corpus which have tended to remain obdurately mysterious. This includes passages centering on such themes as the existence of a non-dual world or a character’s sudden embrace of a non-ego-like self. Of equal significance is the conclusion one then draws that this unharnessed world which human beings are often unable to embrace has always been right under their nose, for, whenever the aspect of the intellect that filters perceptions into mutually excluding categories fails to function, he or she finds a place of subjective arrival in, and sees, this supposedly unknowable ‘beyond’. Thus, possibly against the grain of mainstream criticism, this study argues that Janet Frame constantly seeks ways through which the infinite and the Other can be approached, though not corrupted, by the perceiving self, and that she found in the Buddhist epistemology a pathway towards evoking such alterity.
Fantasy author Patricia A. McKillip, the 21st century's response to Hans Christian Andersen, has mastered the art of writing fairy tales -- as evidenced by previous works like The Tower at Stony Wood, Ombria in Shadow, and In the Forests of Serre. Alphabet of Thorn is yet another timeless fable suitable for children and adults alike. In the kingdom of Raine, a vast realm at the edge of the world, an orphaned baby girl is found by a palace librarian and raised to become a translator. Years later, the girl -- named Nepenthe -- comes in contact with a mysterious book written in a language of thorns that no one, not even the wizards at Raine's famous Floating School for mages, can decipher. The book calls out to Nepenthe's very soul, and she is soon privately translating its contents. As she works tirelessly transcribing the book -- which turns out to be about the historical figures of Axis, the Emperor of Night, and Kane, his masked sorcerer -- the kingdom of Raine is teetering on the brink of chaos. The newly crowned queen, a mousy 14-year old girl named Tessera who wants nothing to do with matters of state, hides in the woods as regents plot revolution. The queen's destiny, however, is intertwined with Nepenthe's ability to unravel the mystery of the thorns.
Mitra and her brother Babak are exiled royals living on the streets as orphaned beggars. Babak possesses a strange gift of being able to know someone's dreams, and soon they find themselves on the road to Bethlehem in this biblical epic.
In her highly ambitious second collection of poems, Katrina Vandenberg takes her inspiration from the alphabet. A meditation on the hump of a camel, and what it hides. A reminder that tomatoes belong to the nightshade family, and a vision of the plant as Adam’s downfall. The Book of Kells, gold-leafed and extravagantly decorated by monks. Titled for letters of the Phoenician alphabet, and employing such innovative forms as the ancient ghazal, these poems are richly grounded in objects both humble and exotic. Vandenberg explores the intersection of power and forgiveness, and deciphers the seemingly indecipherable in emotionally poignant ways. “What will protect us?” one poem asks. “The words will be our weapons. In the end.” Moving between the physical and the abstract, the individual and the collective, The Alphabet Not Unlike the World unearths meaning—with astonishing beauty—from the pain of loss and separation.