Book of Poetry by Kay Lipton

He soon discovers there is no escape. The architecture of the story reaches its apex as the whirlpool of action spins toward this previously unattended and innocuous building. I sat down next to her on the bed and felt her face with my fingertips. It was now cold. I stuck my hand under her coat, under her skirt, and laid it on her thigh. Cold, a thing, water and proteins, something chemists have studied, nothing more. The narrator possesses only the silhouette of morality, attached to nothing, a vagabond of land and virtue. In the end, his actions prove nearly as cruel as the Nazis themselves.

The vastness of World War II becomes a microcosm within this singular building. The house thus feels like not a home, but a mere frame, lacking any moral edifice. Although An Untouched House is brief, it is worth pacing oneself and absorbing its remarkable density. Hermans is the architect of a masterful story —— concise but expansive in vision. No one else I know can breathe such life into rhyme, can elevate the mundane to the mythic, the prosaic to the transcendent.

The diction is often deliciously at odds with the form—contemporary slang set off against the myth of Pandora, for example:. Depreciating as soon as you drove it off the lot. The unexpectedness of the phrasing is part of what makes these poems so lively. On the surface, this clever sonnet is a deft and amusing explication of an infestation of pest, but underneath, the uncertainties of marriage itself come into question:.

Every morning, check the sheets for blood As though for tiny lost virginities, Or murder itself distilled into a drop. It might take lighter fluid to make it stop: Every morning, check the seem of seams. Nothing for weeks, for months, but still you frown: You still wake up at half-past dawn each day When darkness blanches and the stars go grey. Who knows what eggs are laid deep in your dreams Hatching like doubts. They are the negatives you cannot prove. This book is rich with form: But what makes Like so thoroughly appealing is the mix of the contemporary into the form.

The washing machine door broke. We hand washed for a week. The hours drained as women rearrange The furniture in search of small lost change. And all choice, multiple, The quiz that gives no quarter, And Time the other implement That sharpens and grows shorter. There are several themes that run through this book: Stallings lives most of the year in Greece with her husband and children. Of all the poems in the book, those dealing with the horror of dead immigrant children seem the least successful to me.

The quest moves between the everyday and the epic, ending in a sort of ars poetica:. I was a sieve—I felt the moment pass Right through me, currency as it was spent, That bright, loose change, like falling leaves, that mass Of decadent gold leaf, now turning brown— I could not keep it; I could write it down. There are several poems that take their inspiration directly from The Odyssey , and one long poem called Cyprian Variations that I am not scholarly enough to comment on. As we close in on the end of the year , we have so much to be thankful for. It is a blessing to have the opportunity to produce good work and to be of service to our community.

We hope that you feel ZYZZYVA is a meaningful part of your life, both as a reader and as someone who wants to see culture thrive, especially in these days of turmoil. Will you help us continue our work? So please make a contribution today and see your support doubly rewarded! Cynthia White is a poet in Santa Cruz.

I, in the doorway, reporting on the dawn, you with your coffee. A small bird is disturbing the quince, its name forgotten. You, lost to a book. The children stand on their own, distant, brilliant stars.

Wild iris in a jar stand on the table, the table steadfast on cherry legs. Chairs stand empty, generous. We could be a couple in a Dutch painting, light cherishing the blue drapery of my bathrobe, your freckled hand as it curls around a cup that belonged to your mother, her mother before. Husband, the sun stands on the horizon—— and the darkness. Raging wildfires have devastated both Northern and Southern California over the last several weeks. The situation has been impossible to ignore here in the Bay Area, as smoke from the fires has led to tremendously poor air quality.

The San Francisco SPCA has set up a fundraiser , specifically to provide care and treatment for animals affected by the fires. At his best, Webb is funny and self-effacingly honest, delivering poems that are intimate and warm.

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Unfortunately, other poems in the book often border on careless—that is, they rely on weak associations or seem half-halfheartedly crafted. Worse, however, some poems contain stereotypical portrayals of others and humor that some will likely find offensive. The rhymes are both obvious and hidden. And the poem is interspersed with formal meter in lines like:. But at the bayou—where dragonflies, metallic red and blue, snap up mosquitoes over tea-stained water full of tadpoles, crayfish, punkinseeds— Teddy flops into a snarl of thorny weeds, and being 5, runs home crying.

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This is the kind of work that stays with a reader. More importantly, the poem feels intimate, focused, and genuine. The reader believes these are people the speaker knows and things that actually happened to him. Here are some lines that I think convey the essence of the poem:. Born and raised in the Houston area, now based in Marfa, Genitempo previously worked mostly in the Southwest; however, Jasper , his first book, represents a journey he made farther east while he was an MFA student at the Hartford Art School.

The images contain an ambiguity somewhere between loneliness and solitude, documentation and imagination, and in turn reflect the ways in which a book of poetry might weave gestural narratives based in elegy and evocative landscape. Inspired by the life and work of Arkansas poet and land surveyor Frank Stanford, Jasper transcends this reference to show how the past is lost and found—and lost again—in our contemporary moment.

This interview was conducted over the phone six months later.

• A Life of Art and Passion by Kay Lipton.
• Origine du nom de famille CHANCEL (Oeuvres courtes) (French Edition).
• Kay Lipton | Books by this Author.

I want to talk about the early days when you started pushing to escape the day-to-day and drove around a lot and took pictures by going places that might be unsafe. I want to say that I understood that aspect of picture-making very early on. I think I quickly understood that photography had opened up an unknown world for them, so maybe it could do that for me. Immediately when I discovered that work, I started emulating them. They were my heroes. I started going to the seedier parts of town, downtown and the outskirts of town, bringing my camera along and making pictures.

Then I started going to the smaller towns in that part of the state. I started seeing my peers making work where they were actually traveling, so I wanted to do that, too. I went out to west Texas and made pictures out here. It was a pretty natural progression. Relatedly, I felt so consistently surprised by where each poem ended up.

I think I always know in the very back of my head to some extent, but the practice of writing a poem is a journey for me. Often my first drafts are more or less entirely stream-of-consciousness. I get a lot of enjoyment and creative momentum out of engaging with a thought far past what might seem like the natural conclusion.

• The Texture of the Light: Q&A with 'Edith' author Meg Freitag - ZYZZYVA.
• The amended Book of Poems by Kay Lipton by Kay Lipton | !
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• The Winter Issue.
• A Life of Art and Passion by Kay Lipton by Kay Lipton | ;
• GIornata dAutunno (Italian Edition);

You end up in a lot of surprising places this way. The editing process, for me, is largely about reining in the wackier elements. Tuning the instrument of the poem. Which is the oldest poem in this book, and which the newest? What changed in your life between the writing of the first and the last? Probably the most significant thing that happened for the purposes of the book is the death of Edith. But there were also two cross-country moves in there, the rise and fall of a couple meaningful relationships, the death of my oldest childhood friend, and I began and finished my MFA.

Lots of other stuff, too. I woke up from a nap dream with the image of the dead whale in my head and the entire poem just came gushing out of me. It was a big moment for me, writing that poem. I had been looking for that voice for a long time, and there it finally was. That was the last one I was working on till the very end, right up until the week before publication. On that note, can you talk a bit more about the development of the voice in these poems?

This book has such a distinctive quality of vocalization. How did you conceptualize and light upon your particular narratorial style? It was a long time coming. All truly wonderful poets, but poets of a different era. I would once have cringed to let something like an iPhone or Diet Dr. Pepper into a poem.

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I learned so much this way, writing poems in older traditions and modes. Taking a workshop with Dean Young my first semester of grad school was a big turning point for me. But you read half a poem of his and you realize right away how seriously he takes his craft, how brilliant he is. His teaching style is not dissimilar. It felt like a safe space to experiment without worrying about being seen as a less serious poet, which is something I think I was once worried about.

I had so much energy for those poems. Whom were you reading when you wrote this book? What films and music were you swimming in? Who are the other godparents of Edith? Please accept my preemptive apology for how long this is going to be. To see Edith as possibly a strange love child of these two creative masterpieces is maybe a good starting point.

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There were a few books I read for the first time or returned to during the Edith days that particularly resonated with me. Music is a little trickier. In my younger life, music was incredibly important to me. I was in a band, I sang and wrote songs, I listened to music all day long. I went to three to four shows a week. My laptop was actually stolen partway through writing this book. It was devastating, though I think ultimately the book was better for it.

But for this reason a lot of Edith was written in silence.