Flint on a Bright Stone closes a significant gap in the history of Modernist poetry by identifying the existence of "Tempered Modernism," an international phenomenon exemplified by Akhmatova, Rilke, H.D., and Williams, and characterized by small poems written with precision, restraint, simplicity, equilibrium, and hardness.

"Crowley is generous, obsessed, fascinating, gripping. Really, I think Crowley is so good that he has left everybody else in the dust."—Peter Straub From award-winning author John Crowley comes a novel that masterfully blends history and magic in Flint and Mirror. As ancient Irish clans fought to preserve their lands and their way of life, the Queen and her generals fought to tame the wild land and make it English. Hugh O'Neill, lord of the North, dubbed Earl of Tyrone by the Queen, is a divided man: the Queen gives to Hugh her love, and her commandments, through a little mirror of obsidian which he can never discard; and the ancient peoples of Ireland arise from their underworld to make Hugh their champion, the token of their vow a chip of flint. From the masterful author of Little, Big comes an exquisite fantasy of heartbreaking proportion. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

This magisterial work, long awaited and long the subject of passionate speculation, is an unprecedented exploration of modern poetry and poetics by one of America’s most acclaimed and influential postwar poets. What began in 1959 as a simple homage to the modernist poet H.D. developed into an expansive and unique quest to arrive at a poetics that would fuel Duncan’s great work in the 1970s. A meditation on both the roots of modernism and its manifestation in the work of H.D., Ezra Pound, D.H. Lawrence, William Carlos Williams, Edith Sitwell, and many others, Duncan’s wide-ranging book is especially notable for its illumination of the role women played in creation of literary modernism. Until now, The H.D. Book existed only in mostly out-of-print little magazines in which its chapters first appeared. Now, for the first time published in its entirety, as its author intended, this monumental work—at once an encyclopedia of modernism, a reinterpretation of its key players and texts, and a record of Duncan’s quest toward a new poetics—is at last complete and available to a wide audience.

"My American Harp" presents 1,169 poems written 2010-2014 by Surazeus that explore what it means to be an American in the modern world of an interconnected global civilization.

A thorough survey of Flint Flushwork decoration, one of the finest artistic forms of the medieval craftsman.

Virginia Woolf famously began one of her greatest novels: “Mrs Dalloway said she would buy the flowers herself.” Of course she would: why would anyone surrender the best part of the day to someone else? Flowers grace our lives at moments of celebration and despair. “We eat, drink, sing, dance, and flirt with them,” writes Kakuzo Okakura. Flowers brighten our homes, our parties, and our rituals with incomparable notes of natural beauty, but the “nature” in these displays is tamed and conscribed. Randy Malamud seeks to understand the transplanted nature of cut flowers—of our relationship with them and the careful curation of their very existence. It is a picaresque, unpredictable ramble through the world of flowers, but also the world itself, exploring painting, murals, fashion, public art, glass flowers, pressed flowers, flowery church hats, weaponized flowers, deconstructed flowers, flower power, and much more.

'Flint . . . creates fascinating, unforgettable characters' Booklist A LONG-LOST DAUGHTER. AN EXPLOSIVE SECRET. A LETHAL CONSPIRACY. Ex-Delta Force soldier Jack Ford is trying to put the past behind him. But when he receives a letter from someone he hasn’t spoken to in thirty years, claiming he has a daughter, he can’t resist investigating for himself. Soon he’s on a plane to China, a country he hasn’t returned to since witnessing the atrocities of the Tiananmen Square massacre. But on his search he stumbles upon a document which both the Chinese and American governments are desperately chasing. Now Jack is trapped in an impossible dilemma: save his daughter or prevent a new world war where thousands will lose their lives.

Since the translation of the Septuagint in the 3rd century BCE, scholars have attempted to identify the stones that populate the biblical text. This study rejects the long-standing reliance on ancient translations for identifying biblical stones. Despite the evident contradictions and historical inconsistencies, scholars traditionally presumed these translations to be reliable. By departing from this approach, this volume presents a novel synthesis of comparative linguistics and archeogemological data. Through rigorous analysis of valid cognates, it establishes correlations between Hebrew stone names and their counterparts in ancient languages, corresponding to known mineral species. This methodological shift enables a more accurate identification of stones mentioned in biblical texts, thus recovering their true historical context. The research not only advances our understanding of biblical mineralogy but also provides a fresh perspective on the material culture of the Ancient Levant, offering valuable insights for scholars and laymen, linguists and archaeologists alike.

The Transmutation of Love and Avant-Garde Poetics is a probing examination of how the writing of sexual love undergoes a radical revision by avant-garde poets in the twentieth and twenty-first centuries. Today, the exploration of love by poets—long a fixture of Western poetic tradition—is thought to be in decline, with love itself understood to be a mere ideological overlay for the more “real” entities of physical sex and desire. In The Transmutation of Love and Avant-Garde Poetics, Jeanne Heuving claims that a key achievement of poetry by Ezra Pound, H.D., Robert Duncan, Kathleen Fraser, Nathaniel Mackey, and others lies significantly in their engagement with the synergistic relations between being in love and writing love. These poets, she argues, have traded the clichéd lover of yore for impersonal or posthuman poetic speakers that sustain the gloire and mystery of love poetry of prior centuries. As Robert Duncan writes, “There is a love in which we are outcast and vagabond from what we are that we call ‘falling in love.’” Heuving claims that this writing of love is defining for avant-garde poetics, identifying how such important discoveries as Pound’s and H.D.’s Imagism, Pound’s Cantos, and Duncan’s “open field poetics” are derived through their changed writing of love. She draws attention to how the prevailing concept of language as material is inadequate to the ways these poets also engage language as a medium—as a conduit—enabling them to address love afresh in a time defined through preoccupations with sexuality. They engage love as immanent and change it through a writing that acts on itself. The Transmutation of Love and Avant-Garde Poetics ascribes the waning of love poetry to its problematic form: a genre in which empowered poetic speakers constitute their speech through the objectification of comparatively disempowered subjects, or beloveds. Refusing this pervasive practice, the poets she highlights reject the delimiting, one-sided tradition of masculine lovers and passive feminine beloveds; instead, they create a more nuanced, dynamic poetics of ecstatic exploration, what Heuving calls “projective love” and “libidinized field poetics,” a formally innovative poetry, in which one perception leads directly to the next and all aspects of a poem are generative of meaning.