"In this fascinating book, Donna Stonecipher doubles down on the development of prose poetry and the city. Tactically, her sweeping, complex yet meticulous essay engages Baudelaire's sudden--or is it sudden?--incursion from the constraints of verse into the 'roominess' of prose, 'paragraphs of place, ' while linking 'civic horizontality' and 'corporate verticality.' Tracking possibilities, (m)using everything from architecture to landscape to cookbooks, fl neur-like, her essay exuberantly and expertly gathers together rhizomatic threads of thinkers and poets of the last two centuries. Reads like a song." --Norma Cole "This fascinating exploration of the prose poem begins with a question that most other studies have overlooked or taken for granted: 'What, if anything, do cities and prose poetry have to do with each other?' Donna Stonecipher's touchstone for this question is Charles Baudelaire's prose poems in Le Spleen de Paris, but her excavation of the relationship between the 'built environment' of prose poem and city moves backwards to ancient Greece and forwards to the new sentence. As Stonecipher unpacks the 'dialogic space' of the prose poem, her essay moves vertically and horizontally, providing histories of the skyscraper and the aesthetics and ethics of vertical ascension, and much else. As she moves nimbly through large swaths of intellectual, architectural, urban, and aesthetic history, Stonecipher engages debates central to poetics and to modernity itself, taking seriously the challenge of considering how aesthetic forms register, respond to, and transform their built, social, and historical environments. An indispensable and enlightening guide that is also a pleasure to read." --Susan Rosenbaum

Prose Poetry and the City is an investigation into French poet Charles Baudelaire's claim that he invented the prose poem "out of his explorations of huge cities." Is the prose poem, then, an urban form? What does poetic form, if anything, have to do with the forms of cities?

Model City answers its own inaugural question 'What was it like?' in 288 different ways. The accumulation of these answers offers a form of sustained and refined negative capability, which by turns is wry, profound and abundant with an unspecified longing for the passing ghost of European idealism. In the various enquiries and explorations of Model City this is also the mapping of a lived condition and its relationships not readily found on every street corner, nor in the broken ideologies from the populist bargain basement proffered by our political cadres. What becomes apparent is that the model city/Model City exists by virtue of a poet's wit and inventiveness, in its accomplished and elegantly measured language. Stonecipher's mesmerizing, epigrammatic fables establish the off-centre polis where, oddly, we find ourselves at home.-Kelvin Corcoran

Contents I. Furious Versionis II. The Interrogation This Hour And What Is Dead Arise, Go Down My Father, In Heaven, Is Reading Out Loud For A New Citizen Of These United States With Ruins III. This Room And Everything In It The City In Which I Love You IV. The Waiting A Story Goodnight You Must Sing Here I Am A Final Thing V. The Cleaving

This is a collection of prose poems that when collected tell the tale of a young man and his cross country travels.

While Cernuda's verse is vivid testimony to various aspects of his biographical itinerary, it is in his prose poems that he traces more explicitly an outline of his life's journey. Reviewing this work, Octavio Paz wrote: "In these memories and landscapes, in these notes toward the history of his sensibility, there is great objectivity; the poet doesn't set out to fantasize, or to lie to himself or anyone else. He attempts only to illuminate, with an almost impersonal light, something very personal: a few moments in his life. But is it truly ours, this life we live?" Luis Cernuda (1902–1963) was one of the leading poets of Spain's Generation of 1927, which included Federico Garcia Lorca, Rafael Alberti and Jorge Guillen.

Eno Publishers builds on its successful 27 Views series by showcasing the literary community of Durham, North Carolina, in 27 Views of Durham: The Bull City in Prose & Poetry. The book features 27 writers, who in poetry, essays, short stories, and book excerpts focus on the town of Durham, famous for Duke University, tobacco, and Southern cuisine. The collection offers readers a broad and varied picture of life past and present in Durham, as well as a sense of the town's literary breadth. Contributing authors include Steve Schewel, Jean Anderson, Carl Kenney, Katy Munger, Ariel Dorfman, Pierce Freelon, John Valentine, Shirlette Ammons, Jim Wise, and others.

An engaging and authoritative introduction to an increasingly important and popular literary genre Prose Poetry is the first book of its kind—an engaging and authoritative introduction to the history, development, and features of English-language prose poetry, an increasingly important and popular literary form that is still too little understood and appreciated. Poets and scholars Paul Hetherington and Cassandra Atherton introduce prose poetry’s key characteristics, chart its evolution from the nineteenth century to the present, and discuss many historical and contemporary prose poems that both demonstrate their great diversity around the Anglophone world and show why they represent some of today’s most inventive writing. A prose poem looks like prose but reads like poetry: it lacks the line breaks of other poetic forms but employs poetic techniques, such as internal rhyme, repetition, and compression. Prose Poetry explains how this form opens new spaces for writers to create riveting works that reshape the resources of prose while redefining the poetic. Discussing prose poetry’ s precursors, including William Wordsworth and Walt Whitman, and prose poets such as Charles Simic, Russell Edson, Lydia Davis, and Claudia Rankine, the book pays equal attention to male and female prose poets, documenting women’s essential but frequently unacknowledged contributions to the genre. Revealing how prose poetry tests boundaries and challenges conventions to open up new imaginative vistas, this is an essential book for all readers, students, teachers, and writers of prose poetry.

The last decades have seen an explosion of the prose poem. More and more writers are turning to this peculiarly rich and flexible form; it defines Claudia Rankine's Citizen, one of the most talked-about books of recent years, and many others, such as Sarah Howe's Loop of Jade and Vahni Capildeo's Measures of Expatriation, make extensive use of it. Yet this fertile mode which in its time has drawn the likes of Charles Baudelaire, Oscar Wilde, T. S. Eliot, Gertrude Stein and Seamus Heaney remains, for many contemporary readers, something of a mystery. The history of the prose poem is a long and fascinating one. Here, Jeremy Noel-Tod reconstructs it for us by selecting the essential pieces of writing - by turns luminous, brooding, lamentatory and comic - which have defined and developed the form at each stage, from its beginnings in 19th-century France, through the 20th-century traditions of Britain and America and beyond the English language, to the great wealth of material written internationally since 2000. Comprehensively told, it yields one of the most original and genre-changing anthologies to be published for some years, and offers readers the chance to discover a diverse range of new poets and new kinds of poem, while also meeting famous names in an unfamiliar guise.

In Vanishing Acts, Brian Barker cements his reputation as one of contemporary poetry’s great surrealists. These prose poems read like dreams and nightmares, fables and myths. With a dark whimsicality, Barker explores such topics as extinction, power, class, the consequences of tyranny and war, and the ongoing destruction of the environment in the name of progress. A linked sequence of poems forms the book’s backbone, with an oracular voice from the future heralding the return—or hoped for return—of common animals. Part lyrical odes, part creation myths, part excerpts from a bizarre guide for naturalists, these poems mix fact and fiction, science and fable to create an unsettling vision of a dystopian world stricken by extinction, one where the world’s last catfish sleeps “in the shadow of a hydroelectric dam.” The imaginative language and bizarre stories of these poems are perfectly suited to capture a world that no longer makes sense: a man who wears a toupee to hide an injury inflicted by secret police, a group of villagers who make a bad bargain with a land agent. The poems in Vanishing Acts straddle the comic and the tragic. They are by turns funny and haunting and ripe with scathing satire. They draw on the genres of speculative and science fiction as much as poetic traditions, and speak to the precarious state of man and the natural world in the twenty-first century.