For more than a decade The Healing Art of Writing conference has sought to strengthen compassionate understanding between healthcare providers and those who seek a state of well-being beyond the reach of surgery or pharmacology. Together, the participants share the belief that being cured of disease is not the same thing as being healed, and that a practice of expressive writing promotes both spiritual and physical healing. The writings presented at the 2013 conference, collected here in Tell Me Again, are a powerful testament to that belief. Within these pages you will hear, again and again, words of truth, words that uplift, words that heal.

A “raw and honest” (Los Angeles Review of Books) memoir from the first Native American Poet Laureate of the United States. In this transcendent memoir, grounded in tribal myth and ancestry, music and poetry, Joy Harjo details her journey to becoming a poet. Born in Oklahoma, the end place of the Trail of Tears, Harjo grew up learning to dodge an abusive stepfather by finding shelter in her imagination, a deep spiritual life, and connection with the natural world. Narrating the complexities of betrayal and love, Crazy Brave is a haunting, visionary memoir about family and the breaking apart necessary in finding a voice.

A manual of good diction, composition, sentence craft, paragraph design, structure and planning, this is a book on technique, style, craft and manners for everyone who writes and wants to do it better. It is a guide to lively and readable writing.

'Raw, poetic and compulsively readable ... I can't wait to buy a copy for everyone I know.' Kathryn Stockett, author of The Help The summer she turned thirteen, Molly Brodak's father was arrested for robbing eleven banks. In time, the image she held of him would unravel further, as more and more unexpected facets of his personality came to light. Bandit is her attempt to discover what, exactly, is left, when the most fundamental relationship of your life turns out to have been built on falsehoods. It is also a scrupulously honest account of learning how to trust again, and to rebuild the very idea of family from scratch. Refusing to fence off the trickier sides of her father's character, Brodak tries to find, through crystalline, spellbinding prose, a version of him that does not rely on the easy answers but allows him to be: an unknowable and incomprehensible whole – who is also her father. Unforgettable, moving, and utterly relatable, Bandit is a story of the unpredictable complexity of family.

Winner of the 2020 Steel Toe Books Poetry Award, Focal Point is a scientist's unofficial dissertation, a daughter's faithful correspondence, and a coming-of-age story. Written largely while Jenny Qi was a young Ph.D. student conducting cancer research after her beloved mother's death from cancer, the collection turns to "all the rituals of all the faiths," invoking Western and Eastern mythology and history, metaphors from cell biology, and even Jimi Hendrix, as Qi searches for a container to hold grief. The opening poem of this debut collection primes us to consider all definitions of the titular "focal point," as the speaker evaluates this moment of early loss beneath a literal and metaphoric microscope. Here, the past and future converge, but from here, what does divergence look like? What can a scientific mind do except interrogate and attempt to measure the unknown and immeasurable? These poems, at once tender and suffused with wry humor, diverse in form and scope, go on to navigate illness, early relationships, racism, climate change, mass shootings, and the COVID-19 pandemic, unflinching in the face of death and the darker side of human nature. At its core, Focal Point is an uncompromising interrogation of how to be alive in the world, always loving something that has been or is in the process of being lost.

My Mother's Body, Marge Piercy's tenth book of poetry, takes its title from one of her strongest and most moving poems, the climax of a powerful sequence of Poems to her mother. Rooted in an honest, harrowing, but ally ecstatic confrontation of the mother / daughter relationship in all its complexity and intimacy, it is at the same time an affirmation of continuity and identification. "The Chuppah" comprises poems actually used in her wedding ceremony with Ira Wood. This section sings with powerfully female love poetry. There is also a sustained and direct use of her Jewish identity and faith in these poems, as there is in a number of other poems throughout the volume. Readers of Piercy's previous collections will not be surprised to encounter her mixture of the personal and the political, her love of animals and the Cape landscape. There are poems about doing housework, about accidents, about dreaming, about bag ladies, about luggage, about children's fears of nuclear holocaust; about tomcats, insects in the rafters, the influence of a name, appleblossoms and blackberries, pollution, and some of the ways women objectify one another. In "Does the light fail us, or do we fail the light?" Piercy writes with lacerating honesty about our relationships with the elderly and about hers with her father. Some of the most moving poems are domestic, as in the final sequence, "Six underrated pleasures," which finds in daily women's tasks both pleasure and mystery, affirmation of serf and connection with the mother. In all, My Mother's Body is one of Piercy's most powerful and balanced collections.

Celebrates a young girl's transitions through birth, childhood, and young adulthood, with advice on remaining connected to loved ones and nature.

The remarkable story of seven contemporary Russian-language poets whose experimental work anchors a thriving dissident artistic movement opposed to both Putin’s regime and Western liberalism. What does leftist art look like in the wake of state socialism? In recent years, Russian-language avant-garde poetry has been seeking the answers to this question. Marijeta Bozovic follows a constellation of poets at the center of a contemporary literary movement that is bringing radical art out of the Soviet shadow: Kirill Medvedev, Pavel Arseniev, Aleksandr Skidan, Dmitry Golynko, Roman Osminkin, Keti Chukhrov, and Galina Rymbu. While their formal experiments range widely, all share a commitment to explicitly political poetry. Each one, in turn, has become a hub in a growing new-left network across the former Second World. Joined together by their work with the Saint Petersburg–based journal [Translit], this circle has staunchly resisted the Putin regime and its mobilization of Soviet nostalgia. At the same time, the poets of Avant-Garde Post– reject Western discourse about the false promises of leftist utopianism and the superiority of the liberal world. In opposing both narratives, they draw on the legacies of historical Russian and Soviet avant-gardes as well as on an international canon of Marxist art and theory. They are also intimately connected with other artists, intellectuals, and activists around the world, collectively restoring leftist political poetry to global prominence. The avant-garde, Bozovic shows, is not a relic of the Soviet past. It is a recurrent pulse in Russophone—as well as global—literature and art. Charged by that pulse, today’s new left is reimagining class-based critique. Theirs is an ongoing, defiant effort to imagine a socialist future that is at once global and egalitarian.

A memoir of addiction and grief, forgiveness, and survival from a poet who recovers from alcoholism only after she sees her child die of leukemia.

Normal.dotm 0 0 1 98 562 The University of Iowa 4 1 690 12.0 0 false 18 pt 18 pt 0 0 false false false /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} This award-winning collection simmers with wit as Brodak confronts tragedy, childhood losses, transcendent love, and the question of art itself. Tinged with a suffering—“I was the littlest wastebasket. / I was my own church. Except— / scared, scared”—that rises above personal sorrow, her fierce and painterly poems redefine nature and art and what exists between: “Lately, there is spangled shade in my space / and a cold apple orchard to tend in place of consciousness.” As Reginald Shepherd said about the poems in Brodak’s first collection, the chapbook Instructions for a Painting, her world is “‘small enough / to sing in all directions,’ and large enough to take us there.”