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In WHAT WE PASS ON: COLLECTED POEMS: 1980-2009, Maria Mazziotti Gillan weaves a tapestry of one woman's life—wife, mother, grandmother, daughter, grand-daughter, Italian American. Reading these poems in one volume makes us acutely aware of how memory is layered, each new poem adding another detail, another color, another perspective so that we watch as the poet and the people around her change. With increasing clarity and honesty, Gillan peels away all the self-protective layers and invites us in so we can see in her story a reflection of our own. Her work in all its texture and exuberance, its passion and power, forces us to care about what matters and teaches us to be human. This is a poet who, in these courageous poems, teaches us why poetry matters and why it can change us.
Provides over 1,700 biographies of influential poets writing in English from 1910 to the present day, exploring the influences, inspirations, and movements that have shaped their works and lives.
What I hope to accomplish in this book is to give writing prompts that will help you to get past all the outside influences that keep you from believing in yourself and in your ability to write. In order to write, you need to get rid of notions about language, poetic form, and esoteric subject matter ? all the things that the poetry police have told you are essential if you are to write. I wanted to start from a different place, a place controlled by instinct rather than by intelligence. Revision, the shaping and honing of the poem, should come later, and, in revising, care always needs to be taken to retain the vitality and electricity of the poem. Anyone can learn to craft a capable poem, but it is the poems that retain that initial vitality that we remember; these are the poems that teach us how to be human.
An A-to-Z reference to writers of the New York School, including John Ashbery, who is often considered America's greatest living poet. Examines significant movements in literary history and its development through the years.
Verse and Worse: Selected and New Poems of Steve McCaffery 1989–2009 presents texts from the last two decades of work by Steve McCaffery, one of the most influential and innovative of contemporary poets. The volume focuses on selections from McCaffery’s major texts, including The Black Debt, Theory of Sediment, The Cheat of Words, and Slightly Left of Thinking, but also features a substantial number of previously ungathered poems. As playful as they are cerebral, McCaffery’s poems stage an incessant departure from conventional lyrical and narrative methods of making meaning. For those encountering McCaffery’s work for the first time as well as for those who have followed the twists and turns of his astonishingly heterogeneous poetic trajectory over the past four decades—this volume is essential reading.
Poetry. In THE SILENCE OF AN EMPTY HOUSE, Maria Mazziotti Gillan comes to the limit of human experience, stares death in the face, and struggles to keep moving. These moments she faces and speaks of so clearly are unavoidable, and the long illness and death of her husband, Dennis, is her personal version of the fundamental struggle we all face. THE SILENCE OF AN EMPTY HOUSE speaks of forgiveness, guilt and grace. With courage and a stubborn refusal to look away from the terrors that surround her on so many levels, Gillan documents the parallels between our own struggles with mortality and the struggles being played out on the world stage today. From wars to climate change to the death of whole species to her own struggles with the deaths of her husband, family and friends, she makes each of these battles the reader's own, and gives order and meaning to those fundamental things that otherwise threaten to capsize us.
The Girls in the Chartreuse Jackets combines Maria Mazziotti Gillan's unique gifts as a visual artist with her already internationally known and prize winning poetry. Gillan's imagination, whimsical sense of line and vibrant use of colors shine forth through this beautiful picture book in a manner that both compliments and contrasts with the wonderful poems. While the poetry offers moving narratives of people and events taken directly from Gillan's life, the paintings are the flip side of that record--deeply joyous, even gleeful depictions of the artist's rich, sometimes dream like inner world. Readers of her poetry have long known Gillan as a fearless witness to the challenges of class, gender and ethnicity. Her eyes have always been wide open to the sometimes difficult truths of her world. But in The Girl with The Chartreuse Jackets Maria Mazziotti Gillan has shown that her eyes are equally open to whimsy and to the dance of the imagination. This is a mature poet who has come full circle to meet a brilliant child/artist. The Girls in The Chartreuse Jackets is an essential book for anyone who wants to know the full range of Maria Mazziotti Gillan's--both as poet and as artist.

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