Bernadette Mayer Reihenfolge der Bücher

From poet, novelist, and teacher Laynie Brown comes Translation of the Lilies Back into Lists, an homage text to the poet C. D. Wright.

A career-spanning bouquet of poems by the peerless and inimitable Bernadette Mayer

Bernadette Mayer and Lewis Warsh wrote Piece of Cake as a work of collaborative prose poetry, based on a process of each writing on alternate days in the course of August of 1976-the bicentennial year of the America's Declaration of Independence. It recounts the quotidian details of daily activities, negotiating the exigencies of young, married-with-children life, the artistic path and citizenship. It has the classic "I did this, I did that" of a New York School of Poetry text, as characterized by the poetry of Frank O'Hara, and is somewhat reminiscent of Mayer's work Studying Hunger Journal, written not long before taking up Piece of Cake. Another distinguishing feature of this work is that it is arguably the first significant male-female collaboration in 20th century American poetry. Regarding the possible derivation of the work's title, and exemplary of the work's tenor, is the start of Warsh's entry of August 29: "I also recall getting up and eating a piece of left-over cake (a very sweet store-bought cake with green or possibly pinkish icing) and drinking a glass of milk at the kitchen window. Empty streets, no moon. Michael and Twinkie asleep on the floor of Bernadette's room, Guy and Karen in mine, Bill on the couch in the living room. Marie in her crib. Everyone 'dead to the world,' a phrase I dislike, what a full house."

A reissue of Bernadette Mayer's classic fugitive intergenre text

How does one in mourning converse with those absent, yet ever present? How is a motherless daughter conceived? What befalls those who succumb to waves of grief akin to contractions of birth? You Envelop Me is woven from contemplative practices that permit us to approach the unimaginable. The world with the beloved removed is permanently altered, perhaps most significantly in the way the living learn that indispensable vision occurs beyond the visible world.

Exploring themes of nature, time, and spirituality, this collection reflects on the arrival of spring through vivid observations of wildlife and personal musings. It intertwines a variety of subjects, including the Catholic Church, literature, local politics, and the intricacies of daily life. The poet, Bernadette Mayer, offers a delightful blend of humor and insight, inviting readers to ponder the meaning behind common experiences. Each page is an exploration of the ordinary and profound, showcasing Mayer's unique voice and perspective.

The collection brings together Bernadette Mayer's groundbreaking early works, which have significantly influenced generations of poets yet remain largely inaccessible. By compiling her first books, including CEREMONY LATIN and THE GOLDEN BOOK OF WORDS, this publication addresses the scarcity and challenges of engaging with Mayer's poetry. It aims to fill a critical gap in American experimental poetry, providing readers with a comprehensive opportunity to explore her innovative contributions that have shaped the literary landscape.

Radically reimagining the sonnet form, this expanded 25th Anniversary edition showcases one of contemporary American poetry's most innovative contributions. Alongside a new preface by Bernadette Mayer and an editor's note from Lee Ann Brown, readers will find previously unpublished archival material, including the Skinny Sonnets, which delve into Mayer's unique exploration of writing consciousness. This collection is essential for anyone interested in the evolution of poetic expression and the boundaries of traditional forms.

"Profiles of all the women named Helen in Troy, NY, with poems and images, mixing the classical with the ordinary and delightful intelligence with irreverence."--Publisher's website (viewed 12/20/2016).

Poetry. Literary Nonfiction. In 1972 Bernadette Mayer began this project as an aid to psychological counseling, writing in parallel journals so that, as she wrote in one (in bed, on subways, at parties, etc.), her psychiatrist read the other. Using colored pens to "color-code emotions," she recorded dreams, events, memories, and reflections in a language at once free-ranging and precise--a work that creates its own poetics. She sought "a workable code, or shorthand, for the transcription of every event, every motion, every transition" of her own mind and to "perform this process of translation" on herself in the interest of evolving an innovative, inquiring language. STUDYING HUNGER JOURNALS registers this intention within a body of poetry John Ashbery has called "magnificent."