Clear and insightful poetry on our relationship to the given world.

Teillier poems focus on the politics of the psyche and are haunted by ill-fated dreams of happiness. Selections from his work have been translated into French, Italian, Rumanian, Russian, Swedish, Polish, and Czechoslovakian. Teillier lives near Santiago, Chile.

A book of new poems by a major writer is an event. A book of new poems that marks a different, more powerful approach is cause for celebration. "What I looked for here," James Dickey tells us about The Eagle's Mile, "was a flicker of light 'from another direction,' and when I caught it - or thought I did - I followed where it went, for better or worse. " In this new work, Dickey edges away from the narrative-based poems of his previous books and gives instead more primacy to the language in which he writes. His poetry gains flexibility, and his poetic power becomes even surer and more clearly expressed. "I have experimented," Dickey writes, "and look forward to experimenting more."

Twenty-eight powerful and individual voices are heard as Pearlman and Henderson offer a forum for a generous cross-section of the women writing fiction in America today -- writers whose vital statistics cross the borders of race, religion, ethnic origin, sexual preference, marital status, age, geography, and lifestyle. Each writer is presented in an essay/interview reflecting the dynamic that develops naturally when two vital minds meet to discuss topic of mutually interest. The writers talk about the role of memory, space, and family in their work, about politics, dreams, and race, about their mothers and children and alma maters, about book reviewing and their agents, editors, and publishers, and about each others' work. A bibliography of principal works follows each essay. A valuable contribution to writers both female and male, for above all else, this is a book about writing.

This is the first book published in English by of the work of Brazilian poet Adélia Prado. Incorporating poems published over the past fifteen years, The Alphabet in the Park is a book of passion and intelligence, wit and instinct. These are poems about human concerns, especially those of women, about living in one's body and out of it, about the physical but also the spiritual and the imaginative life. Prado also writes about ordinary matters; she insists that the human experience is both mystical and carnal. To Prado these are not contradictory: "It's the soul that's erotic," she writes.As Ellen Watson says in her introduction, "Adélia Prados poetry is a poetry of abundance. These poems overflow with the humble, grand, various stuff of daily life - necklaces, bicycles, fish; saints and prostitutes and presidents; innumerable chickens and musical instruments...And, seemingly at every turn, there is food." But also, an abundance of dark things, cancer, death, greed. These are poems of appetite, all kinds.

Celebratory or eligiac, these poems record the author’s “two-headed journey” to root herself - geographically and emotionally - in the world. Becker’s poems are from remote and familiar outposts: the watery evanescence of Venice contrasts with the desert of the American Southwest; we lean with her over the rim of a canyon or stand back to study a Giacometti sculpture. From such settings arise poems on the death of a sibling, the consoling power of painting and sculpture; others celebrate the erotic and the capacity of the female body for pleasure and pain.

What are the forces that cause us to strike out and harm each other? Captivity explores the way in which the individual is held hostage by society; how the forces of racism, sexism, and classism frequently express themselves as violence within the family. The book also explores a deeper captivity, like the Jews in Egypt yearning for the Promised Land, the soul trapped in exile from God.

The 1965 U.S. intervention in the Dominican Republic remains a unique event: the only time the Organization of American States has intervened with force on a member state's territory. It is also a classic example of a U.

Cost, expected benefits, and risks are paramount in grant agencies' decisions to fund scientific research. In Cognitive Economy, Nicholas Rescher outlines a general theory for the cost-effective use of intellectual resources, amplifying the theories of Charles Sanders Pierce, who stressed an \u201ceconomy of research.\u201d Rescher discusses the requirements of cooperation, communication, cognitive importance, cognitive economy, as well as the economic factors bearing on induction and simplicity. He then applies his model to several case studies and to clarifying the limits imposed on science by economic considerations.

" "I don't agree with all the choices people make," says the author. "You probably won't either. My job is to let them tell their stories. " And so she does in these thirteen warm, funny, and sad short stories about people making hard decisions for themselves and for their families: · Like Iona, who accidentally accepts a marriage proposal · And Daryll, just about to graduate from high school, whose mother is eager for him to "make something" of himself. · And Lexie and Jeb, deep in debt and already struggling to feed their six children, who find out a seventh is on the way.

"The reader gets to play detective in four mysteries from Kentucky's past -- the disappearances of James Harrod and "Honest Dick" Tate, the battlefield death of Indian chief Tecumseh, and the assassination of William Goebel. James Klotter offers clues but leaves the solution to the reader. James Klotter is Kentucky State Historian and professor of History at Georgetown University and is the author of A New History of Kentucky, History Mysteries, Our Kentucky, Kentucky: Land of Tomorrow, Kentucky: Portrait in Paradox, Kentucky: Decades of Discord, William Goebbel, and Faces of Kentucky.

The first major book of feminist critical theory published in the United States is now available in an expanded second edition. This widely cited pioneering work presents a new introduction by the editor and a new bibliography of feminist critical theory from the last decade. This book has become indispensable to an understanding of feminist theory. Contributors include Cheri Register, Dorin Schumacher, Marcia Holly, Barbara Currier Bell, Carol Ohmann, Carolyn Heilbrun, Catherine Stimpson, and Barbara A. White.

In the title poem "Fortress", the medieval walled castle is the stronghold in which the family dwells. There are stories here of people in the "fortresses" of the self, the city, or the natural world. All these poems have in common a lyrical approach to solitude ("the only protection / against death/ was to love solitude") and an ironical vision for which love of beauty and the longing for the world are the cure. Hillman combines the imagistic with narrative; in her poems lyricism wars with irony; the solitary noticing consciousness is in control - because the observed world seems beautiful to the observer, great joy is possible despite the sense of difficulty or sorrow. The language here is rich and elegant. Truth is relentlessly addressed.

In her historical novels about Kentucky, Janice Holt Giles has become known for the integrity with which she handles her material and for the realism with which she writes. In The Believers, first published in 1957, she continues her series about the settling of Kentucky with a moving story of love and marriage set in a Shaker community.Rebecca Fowler is only seventeen when she marries Richard Cooper. She cannot remember a time when she has not loved and trusted him and followed where he led. At first the marriage is happy; it is only after their child is stillborn that Richard shows preliminary signs of religious fanaticism in his insistence that this is God's punishment visited upon them. The Shaker missionaries newly arrived in Kentucky find him an easy convert.When Richard joins the Shaker community, Rebecca goes with him, as a dutiful wife should, hoping that her love will ultimately win him back to her and to the larger world. She becomes part of a strange world in which men and women -- even husbands and wives -- live apart, coming together only for meals and for worship. As time passes and she sees Richard's affection recede, only her stubborn honesty gives her the strength to deny lip service to a doctrine she cannot truly accept and, at the last, courage to follow the dictates of her heart.In this novel, Mrs. Giles gives us a unique picture of everyday life in a Shaker village, one of the experiments in utopian communal living that are a part of American history. Realistically but with understanding, she shows us a society animated not only by saintliness but by bigotry and ordinary human frailties.Janice Holt Giles (1905-1979), author of nineteen books, lived and wrote near Knifley, Kentucky, for thirty-four years. Her biography is told in Janice Holt Giles: A Writer's Life.

Michael Collier's poems are like a living film of the image of one's past. In rich detail, they bring to life the geography of childhood-commonplace events that have a unique texture of one's own-a dream of flying, a secret obsession, a school pageant, a jam session in the garage. The memories are folded into the heart, but with an inevitable sense of loss, a sense of capturing "the moment held in the air, the illusion of something whole, something true. "Water and light are constant images in this book, apt conduits to the past. Memories are refracted "in the faces of old regrets." But they are not wholly lost for they inform the present; they continue "beating loud." The Folded Heart is a lyrical compression of language, precise, intensely felt.

Colonists and Native Americans alternate in these poems of encounter between the intruding culture and the culture the colonist found. Walking in Stone refers to spiritual sources powerful enough to sink their footsteps into rock.Against such a background, John Spaulding finds voices of encounter (in a way he speaks for them by inheritance-his ancestors came to New England in 1750 and one married a Native American). His poems resemble journal entries, oral testimonies. The "knife people," the "iron men," as the Indians call them, come in "floating islands" across the sea. The colonists saw them as "wild people," "Satan's children." Separately and together in these powerful poems they suffer cold and pestilence, capture and slaughter, and although one is the military victor, both suffer spiritual loss.