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Canyon in the Body


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CANYON IN THE BODY
Lan Lan
from Chinese by Fiona Sze-Lorrain
Poetry
ISBN 978-1-938890-01-7 (paper) $15
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6 x 8
208 pages [Bilingual Chinese/English]

The tenderness of Lan Lan’s poetry is steely and perfectly judged. She shows us a world of subtle adjustments and intelligent beauty—although the stakes she deals in could not be higher. As its title suggests, Canyon in the Body uncovers both existential and domestic meanings, writ both large and small in the human environment. Fiona Sze-Lorrain’s limpid, unforced translations do the poet, and her Anglophone readers, a great service.
—Fiona Sampson, Editor of Poem and Professor of Poetry, Roehampton University

Lan Lan is discussing happiness with us. She cuts time, our faces, our dreams, our crystal gaze. So how does this happen: when we leave her, washed, new, mellow, happy that she conducted us, drowned us, left us hovering in this … what? nothing? Blessed be the day I discovered her writing.
—Tomaž Šalamun

Considered one of today’s most influential Chinese lyrical writers, Lan Lan emerged as a representative woman poet during the early nineties. A consistent presence in the mainland literary scene, her writing renews the need to address lyricism when the dominant cultural discourse favors phallocentrism and the privilege of human over non-human. Presented in five thematic sections, this bilingual collection compiles Lan Lan’s most characteristic work as it showcases her lyricism, austerity, luminosity, and moral sensibilities. Many of these poems have been anthologized in China and abroad. However, other than two translations in Push Open the Window (Copper Canyon Press, 2010) and a sampling in Another Kind of Nation: An Anthology of Contemporary Chinese Poetry (Talisman House, 2007), none of her poetry exists in English in a coherent entirety.
—from the Preface by Fiona Sze-Lorrain)

Born in 1967 in Yantai, Shandong province, Lan Lan is considered one of today’s most influential Chinese lyrical poets. She is the bestselling author of several poetry titles including Life with a Smile (1990), Inner Life (1997), Dream, Dream (2003) and From Here, to Here (2010). Also a prolific prose and children’s fiction writer, her work has been translated into ten languages. Awarded the Liu Li’an Poetry Prize in 1996, she was voted the top writer of the “Best Ten Women Poets” in China. In 2009, she received four of China’s highest literary honors: the “Poetry & People” Award, the Yulong Poetry Prize, the “Best Ten Poets in China” Award, and the Bing Xin Children’s Literature New Work Award. A regular guest at international poetry festivals, she lives in Beijing. Canyon in the Body is her first poetry collection in English.

Author of two books of poetry, My Funeral Gondola (Mānoa Books/El León, 2013) and Water the Moon (Marick, 2010), as well as several volumes of translation of contemporary Chinese, American and French poets, Fiona Sze-Lorrain co-edited the Mānoa anthologies, Sky Lanterns (2012) and On Freedom: Spirit, Art, and State (2013), both from the University of Hawai’i Press. She lives in France where she is an editor at Vif Éditions and Cerise Press.

Salsa


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FIRST COMPLETE ENGLISH TRANSLATION of
CELEBRATED HSIA YÜ COLLECTION

SALSA
Hsia Yü
from Chinese by Steve Bradbury
Poetry
ISBN 978-1-938890-05-5 (paper), $18.00
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7 x 10
200 pages

Originally published in Chinese in 1999, Salsa has been Hsia Yü’s most successful collection of poetry, selling thousands of copies in Taiwan and Hong Kong alone. Zephyr’s 2001 edition Fusion Kitsch includes a generous selection of material from Salsa, but this marks the first time that an entire Hsia Yü volume has been translated into English.

“Inclining Ever Closer to Existence”

Everyone is endlessly distracted by the thought of being
“lost without a trace”
My head covered in a black cloth sack
I am taken to a remote basement corner
Where I hear someone say
“Okay, now I’ll let you see where you are.”
The sack is lifted and I see the one who brought me
And nearby a window backlit in the window
Another person looking at me his expression
Lets me know at once that I am merely passing through
This life
We can never look upon each other in the same light
Again like the lazy fellow in the story who brought home flowers
And began to tidy up in comparison to that light
Whose horizon of vision is enlarging with infinite
Precision how do we “incline ever closer to existence”?
I mull the idea the three of us making love right here and now

I am determined to be the first to acknowledge my mistakes
The ones I always make in the end
I go off key
And it’s a key I’ll never go off quite this way again

Hsia Yü (sometimes spelled Xia Yu) is the author and designer of six volumes of groundbreaking verse, among them a bilingual collection of English-language poems and computer-generated Chinese translations printed on crystal clear vinyl, entitled Pink Noise, as well as several hundred song lyrics, many of which are enormously popular in the Chinese-speaking world, and a Chinese translation of Henri-Pierre Roché’s Jules et Jim.

She currently lives in Taipei, where she co-edits the avant-garde journal and poetry initiative Xianzai Shi [Poetry Now], but she lived for many years in France, where the poems in the Salsa collection were composed. Originally published in 1999 and now in its tenth printing, Salsa is Hsia Yü’s most successful collection of poetry to date. This bilingual version contains the first and only complete translation of her poetry in any language other than Chinese.

Steve Bradbury lives in Taipei and teaches British and American poetry and fiction at National Central University, where he formerly edited Full Tilt: a journal of East-Asian poetry, translation and the arts. This bilingual edition of Salsa is his fifth book of translations from Chinese.

Letters from Mississippi


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50th Anniversary Edition of
Letters from Mississippi

LETTERS FROM MISSISSIPPI: Reports from Civil Rights Volunteers and Poetry of the 1964 Freedom Summer
Edited by Elizabeth Martínez
ISBN: 978-1-938890-02-4 (paper), $18.95
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5½ x 8¼
400 pages

I am so grateful readers have been given this new opportunity to hear the story of Freedom Summer told directly by some of the young people who helped make that extraordinary moment happen.Letters from Mississippi gives us a deeply personal look at one of the Civil Rights Movement's key moments—and reminds us that change happens because regular people have decided they were willing to fight for it.
—Marian Wright Edelman, president, Children's Defense Fund

These letters in perceptiveness, freshness of detail and description, variety of events and situations, and range of experience are unlike anything I've since encountered in civil rights literature. Collectively, they constitute an irreplaceable record of an extraordinary movement in American social and cultural history at midcentury.
—Ekwueme Michael Thelwell

These letters bring to life, sometimes with tears, always with pride, that extraordinary summer when young people from all over the country joined black people in Mississippi in their determined quest for equal rights. Elizabeth Martínez, with this volume, makes an invaluable and unique contribution to the history of social struggle in America.
—Howard Zinn

During the summer of 1964, a presidential election year, SNCC (Student Nonviolent Coordinating Committee) sent volunteers into Mississippi to expand Black voter registration in the state, to organize a legally constituted "Freedom Democratic Party" that would challenge the whites-only Mississippi Democratic party, to establish "freedom schools" which taught reading and math to Black children, and to open community centers where individuals could obtain legal and medical assistance.

This 50th anniversary edition of Letters from Mississippi retains the introduction by Julian Bond, and updates the explanatory background notes and biographies of volunteers from that summer. The 50th anniversary edition also includes over 40 pages of poetry that was written by students in the Freedom Schools, with a prefatory note by Langston Hughes.

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Elizabeth Martínez is a Chicana writer, activist and teacher. She speaks on racism, multiculturalism, women's struggles and today's new movements. In the 1960s and 70s, she worked in the Black civil rights movement and the Chicano movement. She co-founded and currently chairs the Institute for MultiRacial Justice to help build alliances between communities of color. Martínez is the author of six books and numerous articles.

Also Available: De Colores Means All of Us: Latina Views for a Multi-Colored Century by Elizabeth Martínez (foreword by Angela Y. Davis) [South End Press: ISBN 0-89608-583-X, trade paper; ISBN  0-89608-127-3, trade cloth]

Anatomical Theater


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ANATOMICAL THEATER
Andrei Sen-Senkov
from Russian by Ainsley Morse and Peter Golub
Poetry
ISBN 978-0-983297-02-4 (paper) $16
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6 x 8
208 pages [Bilingual Russian/English]

Sen-Senkov’s poetry has no hero in the obvious sense; although uttered in a voice that clearly has timbre and personal shading, we don’t know whose it is or where it is coming from. When you read deeply into this poetry, however, you realize that there is indeed a person behind this voice: one who perceives any and all cultural symbols as fractures in the universe, as ciphers and “sore spots” at the same time, which demand a vital reciprocal effort in order to overcome various historical traumas. Nothing gets the benefit of the doubt, but as soon as you begin to live out these symbols and myths, to fill them out through personal involvement, then everything begins to come together: the death of Heath Ledger, the story of how the constellations acquired meaning, reminiscences of childhood. One thing begins to resound with another, and it turns out that our hero is a person who doesn’t want to live in a fragmented reality. It’s fragmented, of course, but he strives again and again to see it as whole. This effort cannot be called heroic. That would be a profanation and a vulgarization; but this is an effort to make sense of the world, one that takes us beyond the heroic and non-heroic.
—Ilya Kukulin

The omnivorous quality of Sen-Senkov’s roving eye is especially interesting in its relationship to history. Here is a poet constantly delving into human history; his engagement ranges as far back as prehistoric times, but circles back again and again to a few points of particular interest—in this collection, most notably the harrowed lives of early Christian martyrs and the endless upheaval of twentieth-century Europe. It is perhaps in this cyclical interrogation of the past, and ruminations on the consequences of inevitably repeated mistakes, that Sen-Senkov is most thoroughly a poet in the Russian tradition. Though his orientation is often markedly international, he could never reflect the legendary American forgetfulness of history: he gives us a Kraftwerk concert through the lens of the Soviet occupation of Nazi Germany, and a pack of Gitanes is enough to evoke a century of persecution by various peoples and governmental structures. At the same time, Sen-Senkov is not a political poet; he is a poet of description, and politics and history come to his attention as do Barbie dolls and soccer balls.
—from the Translator Introduction

Andrei Sen-Senkov is the author of more than ten books of poetry and prose, as well as solo and collaborative publications/performances involving visual poetry and experimental music. He has also published translations of poetry and a children’s book of original fairy tales, A Cat Named Mouse. He is a regular participant in literary festivals in Russia and abroad. In 1998 he was an award-winner at the Turgenev Festival for Short Prose, and in 2006, 2008 and 2012 he was shortlisted for the Andrei Bely Prize. In the U.S., his work has been published in journals such as Aufgabe, Interim, Jacket, and Zoland Poetry, and anthologized in Crossing Centuries (Talisman).

Ainsley Morse has been translating 20th- and 21st-century Russian and (former-) Yugoslav literature since 2006. A longtime student of both literatures, she is currently writing a dissertation on unofficial Soviet-era literature at Harvard University. In addition to Anatomical Theater, she is the co-translator (with Bela Shayevich) of I Live I See: the Collected Poems of Vsevolod Nekrasov (UDP, 2013). Current translation projects include an anthology of Lianozovo poets and a collection of contemporary Russian experimental prose, as well as ongoing work with twentieth-century Yugoslav authors.

Peter Golub is a writer and translator living in San Francisco. He has published in Circumference, PEN America, and Playboy. He is a translator of contemporary Russian poetry and has worked on several anthologies, including the large online project The New Russian Poetry (Jacket 2). He has one book of poems, My Imagined Funeral (Argo Risk Press, 2007). He is the recipient of a PEN Translation Grant, and is an editor with St. Petersburg Review. The translation of this book was supported by a BILTC Translation Fellowship.

Relocations


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RELOCATIONS:
3 CONTEMPORARY RUSSIAN WOMEN POETS
Polina Barskova, Anna Glazova and Maria Stepanova
Edited by Catherine Ciepiela
from Russian by Catherine Ciepiela, Anna Khasin and Sibelan Forrester
Poetry
ISBN 978-0-9832970-8-6 (paper) $18
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6 x 9
200 pages [Bilingual Russian/English]

Relocations is a highly enjoyable collection of poetry introducing the English-language world to three incredibly diverse and talented women poets writing in Russian that could be as meaningful to a casual fan of poetry as to a comparative literature scholar. [full review]
—Will Evans, Three Percent

In distinct ways all three poets featured in Relocations are engaged in the project of renovating Russia’s great modernist tradition for a radically different historical situation. They write poems of imaginative daring, pushing recognizable scenarios into the fantastic, the surreal or the speculative, bending form and language to the task.

Polina Barskova began publishing her poetry at age nine and is the author of eight books of poems; her latest, Ariel’s Dispatch (Soobshchenie Ariela, NLO, 2011), was nominated for an Andrey Bely award. Two collections of her poetry in English translation appeared recently: This Lamentable City (Tupelo Press, 2010) and The Zoo in Winter (Melville House Press, 2010). She is a published scholar with degrees in classical literature (from St. Petersburg University) and Slavic languages and literatures (UC Berkeley). Her research has focused on cultural life during the siege of Leningrad, about which she has numerous publications and two forthcoming books. She currently teaches Russian literature at Hampshire College and lives in Amherst, Massachusetts.

Anna Glazova is a poet, translator and scholar of German and Comparative Literature with a PhD from Northwestern University. She is the author of three books of poems, the most recent, For a Shrew (Dlia zemleroiki, NLO, 2013), being honored with the Russian Prize for Poetry. She has translated into Russian books by Robert Walser, Unica Zürn and Ladislav Klima; her translations of Paul Celan’s poetry recently appeared under the title Speak you, too (Govori i ty, Ailuros, 2012). A volume of her poems in translations by Anna Khasin, Twice under the Sun, appeared with Shearsman Books in 2008. Her scholarship has focused on the work of Paul Celan and Osip Mandelstam. She teaches and resides in Hamburg, Germany and the United States.

Maria Stepanova is the author of nine books of poems and the recipient of numerous literary awards, including the Andrei Bely award (2005) and a Joseph Brodsky Memorial Fellowship (2010). Among her most notable works are a book of post-modern ballads, Songs of the Northern Southerners (Pesni severnykh iuzhan, ARGO-RISK, 2001) and a book-length narrative poem, John Doe’s Prose (Proza Ivana Sidorova, NLO, 2008). Relocations presents the first extensive selection of her poems in English translation. Her activities as an essayist and journalist make her a visible cultural figure. Since 2007 she has worked as editor of the independent online journal OpenSpace.ru, now reconfigured as the crowd-sourced journal Colta.ru. She is a lifelong resident of Moscow.

* * *

Catherine Ciepiela is a scholar and translator of modern Russian poetry. She is the author of a book on Marina Tsvetaeva and Boris Pasternak (The Same Solitude, Cornell UP, 2006) and co-editor with Honor Moore of The Stray Dog Cabaret (NYRB 2006), a book of Paul Schmidt’s translations of the Russian modernists. Her translations have appeared in The New Yorker, The Nation, The Massachusetts Review, Seneca Review, Pequod and The Common. She teaches Russian literature and poetic translation at Amherst College.

Anna Khasin is an independent translator and poet living in Boston. Her earlier translations of Anna Glazova were published by Shearsman Books under the title Twice Under the Sun (2008).

Sibelan Forrester is Professor of Russian at Swarthmore College with a scholarly focus on Russian modernist poetry, particularly the work of Marina Tsvetaeva. She writes her own poetry and has published poetic and scholarly translations from Croatian (Dubravka Oraić-Tolić’s American Scream and Palindrome Apocalypse, Ooligan Press, 2004), Russian (Elena Ignatova’s Diving Bell, Zephyr Press, 2006; Vladimir Propp’s Russian Folktale, Wayne State University Press, 2012), and Serbian (stories by Milica Mićić-Dimovska and an excerpt from Miroljub Todovorić’s verbal-visual novel Apeiron).

Kopenhaga


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KOPENHAGA
Grzegorz Wróblewski
from Polish by Piotr Gwiazda
Poetry
ISBN 978-1-938890-00-0 (paper) $15
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6 x 8
176 pages [Bilingual Polish/English]

“Grim, glancingly beautiful, always necessary.”
—Joshua Clover

“One of the most important books of our time: these are at once unsettling and comforting, timely and wryly moving poems about the laughable annoyances, limited joys, and the never fully present sorrows of cosmopolitanism, the life of the citizens of the world.”
—Gabriel Gudding

“Wróblewski is the true poetic chronicler of our 21st century diaspora in all its absurdities and anxieties … Kopenhaga is a journey to the end of the night that always makes a U-turn in the middle, to take in the latest folly—and also self-rescue mission—of the transplant. Read it and weep—and then laugh!”
—Marjorie Perloff

Kopenhaga is the first comprehensive collection of prose poetry by Grzegorz Wróblewski, one of Poland’s leading contemporary writers. The book offers a series of vignettes from the crossroads of politics and culture, technology and ethics, consumerism and spirituality. It combines two tropes: the emigrant’s double identity and the ethnographer’s search for patterns. While ostensibly focused on Denmark, it functions as an investigation of alterity in the post-cold war era of ethnic strife and global capitalism. Whether he writes about refugees in Copenhagen (one of Europe’s major transnational cities), or the homeless, or the mentally ill, or any other marginalized group, Wróblewski points to the moral contradictions of a world supposedly without borders.

Grzegorz Wróblewski, born in 1962 in Gdańsk and raised in Warsaw, has been living in Copenhagen since 1985. He has published ten volumes of poetry and three collections of short prose pieces in Poland; three books of poetry, a book of poetic prose and an experimental novel in Denmark; a book of selected poems in Bosnia-Herzegovina; and a selection of plays. His work has been translated into fifteen languages. His poems in English translation appear in many journals, anthologies, and chapbooks, as well as in two collections Our Flying Objects (Equipage Press, 2007) and A Marzipan Factory (Otoliths, 2010).

Piotr Gwiazda has published two books of poetry, Messages (Pond Road Press, 2012) and Gagarin Street (Washington Writers’ Publishing House, 2005). He is also the author of James Merrill and W.H. Auden: Homosexuality and Poetic Influence (Palgrave Macmillan, 2007). He is an Associate Professor of English at the University of Maryland Baltimore County (UMBC).

Clouds of Dust


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I CAN ALMOST SEE THE CLOUDS OF DUST
Yu Xiang
from Chinese by Fiona Sze-Lorrain
Poetry
ISBN 978-0-9832970-9-3 (paper) $15
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6 x 8
168 pages [Bilingual Chinese/English]

Yu Xiang, using simple language, striking syntax, and hypnotic refrains, keeps her poet’s eye and mind attentive to the not-so-hidden heart of quotidian life. And what does she find there? People, including herself, confronted with the beautiful and terrifying fact of their lives, wanting to “Love   someone/ anyone” (“Street”), before it ends. To Yu, life is far from humdrum. Like a photographer who photographs his feet as he walks, each step points to a larger movement—too large to capture as a totality. Yu focuses her attention on the smaller details—these tiny, shimmering essences. And with language that helps us train our gaze, the poet reveals that the ordinary can be spellbinding.
—Naomi Long Eagleson, Words Without Borders

These spare, yet sensuous poems, selfless, but beating with an inimitable voice and heart, remind me that no matter what the language, no matter what the culture, there is only one poetry: the poetry of the bone marrow. May this haunting, truth-insistent book circumnavigate the whole planet!
—Thomas Lux

Yu Xiang comfortably inhabits the negative space between viewer and subject, artist and artwork, the lover and her beloved in this acrobatic, ekphrastic, meditatively-compelling collection. Fiona Sze-Lorrain’s crisp translation invites American readers to experience Yu Xiang’s poetic mastery half a world away from its formative origins in the Shandong province, bringing into focus the voice of one of China’s most celebrated and memorable female voices. “I have a lonely yet/ stable life,” Yu admits at one point in the book. “This is my house. If/ you happen to walk in, it’s certainly not/ for my rambling notes.” Yu Xiang disarms her reader with exacting imagery and pathos in order to tell the aching, unavoidable truth of womanhood in these striking poems.
—Dorianne Laux

Discreet and seldom a guest at mainstream poetry events, Yu Xiang lives the figurative interpretation of her own poem, “Low Key,” shying away from media attention and commercial literary activities. She considers her life uneventful and boring, and earns a living in an office as do most “ordinary beings”—“I am not interested in too many things. Life has no joy, so I write. I am actually interested in very few things, so I write,” she continues in her credo. On the other hand, she is adamant that a mundane life does not lack poetry. Rather, it lacks being discovered. For one who believes the music is stronger than the musician, poetry is neither career nor charity. The art is a privilege, the word a spiritual nourishment that helps her survive the tedium of life, and find meaning or beauty in an otherwise pessimistic and difficult society.

A key figure of the post-70s Chinese poets, Yu Xiang began writing poetry in 2000. Her honors include the Rougang Poetry Prize (2002), the Yulong Poetry Prize (2006) and the Cultural China Annual Poetry Award (2007). Enigmatic and sensual, Yu Xiang’s writings are immensely popular. Her work includes a volume of poetry, Exhale (2006), and two chapbooks, Sorceress (2009) and Low Key (2011). As a visual artist, she has also exhibited oil paintings at various venues. Yu Xiang currently lives in Ji’nan, the capital city of Shandong province.

Author of two books of poetry, My Funeral Gondola (Mānoa Books/El León, 2013) and Water the Moon (Marick, 2010), as well as several volumes of translation of contemporary Chinese, American and French poets, Fiona Sze-Lorrain co-edited the Mānoa anthologies, Sky Lanterns (2012) and On Freedom: Spirit, Art, and State (2013), both from the University of Hawai’i Press. She lives in France where she is an editor at Vif Éditions and Cerise Press.

Colonies


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COLONIES
Tomasz Różycki
from Polish by Mira Rosenthal
Poetry
ISBN 0-9832970-3-1 (paper) $15
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6 x 8
180 pages [Bilingual Polish/English]

Tomasz Różycki’s Colonies is one of the most remarkable sonnet sequences of our time: the work of a wandering, restless, and moral mind, here rendered with clarity and vividness by the translations of Mira Rosenthal.
— Susan Stewart

In Tomasz Różycki’s lyric profusion, I hear the sharp blasts of a mordant intellect, but not without the human notes of an infinite melancholy playing in the background. This is the soundtrack of a valiant mind, a layered imagination that nonchalantly apprehends and formally measures the tarnished world in demotic language such that it enchantingly restores simplicity and bewilderment to our existence.
—Major Jackson

Tomasz Różycki walks to work every day through the city of Opole, in the Polish region of Silesia, where he has lived since his birth in 1970. The fact that he is walking is important: the rhythm of feet on concrete and cobblestone, the familiar view across the Odra River, the regular length of time it takes him to reach his destination. Poetry has a long friendship with walking, good for pacing the flow of thought and establishing a strong rhythm. We are familiar with the idea in the Anglophone tradition from the late eighteenth century, when the Romantic poets transformed walking into a cultural and aesthetic act of taking pleasure in a landscape. For William Wordsworth, almost daily excursions on foot as well as longer walking tours functioned as a way to compose and revise poems that sprung from his meditations on the countryside. But what is important in Różycki’s daily walking is not so much any pastoral awareness it brings about but the fact that such rambling often leads to more sustained interest in the history of a place. Wordsworth’s pedestrian experience of the Lake District moved him to write a guidebook that traced the history of the region; so, too, Różycki’s paced knowledge of his part of Silesia roots him in a historical curiosity. In Colonies, his sixth collection, this curiosity blooms into an outright aesthetic obsession.
—from the Translator’s Introduction

Tomasz Różycki is a poet, critic, and translator. Over the last ten years, he has garnered almost every prize Poland has to offer, as well as widespread critical and popular acclaim in translation in numerous languages. Różycki is the author of seven volumes of poetry, most recently Kolonie (Colonies) and Księga obrotów (The Book of Rotations). Over the course of his career, he has developed an extraordinarily distinctive, personal poetic voice that combines highly concrete imagery with evocative references to the historical legacy of his family and his time. He has lived his whole life in Opole, a previously German city that was repopulated by Poles relocated from the Ukrainian area of eastern Poland taken over by the Soviets after World War II. He is considered to be an inheritor of the tradition of Czesław Miłosz and Adam Zagajewski, and his highly formal work deals with questions of both literary and ancestral tradition. His awards include the Krzysztof Kamiel Baczyński Prize (1997), the Czas Kultury Prize (1997), The Rainer Maria Rilke Award (1998), the Kościelski Foundation Prize (2004), and the Joseph Brodski Prize from Zeszyty Literackie (2006). He has been nominated twice for the Nike Prize (Poland’s top literary honor) and once for the Paszport Polityki (2004). He lives in his hometown of Opole with his wife and two children and teaches at Opole University. Zephyr Press has also published his The Forgotten Keys.

While on a Fulbright Fellowship to Poland, Mira Rosenthal discovered her passion for translating contemporary Polish poetry. Her translations and scholarship on Polish literature have received numerous awards, including fellowships from the PEN Translation Fund, the National Endowment for the Arts, and the American Council of Learned Societies. Her own poetry has been published widely, and her collection The Local World, winner of the Wick Poetry Prize, came out from Kent State in 2011. She holds an M.F.A. from the University of Houston and a Ph.D. in comparative literature from Indiana University. She is a Wallace Stegner Fellow at Stanford University.

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