FROM TRINITY TO TRINITY recounts the pilgrimage of Japanese atomic-bomb survivor Kyoko Hayashi to the Trinity Site in northern New Mexico, where the world's first atomic bomb test was conducted. Her journey takes her into unfamiliar terrain, both past and present, as she not only confronts American attitudes, disconcertingly detached from the suffering of nuclear destruction, but discovers as well a profound kinship with desert plants and animals, the bomb's first victims. Translator Eiko Otake, a renowned artist in dance (Eiko & Koma), offers further insight into Hayashi's life and work, illuminating how her identity as outsider helped shape her vision. Together author and translator present one woman's transformation from victim to witness, a portrait of endurance as a power of being against all odds.

This long awaited reprint of a book about which John Hollander wrote: A masterful version of one of the most remarkable novels in any language since World War II, is the story of the narrator's relations with two women, one terminally ill, the other found motionless by him in a darkened room after a bomb explosion has separated them. Through more than 40 years, the French writer Maurice Blanchot has produced an astonishing body of fiction and criticism, writes Gilbert Sorrentino in the New York Review of Books, and John Updike in The New Yorker: Blanchot's prose gives an impression, like Henry James, of carrying meanings so fragile they might crumble in transit.

The Unavowable Community is an inquiry into the nature and possibility of community, asking whether there can be a community of individuals that is truly communal. The problem, for Blanchot, is that the very terms of an ideal community make an avowal of membership in it a violation of the terms themselves. This meditation ranges from the problematic effects of a defect in language to actual historical experiments in community. The latter involves the life and work of George Bataille whose concerns (e.g. the negative community) occupy the foreground of Blanchot's discussion. Taking as his point of departure an essay by French philosopher Jean-Luc Nancy, Blanchot appears once again as one of the most attentive readers of what is truly challenging in French thought. His deep interest in the fiction of Marguerite Duras extends this inquiry to include The Community of Lovers, emerging from certain themes in Duras' recit, The Malady of Death. As Blanchot's first direct treatment of a subject that has long figured in or behind his work, this small but highly concentrated book stands as an important addition to his own contribution to literary, philosophical, social, and political thought, figuring as it does at the center of the emerging concern for a redefinition of politics and community. Readers of Blanchot know not to expect answers to the great questions that move his thought - rather, to live with the questions at the new level to which they have been raised in his discourse.

Possibly the most famous and widely used resource in therapeutic bodywork, this beautifully written, detailed and reader-friendly picture of how and why the body responds to touch is both scientifically reliable and inspiring. Furthering the presentation of recent research in biochemistry, cell biology and energy medicine in the Second Edition, this new and greatly expanded edition includes advances in neurophysiology and physics, reconfiguring knowledge of mind and body, from microgenesis to quantum consciousness. A rare book, required reading for national massage therapy certification, that also serves the general reader.

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.

The author of the indispensable bodywork classic JOB'S BODY offers a fresh look at the physically, emotionally and socially transformative powers of touch. Backed up by extensive research as well as long hands-on bodywork experience, this collection of fourteen essays (many originally written for Massage Magazine) takes on not only difficult and critical issues facing therapeutic touch, but also its potential to create positive change in all our lives.

This essential reader from Station Hill (Blanchot's longtime publisher in the United States) is six books in one, and the first and only collection of Maurice Blanchot's celebrated fiction and critical/philosophical writing. Regarded both on the European continent and in America as one of the truly great authors of French Post-Modernism, Blanchot's reputation and readership in English has already established him as a modern classic. The Blanchot Reader brings together a substantial collection of critical and philosophical writings (The Gaze of Orpheus) and the only edition in print in English of his major works of fiction (Thomas the Obscure, Death Sentence, Vicious Circles, The Madness of the Day, When the Time Comes and The One Who Was Standing Apart From Me). General readers and students alike will seek out these essential works by the writer Susan Sontag referred to as an unimpeachably major voice in modern French literature. Maurice Blanchot is now recognized as a major twentieth century philosopher whose influence extends to the works of Derrida, Foucault, Levinas, Lacan and others.

At the heart of Michael Boughn's Measure's Measures are fundamental questions about poetry's relation to modes of knowing the world beyond what's given. Lovingly addressed to the work of poets associated with the New American Poetry and their predecessors, these essays probe the development of what Boughn calls the somatic poetics of transformative gnosis. Boughn's method combines a wide range of scholarship with his affectionate personal knowledge of many of the poets, and a radically decentered view of the stakes poetry brings to considerations of our post-modern moment. Rethinking the history of 20th century US American poetry, these essays challenge the academic containment of poetry to literary studies, opening it into a thriving wilderness of thinking being.

Words say too much to let you know the truth.'' George Quasha's torqued, enigmatic proverbs create unlikely balances among discrepant engagements. Waking from Myself is the sixth volume published of George Quasha's preverbs, an invented poetic genre that's the flipside of proverbs--instead of giving capsules of wisdom, they awaken language to its inevitable ambiguities in the face of complex truth-telling. The vectors of these marvelous poems work at cross purposes, keeping each other aloft. If William Blake's Proverbs of Hell are poetry, then George Quasha's preverbs are like a close cousin. Its core question is: can poetry say the unsayable?

With keen psychological insight and disarming humor, Elizabeth Cunningham re-imagines the beginnings of Christianity from a Celtic point-of-view. Her Celtic Magdalen invites us to wonder how a woman trained in the mysteries of Druidism and ancient Celtic spirituality might have fallen under the spell of the young Jesus of Nazareth and cast her own magic over him. The evolving tale of love, challenge, and triumph will captivate readers seeking fresh perspectives into the Celtic and Christian elements of our Western spiritual heritage.-Tom Cowan, author of Fire in the Head, Shamanism and the Celtic Spirit

Cunningham wears her reverence at a such a rakish angle that it's easy to overlook the deeply religious sensibility that informs her work. In treating the pious and priggish denial of Christ's physicality as the set-up for her outlandish comic effects, she is fall-out-of-your-chair funny. She could crack up the Mater Dolorosa. But she is also mounting a serious challenge to that denial. Nor does she spare the more recent pieties of New Age spirituality, which tend to bury the personality of Magdalen under a mawkish heap of female archetypes. Her mouthy Magdalen won't sit still for being anyone's icon or emblem. She is here to tell you that Jesus, her friend, sweetheart and cosmic sibling rival was adorably, poignantly--and sometimes annoyingly--human. In less grace-full hands, this sassy treatment might amount to no more than a smart-aleck deconstruction of Christ's divinity. But Cunningham is up to no such thing. She insists on humanity as one who sees in its every awkward aspect the image and likeness of God. Beneath her sense of the ridiculous and the ribald, is a subtext thatsings Alleluia -Catherine MacCoun, author of The Age of Miracles

Cunningham has outdone herself. Always an imaginative writer, as such books as The Return of the Goddess and The Wild Mother show, Cunningham here mixes Celtic mythology with the emergent feminist tradition of the Magdalen to create a powerful and spiritually charged visionary novel. Red-haired Maeve was born on the legendary Isle of Women, where her weather-witching mothers (yes, the plural is intentional) raise her to be utterly self-assured as

This lovely book of poems, written in Woodstock, NY, carries inspiration from various places.Prefaced by 12 Poems That Were Never Written, the book is divided into three sections, Natural Megaron, Preposition Poems and Lung Poems, corresponding to three distinctive methods Radfar used to write her way into time and space: settling down with her journal on a hilly overlook after a 30 minute walk; removing prepositions while still managing to talk about her relation to space; writing at a fixed time in the middle of the night. In going as far as she can in each of these disparate directions, she summons, with a surprising degree of certitude, a sense of how this specific place once affected her writing and her life.One of the poems included is: i]Position, I have soughtyour proper placehave landedsnake-likeyour tumescentrock pilegrassywildoracularPosition, I can't speakall the places you aremy tendencymy perpetual circumstanceI will come, give meentrance /i

Cosmic Diaspora is Jake Marmer's third collection of poems. It brings together fantasy, hard-boiled sci-fi, Jewish mysticism, experimental poetics, free jazz, and dark, deadpan humor. Born in the wild steppes of Ukraine, Marmer brings his immigrant experience into a cosmic, diasporic disorientation and attempts to imagine the deep future of myth, spirit, and language. In Cosmic Diaspora, you may also find more than hints of the Talmud, Midrash, and Zohar that allude to alternative realities, some of which exist alongside our own, while others are tangled within it--or are completely unrelated, made of pure Light or pure Text.

Starting in 1995 and for eight year Miriam Sanders wrote a weekly nature column for The Woodstock Journal, co-founded by the poet and musician Ed Sanders. With uncanny powers of direct observation, woven into a skein of luminous insights, she gives us a resonant field within which we may more than glimpse the web of creation. Treasures indeed, an enduring portrait of the natural world this book touches Catskills magic--bobcats, mallards and Eric perched on a branch, enjoying a nut, his lovely tail curved over his back. The poet, writer, and historian Peter Lamborn Wilson writes, Back in the Dark Ages when I lived in the Lower East Side I used to go to the Gem Spa on 8th Street every week to pick up Ed and Miriam Sanders's Woodstock newspaper, then take it to Tompkins Square and sit under a tree and read Miriam's nature column and dream that I was in the country with her birds and deer. Now at last her charming essays return--and I live in the Hudson Valley. Hurrah Woodland Treasures includes over twenty-five, hand-drawn illustrations from the author.

Homophonic translations create poems that foreground the sound of the original more than the lexical meaning: sound-alike poems or sound writing. This essay presents a dizzying number of examples of sound mimesis as a way to explore the poetics of sound and the politics of translation. Covering modernists (such as Pound, Bunting, and Khelbnikov) and contemporaries (such as David Melnick and Caroline Bergvall), the Bernstein also addresses homophonics in popular culture including an extended discussion of TV comedian Sid Caear's double talking. The essay raises a thorny question: Are homophonic poems a form of cultural appropriation or a form of transnationalism?

The Star-Spangled Banner spans the 15-year arc from 9/11 to 11/9, concluding with a poem based on voices overheard the night of Trump's election by poet Michael Ruby, a journalist who has covered U.S. politics for decades. Ruby began the book in the aftermath of the 9/11 attacks, when he saw people freely using U.S. national symbols for their own political purposes. He decided to do the same thing for poetic purposes. Every poem in the book, which is dedicated to Jasper Johns and Jimi Hendrix, uses the 81 words of the national anthem and inserts words into the spaces between them. The poems have different vocabularies--sometimes surrealist like Ruby's related book, American Songbook (2013), sometimes documentary and personal like his trilogy Memories, Dreams and Inner Voices (2012). The Star-Spangled Banner is an artistic encounter with one of America's leading national symbols, using the frame of Francis Scott Key's War of 1812 lyrics in unexpected ways, and an unusual verbal and emotional portrait of the time from 9/11 to 11/9.

The translation is accompanied by a series of interpretive essays by the translator. Stein maintains that the Parmenides text is an important poem as well as a philosophical treatise and translates it as such. His Parmenides Project comprises some thirty years of journal writings documenting an extended thought experiment in which he takes seriously Parmenides' assertion that Being and only Being truly is and that all else --all thoughts, intuitions, imaginings, sensations, perceptions, myths, philosophical opinions, by the very structure of seeming must seem to Be. The author contends that this view suggests a practice of mind that corresponds to the culminating focus of many contemplative paths both East and West and is of contemporary interest because it assumes the relativism of much in present day philosophy without falling into abject nihilism.

Poetry. TOKYOATOTO is made of and from a hand-written book composed by the poet Sam Truitt during a 2019 Tokyo sojourn. The writing includes, among other elements, descriptions, impressions, insights into Japanese life and culture and the concrete exigencies of negotiating a foreign land. This last is complicated as Truitt lived in Tokyo for four years from the age of three: Japanese was very close to his first language, as Japan was close to being his first culture. This acts as a backfield to the writing as Truitt both seeks and betimes touches traces of their influence. TOKYOATOTO'S structure is unique in that Truitt seeks to foreground that movement toward originality by reproducing in facsimile the pages of the hand-written book. An engaging, thoughtful and sometimes profound glimpse into contemporary life in Tokyo from a perspective of complicated naivete, TOKYOATOTO is a fast, entertaining poetic tramp full of pratfalls, missed connections, and surrenders in which, as the author writes on a Tokyo subway passage, one senses a web each of us hold together & against & around us like a net knit of civility not docility as there are some faraway landscapes in our mind & in our heart & our bodies are dreaming all of them uniting to listen to the underground hum its magic.

The Western world has become familiar with Tibet through the Buddhist teachings of