Category: Literature

Thoreau: Fully Annotated

Walden JacketIn a month, it will have been ten years since Jeffrey S. Cramer published Walden: A Fully Annotated Edition. Cramer has had a prolific and successful decade, editing numerous volumes on Henry David Thoreau and racking up awards and praise. In 2012, radio host Jim Fleming said that Cramer “may know more about the bard at Walden Pond than anyone else alive.” He has earned that reputation, at least in part, on the basis of his annotations.

Cramer has published three fully annotated volumes by Thoreau: Walden (2004), The Maine Woods (2009), and Essays (2013). To begin to understand why these books are “fully annotated” and not merely “edited,” one need only take a quick glance at Walden. Thoreau’s text occupies the half of the page closest to the spine and Cramer’s copious annotations run along the outside. Between the transcendentalist’s prose and the scholar’s commentary, most of the pages are, indeed, completely full. There are only a handful of places where Thoreau’s text proceeds without Cramer’s accompaniment, and rarely for longer than a few paragraphs. Far more commonly, Cramer’s annotations outstrip Thoreau’s chapters.

The fullness of the fully annotated edition comes not only from the volume of the commentary but also from its breadth and depth. Cramer provides the expected historical, philosophical, and geographical contexts for Walden and goes well beyond their bounds. He explains the writer’s puns, calls him on his exaggerations, and knowingly undercuts his more bombastic pronouncements. When Thoreau declares that “Those who have not learned to read the ancient classics in the language in which they were written must have a very imperfect knowledge of the history of the human race,” Cramer chimes in to say that “Although Thoreau could read Greek, he did not always read the Greek authors in the original, but would use Latin, French, or English translations.”[1]

walden_page

Cramer annotates Walden with the care and thoroughness usually reserved for Shakespeare plays or the Bible, and one might ask why the scholar feels compelled to explicate Thoreau so fully. Perhaps it is simply Cramer’s passion that leads him onwards. Most people will expound upon their favorite subject to an attentive audience for hours if given the opportunity. Indeed, some of that spirit comes through in Cramer’s interviews. In 2012, he was asked what three scenes from Thoreau’s life he would include in a biopic. The scholar begins carefully, selecting major life events, but quickly finds himself on a roll, listing scene after scene, finishing with “and— and— how long can we make this movie?”

Benjamin_D._Maxham_-_Henry_David_Thoreau_-_RestoredYet even as Cramer’s interviews imply that his breathless enthusiasm may be the impetus for the full annotations, his introduction hints at a justification rooted in Walden itself. Cramer quotes Thoreau’s claim that “The heroic books, even if printed in the character of our mother tongue, will always be in a language dead to degenerate times; and we must laboriously seek the meaning of each word and line, conjecturing a larger sense than common use permits out of what wisdom and valor and generosity we have.”[2] Thoreau, Cramer argues, is suggesting a way of approaching Walden. To “seek the meaning of each word and line” is precisely the task of the annotator, who identifies the precise significance of each moment. At the same time, the annotator expands the language beyond its common use, and does so with “wisdom and valor and generosity.” Cramer’s wisdom lies in his paramount knowledge of the bard at Walden Pond, his valor in his perseverant attention, and his generosity in the abundance of his commentary. It is in this sense, in fulfilling a need Thoreau himself seems to recognize, that Cramer’s editions are fully annotated.

 


[1] Thoreau, Henry. Walden. 1854. Ed. Jeffrey Cramer. New Haven: Yale University Press, 2004. 101.

[2] Jeffrey S. Cramer. Introduction. Walden. By Henry D. Thoreau. New Haven: Yale University Press, 2004. xx.

Jewish American Heritage Month Features The Glatstein Chronicles

Get the ebook of The Glatstein Chronicles for only 2.99 via Open Road Media this Jewish American Heritage Month!

 

In 1934 and with World War II steadily nearing, Jacob Glatstein, one of the most prominent Yiddish-language poets of his time, boarded a ship from the United States to visit his dying mother in his hometown of Lublin, Poland. It is this trip that serves as the basis for the two novellas of autobiographical fiction comprising The Glatstein ChroniclesTold from the first-person perspective of Yash, The Glatstein Chronicles highlights the decline of an entire community through the lens of international Jews in the years leading up to World War II. Book One, “Homeward Bound” details Yash’s observations of his fellow passengers’ political and social leanings over the course of his journey. Glatstein combines childhood memories of violent pogroms in Poland with commentary on escalating anti-Semitic sentiment in Europe to highlight the resilience of the Jewish people and their ability to remain united as a collective group in the face of growing hostility.

In book’s second half, Glatstein reveals the true matter at hand, once again through the experiences of others: the utter despair and seeming lack of hope that must be endured by the Polish Jewry in an environment almost wholly overtaken by anti-Semitism. The Glatstein Chronicles’ importance lies not only in its ability to shed light on the Jewish experience in the years leading up to World War II, but also in its prescience, foreshadowing the imminent horrors of the Holocaust Jews had yet to face at the time of the novellas’ publication.  At the end of Book Two, “Homecoming at Twilight,” before his return to the United States, Glatstein reflects:

Even my mother’s death seemed to coincide oddly with the downward movement of my own life, and all this was in step with Jewish life as a whole, maybe even with the twilight now settling down over the whole world.

Although fraught with anguish and hopelessness, The Glatstein Chronicles serves as “a filial homage to Polish Jews,” offering hope, a hope rooted in the notion that solidarity with one’s community is the most crucial to enduring harship.

This month is the perfect time to explore the life of Yash Glatstein and the experiences of the Polish Jew through The Glatstein Chroniclestranslated by Maier Deshell and Norbert Guterman and part of Yale University Press’s New Yiddish Library series.

JewishHeritageMonth_socialgraphic_600x320_Glatstein

Wilfred Owen: WWI’s Peter Pan Poet

My friend, you would not tell with such high zest

To children ardent for some desperate glory,

The old Lie: Dulce et decorum est

Pro patria mori.

– from “Dulce et Decorum Est” (1917)

Wilfred OwenAs a fourteen-year-old boy, Wilfred Owen wore a crest that combined a globe with a cross, and underneath ran the motto “To Observe the World.” Guy Cuthbertson, author of the new biography Wilfred Owen, writes that this crest could have served Owen as a badge for life. Owen led a short life but was constantly on the move. As a child, he lived near the Welsh border in Oswestry, Shropshire, before moving back and forth between Birkenhead near Liverpool and Shrewsbury. As a young adult, he spent time in Dunsden, Reading, and London before leaving for the Continent. Despite having moved around a lot, Owen’s tight-knit relationship with his mother provided him with emotional stability throughout his life.

Unlike her husband, Susan Owen encouraged his interest in poetry. In her youth, she wished to become an artist, but her dreams were crushed by her difficult living circumstances. Neither a starving artist nor a well-off gentleman, Owen also struggled with his lower-middle-class socioeconomic status that prevented him from pursuing higher goals. He grew up without a nanny, a boarding-school education, and without a comfortable home. He had little money to travel and socialize with fellow artists and cultured society. And he could not go to university because he could not afford the school fees and did not have high enough grades to qualify for scholarships (which he bitterly blames on the fact that he had to work so hard outside of school at his jobs). His dream of following his literary predecessors’ footsteps to Oxford was never realized.

He did study English and botany at University College, Reading, but in the end Owen provided himself with the literary education he sought. He had a deep devotion to poets of the past, such as Keats, Shelley, and Tennyson. Cuthbertson writes that Owen felt closer to dead writers than to living people; according to Owen, Keats’ home in Hampstead was “one of London’s most holy spots.” In general, he loved being in London because of its wide range of cultural offerings and because he got the sense of being somewhere necessary, somewhere where it all happens and where he can walk the same streets as great men of yore.

Similar to the titular character in Chateaubriand’s René, Owen felt he was born in the wrong era. His head was in the 20th century but his old soul wandered in the worlds of centuries past. If the present was ugly, Owen would find happiness in the past, an attitude that differed from the Victorian emphasis on Progress and the future. But the real world around him was also on the cusp between the old and the new. During Owen’s childhood in England, the motor car was a rare sight, horses still plowed the fields, and planes did not yet adorn the night sky (Owen would see his first plane in 1912). It was not until he left to teach English in Bordeaux that he managed to enjoy a life more similar to the one he dreamed of, even if it meant fabricating aspects of his identity to mesh with the social and cultural elite of the area.

Wilfred Owen was not a man for fighting in the trenches and facing the horrors of World War I. But ever the poet since childhood, Owen grew up intensely aware of the visual beauty of war and how it was a source of inspiration to many writers. However, Cuthbertson emphasizes that Owen was not naïve about the realities of war and had been previously exposed to war and death: he ministered to the sick and dying in as a lay assistant in Dunsden, he had seen wounded soldiers while living in Bordeaux, and he participated in military training for a year before being sent to the Front. He put off enlisting for some time because he knew, unlike many young lads his age, that war was not all about exciting heroics. Eventually, Owen joined the Artists’ Rifles in October 1915, a Special Forces regiment of the British Army Reserve that comprised of creative types and those from a public-school/Oxbridge background. While in the trenches in France, he felt a need took an archaeological approach to writing about the War and his poetry reflects a keen sensual understanding of the violence that surrounded him. He met a tragic end, dying on one of the last days of the First World War, at just 25 years old, and his family was informed of his death on Armistice Day. It is indeed very sad for such a young talent to leave us so soon, but given that Owen never wanted to grow up and had a fear of growing old, one might say that he would appreciate the pathos to his death.

Cuthbertson’s narrative feels very up to date with contemporary references to help readers understand World War I’s famous poet. He compares Owen to fellow Scouser John Lennon because of their mutual roots near Liverpool while also comparing him to Humbert from Lolita because of his deep interest in young children. Despite making these comparisons, Cuthbertson ultimately demonstrates that Owen is hard to define. He always tiptoes on the border of being something different. While born in England to an English family, his connections to Wales and Welsh culture had some wondering whether or not he could considered a Welsh poet. While raised in an evangelical Christian family, Owen was so enchanted by the art of Catholicism that some thought he perhaps became a Catholic in secret. His sexuality also remained less than clear; Owen expressed an admiration for certain young men and women, but many admirers thought him to be almost sexless.

Even in death, Wilfred Owen’s identity is still a mystery, still constantly in motion. Like Peter Pan, Owen never grew old in his own life nor in our imaginations.

Q&A with Eryn Green, the 2013 Winner of Yale Series of Younger Poets

Eryn Green_

Happy National Poetry Month! Check out the new site, Youngerpoets.org!

 

Yale University Press had the pleasure of interviewing Eryn Green, whose collection, Eruv, won the Yale Series of Younger Poets competition in 2013; his book is out this month. Here, we discussed about the life of a poet and the relevance of poetry in today’s modern society. Visit the new Yale Series of Younger Poets website for more information on the history of the prize, published books, and of course, our illustrious list of poets.

 

Yale University Press: What prompted you to start writing? And why poetry in particular as opposed to prose?

Eryn Green: I’ve been writing since I can remember. I recall walking upstairs and explaining to my parents very calmly that I wasn’t going to be able to make it to dinner because I was “really on a roll” with a story I was writing about a guy who waits his whole life to go to outer space, but misses his rocket ship to Mars because he’s kind of OCD and has to arrange everything in his house a certain way or else he’s sure the rocket will crash. I was 8-years-old. So, the impulse has always been there. But I began writing poetry in earnest in college, after years of fiddling with it, after taking writing workshops with some amazing teachers and meeting a mentor and really finding my chosen family of friends in the writing community at the University of Utah. I realized poetry was as much about what I wrote as it was about how and with whom I was writing. I knew this was what I wanted to do immediately.

 

YUP: What or who are your primary sources of inspiration?

EG: My friends and family, first of all. I am intensely lucky to have so many gifted writers around me every day—from my talented partner Hanna Andrews and the library of excellent work that has come out of Switchback Books and Coconut Books over the last handful years, to dear friends from Utah and Denver like Nathan Hauke, Kirsten Jorgenson, Geoff Babbitt, Stacy Kidd, Shira Dentz, Kathryn Coles, Brenda Scieczkowski, Chris Kondrich and Sam Knights, all of whose work slays me. Denver at this moment is a really terrific place to be a poet—we have an amazing community centered around the various creative writing programs in the vicinity and the flourishing small-press scene building along the Wasatch Front. All of that stuff helps keep me inspired. I also am a big fan of the forest and the national park and the humble bog.

 

YUP: How would you describe your overall process as well as your day-to-day writing schedule?

EG: Well, I have a very tiny 4-month-old baby girl, so my day-to-day writing schedule changes day-to-day. Which, as it turns out, isn’t such a big deal—actually, it fits right in with my long-standing general approach to writing. I write in a journal, nothing ever finished, usually scribbling just small jots and tittles, and then I return to my notebooks later as a kind of source of compost and inspiration. I try to keep the process of writing a poem low-stakes as much as I can—I try to recognize my work within the broader scope of my life and the life of the universe, which sounds hokey, but is true. The stars and the sun make writing easier—if I don’t write a poem today, does anything suffer? No, assuredly not. The sky is still there, the ground is still there, the birds still know intuitively exactly when to strike up the band. Things remain well underway. So, writing for me is a way to recognize the larger conditions of things, and my place therein, and in this thinking writing a poem is inherently a moment of joy.

 

YUP: Which audience (if any) do you have in mind when crafting your work?

EG: It’s an interesting question. On the one hand, I live and work in a community of writers, many of whom I share my work with regularly. So, my friends are on my mind. But more conceptually, really, I think about writing as a kind of prayer—what is the audience for a prayer? It’s not God, exactly—and it isn’t just emptiness. It is some kind of point in-between, a flickering intelligence inside of space that I imagine—that’s who /what I figure is giving me the material in the first place, and so that is with what/who I often imagine myself writing to.

 

YUP: How many rejections did you receive before your first published poem?

EG: So many. Like, tons. Who even knows. An amount only measurable in bulk mass.

 

YUP: What is your reaction to rejection? How do you internalize that experience?

EG: Initially it was terrible, because I felt like I was up against an impenetrable wall of insider knowledge I didn’t hold. But, it turns out, I was just writing bad poems. Once I got a couple of poems accepted to journals, the still-constant slog of rejection became less intimidating and more motivating. My general reaction to rejection today is opening a beer.

 

YUP: How do you know when your work is “finished”? Do you find yourself editing work that you deemed complete a long time ago?

EG: I suspect that all writers are somewhat bad at this, but I know myself that I am never sure when a poem is over—perhaps a reason I write so many serial works. I think one of the jobs of the poet is not to dictate to the poem what its shape or content or exact parameters are going to be, because it’s a little tyrannical and anyone can learn how to execute this kind of poetry-by-way-of-rote-equation. No, a big part of being a poet is learning how to look and listen more carefully to the subject underhand, to become evermore attentive to your circumstances and the work that is revealing itself this moment in your writing. You know a thing is finished when it says it is.

 

YUP: Mark Edmundson wrote an article for Harper’s last summer, claiming that American poetry is in decline. Do you see this as real problem in today’s literary landscape?

EG: The first thing to say—and this is not said nearly often enough in the discussion of contemporary poetics—is that poetry itself cannot decline. Not in America nor on the Continent nor in the Southern Hemisphere nor Antarctica. This is why we come to poetry in the first place: it is beyond us. In the same way that matter cannot be created or destroyed, merely transferred, poetry—the substance of the thing, that which we are all working to translate and record in our poems—is an inexhaustible natural resource. It is of the world, of the universe, and can no more decline than can the cosmos. So this brand of newspaper doom-saying is just bluster, and it feels comically curmudgeonly. We do not have to worry about poetry. That recognition alone is more liberating as a poet than I can possibly articulate.

That being said, in direct answer to your question: no. Decidedly no. The poems coming out of America today are not declining in quality. Indeed, as it’s been said time and time again, the amazing proliferation of high-quality, experimental small presses publishing the work of an increasingly diverse range of poets makes this day—today—the most exciting time imaginable to read and write poetry. So you say you don’t like poetry? What kind of poems do you mean—we have other examples to show you. You say that the work was better in days gone by? Well, who knows. But there is certainly more poetry available now than ever before, in addition to all that came before, and while that might amount to a few stinkers here and there, in large it means a deeper and more satisfying literary landscape through which to saunter. We should be happy everyone isn’t Robert Lowell.

 

YUP: What would be your advice for young poets or potential writers who are timid to dive into the process and don’t know how to start.

EG: Start. If you don’t know where to start, take John Cage’s advice and “Begin Anywhere.” Honestly. Start reading the winners of the prizes you care about—start checking out the work of different poets working in different parts of the country, affiliated with different schools and literary movements—start sending your work
to recipients that might be sympathetic, even if it isn’t an official contest period. Maybe people will just be happy to see your excellent work. Worst case scenario, they won’t be. Regardless, you’ll be better for getting it out into the world.

 

YUP: Attention spans are deteriorating and we’re allegedly moving towards a post-literate society; why do you think poetry remains relevant today?

EG: Poetry is the rare form of art or literature that rewards equally on the smallest level—the music of the phoneme, the word, the line—as it does on the level of the whole work. So, even if attention spans are getting shorter, poetry is still able to impart valuable experiences and lessons to readers. Poetry packs a big punch in a variety of small packages; you can get something out of a poem at almost any juncture. This is not to speak of the wealth of cool poetry that is directly wed to the internet and web-based technologies, which is a big wealth, a richness, all of which ought to be right in the wheelhouse of 21st century inclinations. Despite the popular move away from reading and the interruptions of modern living, poetry remains a really powerful way to remind people they are human and that life is beautiful and hard and worth paying real attention to. Poetry touches on that which is shared in common.

 

Eryn Green is the author of Eruv, winner of the 2013 Yale Series of Younger Poets prize. He recently received his Ph.D. in creative writing from the University of Denver and holds an MFA from the University of Utah. His work has appeared in Jubilat, Colorado Review, Painted Bride Quarterly, and elsewhere. He lives in Denver, CO.

Celebrate National Poetry Month with YUP

View our 50% Off Selection of National Poetry Month Titles for e-newsletter subscribers!

April is National Poetry Month, and Yale University Press has been excited to celebrate with new titles dedicated to the art of verse and a handful of paperback releases from our Margellos World Republic of Letters series.

 

After last month’s announcement of Ansel Elkins as our 2014 winner, we are delighted to showcase the work of last year’s Yale Series of Younger Poets winner Eryn Green with our release of his collection, Eruv. As Carl Phillips, judge of the last three competitions, and chancellor of the American Academy of Poets notes, Eruv “reminds us how essential wilderness is to poetry—a wilderness in terms of how form and language both reinvent and get reinvented.” Holding both a PhD from the University of Denver and an MFA in Creative Writing from the University of Utah, Green has published an essay in Esquire, and his poetry has appeared in JubilatColorado Review, and Painted Bride Quarterly, among other publications. Eruv is now available in paperback and a cloth limited edition. You can read a Q&A with Eryn on our blog and be sure to visit the new Yale Younger Poets website!

 

 

Kiki Dimoula; Photo Credit: Michalis Anastasiou

 

Kiki Dimoula is one of the most highly regarded names in the canon of Greek contemporary poetry. She is a recipient of the European Prize for Literature and a full member of the Academy of Athens, to which only three women have ever been inducted. Now available in paperback, The Brazen Plagiarist, translated by Cecile Inglessis Margellos and Rika Lesser, selects poignant poetry comprising her immense oeuvre and highlights the beautiful verse, which according to poet Yves Bonnefoy, is reminiscent of “reflections of a cloudy sky in earthly words.”

 

 

Dante, the medieval Italian poet fondly known as the “Father of the Italian language,” is probably most well-known for his epic poem The Divine Comedy. In hopes of being able to examine the poet and the social climate of his time through the lens of The Divine Comedy and Dante’s other minor works, Open Yale Courses is offering “Dante in Translation,” taught by Giuseppe Mazzotta, Sterling Professor of the Humanities for Italian at Yale and specialist in medieval literature. Mazzotta’s Reading Dante situates the writings within the poetic and political context of the late Middle Ages while exploring the poltical, philosophical, and theological issues at the forefront of Dante’s mind, including the relationship between ethics and aesthetics, love and knowledge, and exile and history.

 

 

While some of our readers may be somewhat familiar with Kabbalah and some not at all, we aim to expand your consciousness of the subject with the paperback publication of The Poetry of Kabbalah:  Mystical Verse from the Jewish Tradition, translated and annotated by Peter Cole. The compilation, the first in the English language examining Jewish mysticism, spans over 1,500 years of Kabbalistic tradition. A 2007 MacArthur Fellow and founder of Ibis Editions, a small literary press in Jerusalem dedicated to publishing overlooked works in the languages of the Levant, Cole has been praised for his talent for transforming poems “long regarded as untranslatable” into English translations that “retain the subtleties, complexities, and formal elegance of the original verse.” His elegant treatment of the sacred texts in this work is reflected even further by his translation philosophy, which dictates that he regard language as “sacred, or a reflection of the sacred,” describing his care of language as a moral and metaphysical act.

 

Just as Peter Cole has brought to light the tradition of religious verse, so do Jay Hopler and Kimberly Johnson, editors of Before the Door of God: An Anthology of  Devotional Poetryin which Hopler and Johnson follow the development of devotional poetry throughout history, tracing it back to the very origins of poetry in English. Focusing on the works more as “literary artifacts rather than spiritual exercises,” Johnson and Hopler showcase a range of poetry from sixteenth-century hymnody to the contemporary poetry that both adopts the devotional posture and reflects the widening influence of non-Christian traditions in the Anglophone canon. As the editors explain in the anthology’s preface, “This anthology brings together some of the finest poems of the Western literary tradition and does so with the hope of generating a conversation—not just among scholars, artists, and academics, but among readers generally—about the relationships among literature, history, and the idea of the spiritual.”

 

We invite you to read and share the works of poets and their translators in our Margellos World Republic of Letters series, featured in our WRLbooks sampler celebrating National Poetry Month!

Q&A with Will Schutt, the 2012 Winner of Yale Series of Younger Poets

Will-Schutt-Photo_smHappy National Poetry Month! Check out the new site, Youngerpoets.org!

 

Yale University Press had the pleasure of interviewing Will Schutt, whose collection, Westerly, won the Yale Series of Younger Poets competition in 2012 and was published last spring. Here, we discussed about writing poetry and the relevance of poetry in today’s modern society. Visit the new Yale Series of Younger Poets website for more information on the history of the prize, published books, and of course, our illustrious list of poets.

 

Yale University Press: What prompted you to start writing? And why poetry in particular as opposed to prose?

Will Schutt: I had good teachers, bookish parents, and a brother who was a great talker. I have never been a great talker, yet I have always felt an urgency to express myself. I tried drawing, but I was no good at drawing. I tried acting, but I was too shy to perform. When I wrote prose, I had no gift for storytelling. That’s not to say that poetry was my last resort, but it turned out to be the best means of articulation at my disposal.

 

YUP: What or who are your primary sources of inspiration?

WS: Good books, a room with a view, my wife’s curiosity.

 

YUP: How would you describe your overall process as well as your day-to-day writing schedule?

WesterlyWS: I write early in the morning, when I have the feeling that I don’t owe anyone anything yet, that I only have myself to answer to. I’m not sure there’s an overall process to speak of. As with soup, you keep stirring and tasting, stirring and tasting. Writing the poems in Westerly largely consisted of unearthing a pattern in an idea or experience (real or fictional). Pattern, after all, is pleasure. But there is pleasure in variation too. More and more often I find myself beginning with a formal pattern or turning over a particular word—ferry, carnival, wishy-washy, etc.—and figuring out how much I can deviate from the pattern or word’s associative meanings without giving way to chaos.

 

YUP: Which audience (if any) do you have in mind when crafting your work?

WS: Usually I do not have an audience in mind. Occasionally I wonder what certain writers I admire would think. Once in a blue moon I worry about what someone who isn’t a native speaker of English might make of my work.

 

YUP: What is your reaction to rejection? How do you internalize that experience?

WS: “They don’t know genius when they see it.” Or “They’re absolutely right. It’s crap.”

 

YUP: How do you know when your work is “finished”? Do you find yourself editing work that you deemed complete a long time ago?

WS: It is a good sign if I have surprised myself, if I have landed somewhere I hadn’t set out to land originally. I try to exhaust a poem’s possibilities and then work backward to see if everything in the poem is essential. I do return to work I had thought was finished, oftentimes with the result that I rip the poem up and repurpose a few lines.

 

YUP: Mark Edmundson wrote an article for Harper’s last summer, claiming that American poetry is in decline. Do you see this as real problem in today’s literary landscape?

WS: No, I don’t. I don’t even think Edmundson’s criteria for great poetry—that is, if I remember correctly, poetry that is more “public”—fits my own criteria for greatness. I come across plenty of ambitious, inspired American poetry of the moment. Poetry continues to change and sometimes people get off on sounding poetry’s death knell whenever it doesn’t resemble the model they’ve established for it.

 

YUP: Attention spans are deteriorating and we’re allegedly moving towards a post-literate society; why do you think poetry remains relevant today?

WS: I currently teach modern and contemporary poetry to high school students who prove to me on a weekly basis that poetry has hardly lost its relevance. It continues to be an antidote to deteriorating attention spans, to the manipulation of language, to deadening language, to dullness period. 

 

Will Schutt is the author of Westerly, winner of the 2012 Yale Series of Younger Poets prize. A graduate of Oberlin College and Hollins University, he is the recipient of scholarships and fellowships from the Gilman School, the James Merrill House, the Sewanee Writers’ Conference and the Stadler Center for Poetry at Bucknell University. He was recently awarded the Jeannette Haein Ballard Writers’ Prize. His poems and translations have appeared in Agni, FIELD, the New Republic and elsewhere. He currently lives with his wife in Baltimore, Maryland. More information can be found at his website: www.wschutt.com.

Our Texts are Palatial: Words from Amos Oz and Fania Oz-Salzberger

Jews and Words is a book that celebrates the written word with a very particular voice that grew out of a lifetime of father-daughter conversations between co-authors Amos Oz, and Fania Oz-Salberger. As Martin Peretz of the Wall Street Journal noted, “You cannot get the taste of this book, let alone its essence, without reading it.” It seems natural to let Amos and Fania’s words speak for themselves.

jewsandwords_palatialtexts_2

Amos and Fania’s interviews with NPR and i24 News provide another glimpse into their ongoing dialogue about the Jewish literary tradition. Hear in their own words what it means to be Jewish atheists, how the words “Jews” and “readers” can be interchangeable, and how Jews grew uniquely dependent on words.

npr-books-logo-color i24logo podcast-logo1

For more from Amos and Fania, listen to their conversation on the Yale Press Podcast with John Donatich and like Jews and Words on Facebook.

Oz_fb

Marsha Norman Selects Serial Black Face by Janine Nabers as Winner of the 2014 Yale Drama Series

Pulitzer Prize winner Marsha Norman has selected playwright Janine Nabers as the winner of the 2014 Yale Drama Series for her play Serial Black Face, chosen from 1638 entries from 41 countries.  As winner of the competition, Serial Black Face will be published by Yale University Press, receive a staged reading at Lincoln Center Theater’s Claire Tow Theater, and Ms. Nabers will be presented with the David Charles Horn Prize, a cash award of $10,000.

This year’s runner-up is Meny Beriro for Excellent Souls; honorable mention goes to Adam Szymkowicz for Rare Birds.

In Serial Black Face it’s Atlanta 1979. A serial killer is on the loose and a single black mother’s relationship with her young daughter grows more hostile when a handsome stranger enters their lives.


“I was very pleased to judge the 2014Yale Drama Series, the writing competition established by Francine Horn to honor her husband David Charles Horn,” says Marsha Norman.  “Janine Nabers is an extraordinary writer–powerful and funny and brave.  This work is unsettling to read, but even as you read it, you know it is true.  The crackling dialogue and the unswerving honesty are beautiful to experience.  The character of Vivian will always be with me now.  I am eager for Serial Black Face to have the production it deserves.”

“I am incredibly honored by this prestigious award,” says recipient Janine Nabers, “and I’m humbled to be included in a long list of fearless and undeniably talented writers.  Serial Black Face is a play inspired by events surrounding the Atlanta Child Murders and tackles a time in America that has been gravely overlooked.  I’m happy that this award can give voice to that time. To be a recipient of the Yale Drama Series Award is a privilege.”

Francine Horn, president of the David Charles Horn Foundation, says, “We are thrilled to be honoring Janine for her powerful, timeless play.  And we send our thanks to Marsha and her team of readers on their fortitude and dedication to read over 1600 entries.”


Nabers photo with credit embedded

Janine Nabers is currently the 2013-2014 Aetna New Voices fellow at Hartford Stage. Her plays include Annie Bosh is Missing, Welcome to Jesus, A Swell in the Ground, the book to the Sylvia Plath / Ted Hughes musical Mrs. Hughes and the book to the Kate Nash / Andy  Blankenbuehler musical Only Gold. Recent awards include: the 2013 NYFA playwriting Fellowship,  the 2012 New York Theatre Workshop fellowship and the 2011 Page 73 Playwriting Fellowship. Janine is currently a member of MCC Playwrights Coalition and the Dorothy Strelsin New American Writer’s Group at Primary Stages. She is an alumna of Ars Nova Play Group, Soho Rep Writer/Director Lab, the Dramatist Guild Playwriting Fellowship, the MacDowell Fellowship, and the 2010 and 2011 Sundance Theater Program.  Currently Janine is working on commissions from Playwrights Horizons, Hartford Stage, and The Alley Theatre.

Marsha Norman won the Pulitzer Prize for her play, ‘night, Mother, a Tony Award for the book of The Secret Garden, and numerous other prizes and awards for her other work off and on Broadway, which includes the musicals The Color Purple, The Trumpet of the Swan, and the current The Bridges of Madison County.  For the last twenty years, she has been Co-Director, with Christopher Durang, of the Lila Acheson Wallace Playwriting Program at the Juilliard School.  She is a former Vice-President of the Dramatists Guild of America and a founder of The Lilly Awards.

Now in its eighth year, the Yale Drama Series is an annual international open submission competition for emerging playwrights who are invited to submit original, unpublished, full-length, English language plays for consideration.  The Yale Drama Series is funded by the David Charles Horn Foundation. Marsha Norman served as the sole judge of the 2013 and 2014 competitions.  Past judges, who have each served a two-year term are Edward Albee, David Hare, and John Guare.

British playwright Nicholas Wright has been named the judge for the 2015 and 2016 Yale Drama Series Award.  Wright opened and ran the Theatre Upstairs at London’s Royal Court Theatre; was joint artistic director of the Royal Court; and is a former literary manager and associate director of the Royal National Theatre.  Born in Cape Town, South Africa, he was a child actor who studied at the London Academy of Music and Dramatic Art.  He has written over 30 plays, libretti, and screenplays, including  Vincent in Brixton,  Mrs. Klein, and Traveling Light, which have been performed all over the world from London’s Royal National Theatre, Royal Shakespeare Company, and Royal Court, to Broadway by New York’s Lincoln Center Theater.

Submissions for the 2015 Yale Drama Series Award will be accepted no earlier than June 1, 2014, and no later than August 15, 2014.  For complete competition rules, please visit www.yalepress.yale.edu/yupbooks/drama.asp.

And the 2013 NBCC Biography Award Goes to… YUP Author Leo Damrosch!

In January, the National Book Critics Circle announced their annual award finalists for the 2013 publishing year. Among those honored for book reviewing, lifetime achievement, and books published in a myriad of categories is Yale University Press author Leo Damrosch, whose book Jonathan Swift: His Life and His World is a finalist in the biography category. Already selected as a New York Times Notable Book of 2013, the book was highlighted appreciatively by Marcela Valdes with a podcast for the NBCC’s “Critical Mass” blog, discussing each of the 30 book award finalists in turn. And last night several nominees read from their works.


Listen to Damrosch’s Yale Press Podcast interview with YUP Director John Donatich on iTunesU!


Tonight’s NBCC award ceremony is free and open to the public. Congratulations to Leo Damrosch for this prestigious nomination, and congrats to all of this year’s finalists from Yale University Press!

March 14, 2014 Update Damrosch is the recipient of this year’s NBCC Award in Biography! See our updated photo gallery below!

This slideshow requires JavaScript.

Extraordinary Stories of Everyday Lives

Get the Kindle Edition of Everyday Jews for only $1.99 in March 2014

 

Everyday JewsEveryday Jews was first published in Poland in 1935 by Yehoshue Perle in an attempt to document the daily experiences of Polish Jews. It is a story of love and sex and spirit, a beautiful testimony to a strong and enduring people. Although originally chastised as crude, the novel quickly became a canonical work in explaining this time period. Although the story’s narrator, Mendl, is only a child, this work catalogs the intricate lives of Polish Jews. As he works though the stuff of twelve-year-old boys – puberty, sexual identity, family drama –the world around him also drastically changes. The result is a complex, interwoven tale told in a simple and precise tone, which is neatly captured in this translation.

Perhaps even more important than the book’s characters is its incredible sense of prehistory. Published just before the outbreak of the war, Perle’s text speaks to the experience of Jewry before the Holocaust. The Holocaust’s omnipresence can be felt throughout, a terrible foreboding of what is to come. And yet, this is still a story of hope, built on the believe that sharing a cultural history is of the utmost importance. Yehoshue Perle’s slice-of-life fiction provides a resonating voice to this population.

In his introduction, editor David G. Roskies writes:

We now offer Everyday Jews to the English reader is Maier Deshell’s masterful translation… Whether looking for vanished Jews or for a window into the everyday, the English reader will here – for the first time – discover a modern master. This is no everyday occurrence.

This March is the perfect time to explore the life of Mendl and the history of the Polish Jew through Everyday Jews, translated by Maier Deshell and Margaret Birstein and part of Yale University Press’s New Yiddish Library series.