Here are 100 books that Bright Dead Things fans have personally recommended if you like
Bright Dead Things.
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For my first 18 years, I slept in the same room (opposite my parents) in the same house (116 Monticello Avenue) in the same city (Piedmont) in the same state (CA) in the same country (USA), but soon after leaving for college in Evanston, IL, I pined for elsewhere and ended up peripatetic. That peripateticness plagued me, as a woman/wife/mother. While growing our family, my French husband and I moved: Israel to France to California to New York to Israel to New York to Israel. Finally, in my early fifties, I understood home is more about who you are than where you live.
This book combines compressed prose with nonfiction truth-telling but it isn’t linear or a complete story as much as a snapshot of Fennelly’s childhood, home life, and keen observations.
This book showed me that the quality of writing trumps the quantity of words. Short and sparse, when well written, can find a place on a bookshelf and shine.
The 52 micro-memoirs in genre-defying Heating & Cooling offer bright glimpses into a richly lived life, combining the compression of poetry with the truth-telling of non-fiction into one heartfelt, celebratory book. Ranging from childhood recollections to quirky cultural observations, these micro-memoirs build on one another to arrive at a portrait of Beth Ann Fennelly as a wife, mother, writer and deeply original observer of life's challenges and joys.
Some pieces are wistful, some wry and many reveal the humour buried in our everyday interactions. Heating & Cooling: 52 Micro-Memoirs shapes a life from unexpectedly illuminating moments and awakens us to…
I have been a dance teacher all of my adult life, and a poetry and word-lover even longer. I love the economy of language, immediacy, and the promise of surprise in poetry.
In middle age, I returned to writing just as my body began its slow rebellion, with the added shifts of remarriage and step-parenting a severely disabled son. I went back to grad school and wrote my first book, drawing on the experience of confronting change, just as these recommended poets have done.
Each of these poets has a very different story, but what they have in common outweighs their differences, and because of that we are able to see ourselves in their writing.
I like poetry that teaches me something, and I like how Harjo can teach me about Native American myth and culture (as a member of the Muscogee Nation)in a poem set within the context of something as mundane as an airport.
She expertly threads together the modern with the historical, and the sacred within the ordinary. “Once a woman fell from the sky. The woman who fell from the sky was neither murderer nor saint. She was rather ordinary…”
I am also struck with how Harjo unifies her own unique culture with the shared experiences of all of us, as in: “Perhaps the world will end at the kitchen table, while we are laughing and crying, eating of the last/ sweet bite”.
She draws from the Native American tradition of praising the land and the spirit, the realities of American culture, and the concept of feminine individuality.
I have been a dance teacher all of my adult life, and a poetry and word-lover even longer. I love the economy of language, immediacy, and the promise of surprise in poetry.
In middle age, I returned to writing just as my body began its slow rebellion, with the added shifts of remarriage and step-parenting a severely disabled son. I went back to grad school and wrote my first book, drawing on the experience of confronting change, just as these recommended poets have done.
Each of these poets has a very different story, but what they have in common outweighs their differences, and because of that we are able to see ourselves in their writing.
This collection teaches me as well, by taking me into the experience of growing up in the Black, rural Appalachian South.
The poems are part memoir, as in writing about the experience of her mother visiting her where she lived with her grandparents, “(We) held hands like we thought/mothers & daughters should/but neither of us knew for sure.”
They are also part love song to home-cooking, “Every morning of my childhood, my grandmother, who stood a little/ under five feet tall, donned an apron and cooked breakfast. Slow. Precise./ Deliberate. She equated food with love, and she cooked with both a fury/ and a quiet joy.”
And finally, they are part Black feminist manifesto, “My black body is a boulder, a stop sign. Sometimes i think my body is/ graceful, a song of freedom. Sometimes i think it is something that every/ eye casts away. I must concentrate if i…
"In Perfect Black, Crystal Wilkinson walks us back down the road she first walked as a girl, wanders us through the trees that lined the road where she grew up, where her sensibilities as a woman and a writer were first laid bare. In one of the first poems that opens the collection she is a woman looking back on her life, on the soil and mountains that first stamped the particular sound of her voice and she is deeply inquisitive about how it all fell into place: "The map of me can't be all hills& mountains…
I have been a dance teacher all of my adult life, and a poetry and word-lover even longer. I love the economy of language, immediacy, and the promise of surprise in poetry.
In middle age, I returned to writing just as my body began its slow rebellion, with the added shifts of remarriage and step-parenting a severely disabled son. I went back to grad school and wrote my first book, drawing on the experience of confronting change, just as these recommended poets have done.
Each of these poets has a very different story, but what they have in common outweighs their differences, and because of that we are able to see ourselves in their writing.
This book embraces both the conventional and the campy. Odes is unafraid to take an unflinching look at an aging female body, and when I say “unflinching”, I mean poems like, "Ode to the Hymen" or "Blow Job Ode".
She also addresses conventional subjects in her poems, such as her sister, buttermilk, and the wind. Odes definitely pushes boundaries, but does so with consummate skill, so that you feel both highly literary and a little dirty at the same time.
She doesn’t just talk about obvious body parts, either. In "Ode to Wattles", she writes, “…I love to be a little/disgusting, to go as far as I can/into the thrilling unloveliness/of an elder woman’s aging.”
PULITZER PRIZE WINNER • An intimate collection of poems that “picks up where Stag’s Leap left off, which is to say that it contains some of the best and most ingenious poems of her career.” —The New York Times
Opening with the powerful and tender “Ode to the Hymen,” Sharon Olds addresses and embodies, in this age-old poetic form, many aspects of love and gender and sexual politics in a collection that is centered on the body and its structures and pleasures. The poems extend parts of her narrative as a daughter, mother, wife, lover, friend, and poet of conscience…
My twin passions in life have always been food and writing. While I chose poetry and creative writing as my primary fields of expertise, my ten-plus years of working in restaurants are just as important to who I am. I’m hungry for food writing that takes a more literary or creative approach. Cooking is a highly creative and meaningful act, and I love to see writing that aspires to do for the reader what the dedicated cook does for the eater: to nourish not only the body but the more metaphysical elements of our being, which is to say, our hearts, and maybe even our souls.
I absolutely love it when poetry and food get down together at the table. In discussions of food writing, poetry is almost always left out of the conversation; this collection of poems spanning from Rumi to Joy Harjo seeks to correct that unfortunate omission.
Young’s organization for the book works almost like a carefully composed tasting menu: arranged by season, the poems begin by whetting the appetite, then gradually progress into meatier fare. Keep this cornucopia of foodie verses handy in the kitchen; it’s the secret seasoning you never knew you needed.
Food and poetry: in so many ways, a natural pairing, from prayers over bread to street vendor songs. Poetry is said to feed the soul, each poem a delicious morsel. When read aloud, the best poems provide a particular joy for the mouth. Poems about food make these satisfactions explicit and complete.
Of course, pages can and have been filled about food's elemental pleasures. And we all know food is more than food: it's identity and culture. Our days are marked by meals; our seasons are marked by celebrations. We plant in spring; harvest in fall. We labor over hot…
I am a huge fan of Halloween and love decorating my porch to greet our neighborhood kids. This past year I gave away a couple dozen copies of my own picture books along with candy, which was a huge hit. I live in Baltimore with my family, including my silly, spooky kid, and love animals, especially dogs and horses. This past Halloween, my daughter wanted to dress up as a dentist, of all things, so my husband and I went along dressed up as giant teeth. She never got the irony of asking for candy while dressed as a dentist. We’ll have to wait until she is older for that.
This book is so darn cute! I love the fresh takes on familiar nursery rhymes. I always chuckle when I read the clever new twists (which are only a little spooky). The illustrations are a teeny bit scary, but mostly super cute. When you read this book, you can go all the way through, or just pick one nursery rhyme at a time to chant with the kids.
From "Mary, Mary, Tall and Scary" to "Wee Willie Werewolf," this collection of classic nursery rhymes turned on their heads will give readers the chills--and a serious case of belly laughs. With clever rhyme and spooky illustrations, Mother Ghost is perfect for getting in the Halloween spirit. Boo!
As a Peace Corps Volunteer in Somalia in the late 1960’s I witnessed the upheaval in the society due to the massive changes in government demanded by the Western world. There were so many brave people emerging from this chaos, especially women. There was even a young Somali woman who saved my life. That such strength grows in such circumstances still amazes me. I am honored to bring a few of them to you, and to share a small part of my personal experience in Somalia.
Bashir’s father was Somali, and she is a first-generation American.
Her breath taking poetry echoes her heritage in poems like “We call it dark matter because it doesn’t interact with light.” She doesn’t identify herself as “Somali,” but her heritage is there. Her blackness is there. Her womanhood is there. A jazz trumpet is there. A spinning sky is there.
I watched Somalis as their world began to fall apart. I could only vaguely comprehend the complexity of their emotions, the loss they would feel when they were forced to leave. I doubt that even they did not know what it meant to lose a homeland.
It seems that women need dirt, dirt to grow from, dirt to grow into. When that dirt is snatched from under us, so many of us lose our footing in the world. A few strong women like Samiya Bashir find their footing in poetry,…
Field Theories wends its way through quantum mechanics, chicken wings, Newports, and love, melding blackbody theory (idealized perfect absorption vs. the whitebody s idealized reflection) with live Black bodies. Woven through experimental lyrics is a heroic crown of sonnets that wonders about love, intent, identity, hybridity, and how we embody these interstices. Albert Murray said, The second law of thermodynamics ain t nothin but the blues. So what is the blue of how we treat each other, ourselves, and the world, and of how the world treats us?
I’m Assistant Professor of Religion at Kalamazoo College and my research focuses on the Mahabharata, an epic narrative tradition from South Asia. As an Indian-American kid growing up in suburban Boston, my first introduction to the Mahabharata tradition was from the stories my grandmother told me when she would visit from Chennai and from the Mahabharata comics that she would bring me. Many years later, my friend and colleague Nell Shapiro Hawley (Preceptor of Sanskrit at Harvard University) and I began to work on a project that would eventually become our edited volume, Many Mahābhāratas. I’m excited to share some of my own personal favorite Mahabharatas with you here.
Considered to be the longest poem in the world, the Sanskrit Mahabharata is comprised of around 1.8 million words (for comparison: the combined length of the seven Harry Potter books is barely 1.1 million words). At 928 pages, Mahabharata: A Modern Retelling is by no means a short book, but it does make the massive Sanskrit epic very accessible for general readers. While the Sanskrit Mahabharata is primarily composed in couplets called shlokas, Carole Satyamurti’s masterful retelling is in blank verse, which is the meter of my two favorite English epics: John Milton’s Paradise Lost and Jack Mitchell’s The Odyssey of Star Wars. I also especially love the way Satyamurti presents Karna, the secret elder brother of Pandavas and one of the greatest tragic heroes in world literature.
The Mahabharata, originally composed some two thousand years ago is an epic masterpiece, "a hundred times more interesting" than the Iliad and the Odyssey (Wendy Doniger), it is a timeless work that evokes a world of myth, passion and warfare while exploring eternal questions of duty, love and spiritual freedom. A seminal Hindu text, it is one of the most important and influential works in the history of world civilisation.
This new English retelling, innovatively composed in blank verse, covers all the books of the Mahabharata. It masterfully captures the beauty, excitement and profundity of the original Sanskrit poem as…
I am a neuroscientist best known for my studies and writings exploring the brain basis of consciousness. Trained as a physicist, I was for 27 years a professor of biology and engineering at the California Institute of Technology in Pasadena before moving to the Allen Institute in Seattle, where I became the Chief Scientist and then the President in 2015. I published my first paper on the neural correlates of consciousness with the molecular biologist Francis Crick more than thirty years ago.
An extraordinary gem of a booklet that considers the many ways that four lines of a single poem, composed by an 8th century Chinese Buddhist, have been translated into modern idiom. It is amazing how a mere twenty ideograms, depicting a mountain and forest scene devoid of people, can illuminate the variety and subtlety of consciousness. I recommend the 2016 edition with additional translations.
The difficulty (and necessity) of translation is concisely described in Nineteen Ways of Looking at Wang Wei, a close reading of different translations of a single poem from the Tang Dynasty-from a transliteration to Kenneth Rexroth's loose interpretation. As Octavio Paz writes in the afterword, "Eliot Weinberger's commentary on the successive translations of Wang Wei's little poem illustrates, with succinct clarity, not only the evolution of the art of translation in the modern period but at the same time the changes in poetic sensibility."
As a poet and a novelist, I'm fascinated by the places where these two genres meet, undo each other, and create something new again. That sounds a lot like what love can do, and whenever I read a long poem that achieves a unique aesthetic unity, I feel the writer has found a new way to love the world, to love the reader. And, as usual, both the world and the reader are challenged by that love—to grow.
Poets have many tools at their disposal in their attempt to bring aesthetic unity to a long poem, and C. D. Wright is innovative in her use of imagery and cinematic grammar to do exactly that.
This is a book to be studied for its remarkable ability to convey, in what Auden called “memorable speech,” the beautiful doom of the common heart.
Rebellious and fiercely lyrical, the poems of C.D. Wright incorporate elements of disjunction and odd juxtaposition in their exploration of unfolding context. "In my book," she writes, "poetry is a necessity of life. It is a function of poetry to locate those zones inside us that would be free, and declare them so."
C.D. Wright was born and raised in the Ozark Mountains of Arkansas. She has received numerous awards for her work, including grants from the National Endowment for the Arts, the Guggenheim Foundation, the American Academy and Institute for Arts and Letters, and the Lila Wallace-Reader's Digest Foundation.…
