I entered without words: Poems (Princeton Series of Contemporary Poets)

An innovative and inviting book of poems about the places where language and landscape converge In this strongly visual and environmentally engaged collection, award-winning poet and translator Jody Gladding explores landscape as a source of language in lyrics that operate as physical acts in three-dimensional space. Composed and printed in a landscape format, these minimal, quiet, playful, meditative, and open-ended poems are experimental in form and inviting in subject. Drawing inspiration from poets like A. R. Ammons, Lorine Niedecker, Gustaf Sobin, and Jean Valentine, and visual artists like Ann Hamilton, Roni Horn, and Cecilia Vicuña, Gladding discovers exciting spatial possibilities within the page itself by exploiting white space and varying typefaces. As the page opens into the compositional field that Mallarmé, Ponge, and others conceived it to be, words constellate around bolded through lines to offer multiple, interwoven meanings, interacting with each other and the reader, who moves freely among them, to make poems that are spatial, nonlinear, and different with each reading. And, adding yet another dimension to the collection, many of the poems have facing-page French versions. "Landscape-oriented" in every sense, I entered without words is an ambitious, innovative, and striking collection by a major poet.

Literature & Fiction

Gladding, Jody

Poetry

Princeton University Press

Review\n"A delicate and dynamic work, one that reaches toward a painterly simultaneity. One can, as the title suggests, enter the poems without words, only to find fields of them scattered across the pages, in spacious formations, at times rippling or craggy, ready to be combined and recombined."---Heather Green, Poetry Foundation\n"Formally innovative. . . . [An] impressionistic, lyric work with an experimental edge." ― Publishers Weekly\n"[An] intriguing new collection. . . . Readers with a taste for experimental poetry will be delighted." ― Seven Days\n"An exciting odyssey through . . . three-dimensional pages, where sparse words make up what looks like gravitational fields."---Susan McCabe, Los Angeles Review of Books\nAn innovative and inviting book of poems about the places where language and landscape converge\nIn this strongly visual and environmentally engaged collection, award-winning poet and translator Jody Gladding explores landscape as a source of language in lyrics that operate as physical acts in three-dimensional space.\nComposed and printed in a landscape format, these minimal, quiet, playful, meditative, and open-ended poems are experimental in form and inviting in subject. Drawing inspiration from poets like A. R. Ammons, Lorine Niedecker, Gustaf Sobin, and Jean Valentine, and visual artists like Ann Hamilton, Roni Horn, and Cecilia Vicuña, Gladding discovers exciting spatial possibilities within the page itself by exploiting white space and varying typefaces. As the page opens into the compositional field that Mallarmé, Ponge, and others conceived it to be, words constellate around bolded through lines to offer multiple, interwoven meanings, interacting with each other and the reader, who moves freely among them, to make poems that are spatial, nonlinear, and different with each reading. And, adding yet another dimension to the collection, many of the poems have facing-page French versions.\n“Landscape-oriented” in every sense, I entered without words is an ambitious, innovative, and striking collection by a major poet.

The first English translation of one of the most significant works of the surrealist movement that looks at the great mythic themes as they appear in both classic and modern literature.
 • Long considered one of the most significant and original books to have come out of the surrealist movement
 • Cites ancient epics, modern poems, creation myths, and contemporary visions of the apocalypse in an active attempt to define the creative flame of the marvelous 
 The Mirror of the Marvelous has long been considered one of the most significant and original books to have come out of the surrealist movement. Anais Nin suggested it as a source of inspiration, far ahead of its time, for would-be authors seeking to break from the realist literary mold. Mabille cites a far reaching assortment of texts, ranging from the classic to the obscure, from the ancient epic to the modern poem, from the creation myth to more contemporary visions of apocalypse. This work defines the flame of the marvelous by showing its presence in those works where it burns the brightest.

Mirror of the Marvelous: The Classic Surrealist Work on Myth

Religion & Spirituality

Mabille, Pierre

New Age & Spirituality

Inner Traditions

Drawn from the environments of northern Vermont and the South of France, the poems in Rooms and Their Airs explore the interface of the human and natural worlds, further eroding that distinction with each poem. The verse here merges subject and object, often giving voice to natural phenomena a vernal pool, a fossil, a beam of light. These poems sparkle with humor, sophisticated word play, and intellectual examination, reflecting an elegant and contagious curiosity about history, language, and the world. Linked poems give voice to garden vegetables while drawing inspiration from the archival illustrations in The Medieval Handbook. A mother and daughter’s trip to see France's cave paintings uncovers living vestiges in prehistoric depictions and reaffirms the enduring nature of art. With this collection, Jody Gladding cements her reputation as the literary heir to A. R. Ammons, Gustaf Sobin, and Lorine Niedecker.

Rooms and Their Airs

MILKWEED EDITIONS *

In this inspired new collection, acclaimed poet and translator Jody Gladding takes the physical, elemental world as her point of inquiry, examining how language arises from landscape, and deriving a lexicon for these poems from the rich offerings of the world around her. In some poems, Gladding steps into the role of translator, interpreting fragments left by bark beetle or transcribing raven calls. In others, poems take the form of physical objects — a rock, split slate, an egg, a feather — or they emerge from a more expansive space — a salt flat at the Great Salt Lake, or a damaged woodlot. But regardless of the site, the source, or the material, the poet does not position herself as the innovator of these poems. Rather, the objects and landscapes we see in Translations from Bark Beetle provide the poet with both a shape and a language for each poem. The effect is a collection that reminds us how to see and to listen, and which calls us to a deeper communion — true collaboration — between art and the more-than-human world.

Translations from Bark Beetle: Poems

Artichoke

Chapiteau Press

Poetry. Deeply invested in landscape, this book operates where landscape and language converge. It opens the page into a compositional field in which words appear as constellations to create multiple, interwoven meanings as they interact with each other and with the reader who moves freely among them, fully participating in the making of poems that are spatial, non-linear, and different every time.

the spiders my arms (The New Series, 86)

Ahsahta Press

See the best price to sell, buy, or rent books by Gladding, Jody. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Gladding, Jody

See the best price to sell, buy, or rent books by Gladding, Jody. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

I entered without words: Poems (Princeton Series of Contemporary Poets)

I entered without words: Poems (Princeton Series of Contemporary Poets)

Mirror of the Marvelous: The Classic Surrealist Work on Myth

Rooms and Their Airs

Translations from Bark Beetle: Poems

Artichoke

the spiders my arms (The New Series, 86)