The Difference between Night and Day (Yale Series of Younger Poets)

Literature & Fiction

Ramke, Bin

Poetry

Yale University Press

The seventy-third volume in the Yale Series of Younger Poets presents poems which explore every part of the self, openly inviting readers to experience as much of the poet's sensibility as can be located and revealed

The Difference Between Night and Day

Yale Univ Pr

The Language Student

Louisiana State Univ Pr

Bin Ramke directs the writing program at the University of Denver. He is the author of The Difference Between Night and Day and White Monkeys, and edits the Contemporary Poetry Series for the University of Georgia Press.

The Language Student: Poems

Massacre of the Innocents is the work of a secular poet who admires the basic texts - the angry qualities of fairytales equally along with the humorous virtues of sacred scriptures. Speaking with the voice of mature accomplishment, Ramke's poems do not struggle for their words but release them from a near-inexhaustible source. As Ramke has said, "Poems are like children and have minds and manners of their own, luckily beyond the control of parents and poets." These poems talk back and they talk to each other. By stripping away the distractions of received meaning from the words he uses, Ramke makes the necessary connection between reader and poem that can freshen meaning - make it new - as is often claimed for poetry but seldom achieved so well as in his work.

Massacre of the Innocents (Iowa Poetry Prize)

University Of Iowa Press

Throughout Bin Ramke's book of poems, certain elements recur insistently: birds and boyhood, betrayal, and longings that careen between flesh and faith. The poet does not pretend to offer wisdom but instead offers words.

Wake (Iowa Poetry Prize)

Like the ancient medical text by Hippocrates that gives this book its title, Airs, Waters, Places looks with intensity and purpose at the elemental world to understand the possibility of an expanded notion of health in an often disconnected and disconnecting social order. In the poet's words, To call language a nervous system might be useful: if each sentient being is analogous to cells within the organism, language is analogous to the nerves as well as the messages sent along those nerves. There is, there, if not eternity, at least delusion. This is a book of various appetites in constant motion.

Airs, Waters, Places (Kuhl House Poets)

Attempts to reach the moon, metaphorically and otherwise, are an ancient element of human imagination. With intrusions from mathematics and science, these poems are elegiac celebrations of various ambitions that miss the mark, but matter anyway. The poems sometimes center on events in the life of the poet or members of his family; sometimes on the geography, geology, and the histories accrued by local communities, human and otherwise; sometimes they center on historical figures reimagined―from Giacinto Scelsi to Alan Turing. But these poems are always about boundaries and barriers, crossed sometimes, ignored at peril. They are about distances that must be travelled.

Missing the Moon

Omnidawn

LIGHT WIND LIGHT LIGHT engages a childhood among rivers, takes steps into the river-like world at large, and then turns to (hopes for) metamorphosis. Transitions are marked with primitive signs, such as the visual dimensions of number―a concern that keeps arising as the poems ask how abstractions differ from matter. Light and transparency figure in every poem in this book, while the book as a whole deals with memory as fluid, transitory, illuminating. An illusion.

LIGHT WIND LIGHT LIGHT

Poems that personally engage with the materiality and danger of earth.\nA kind of translation of the thousand-year-old poem “Earth Took of Earth,” this book is an attempt to restate in personal, emotional terms a sense of both the danger of and the consolation given by earth itself. Many of these poems arose during a collaboration with the ecologist-ceramicist Mia Mulvey: her work with earth, clay often extruded through digitally guided machinery, echoes Ramke’s attempts to understand damages done to and celebrate the facts of earth—for instance, that geosmin, the scent of wet soil, is so powerfully recognizable even in trace amounts. The title of this book is also a play on the phrase “heaven on earth,” turning this idea around and encouraging us to instead turn our hopes toward earth on earth.

Earth on Earth

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Books by Ramke, Bin