The poems in this collection explore social and ecological struggles, personal and public nostalgia, family and solitude and seek to balance it all with hope. Grant Clauser is the author of four previous collections and has won the Cider Press Book Award and the Dogfish Head Poetry Prize. He lives in Pennsylvania where he works as an editor and writer and also teaches poetry at Rosemont College. These finely crafted, deeply evocative poems written with a tenderest heart, questioning mind, and an acutely observant eye, invite us to join the speaker on a trek across history, across intimate landscapes of relationships, human and animal courage, love and grief, global brokenness, and unexpected grace. - Doris Ferleger, author of Leavened and As the Moon has Breath Whatever the topic of his luminous poems--family, nature, childhood or fly fishing--to name a few, Grant Clauser knows that are all related. It is this understanding and wonder that undergirds these poems. Whether the characters in this book "smash atoms/ into each other/ trying to find god" or tie flies because "water is music/ I want to stand in," these poems reach for the place where the known world meets the realm we sense but cannot know. Grant Clauser is a poet who knows the importance of vision, both in the sense of observing what is around us and in being attuned to the worlds to come. "Trust me, this is the world we deserve," Clauser says. We will be more deserving of this world if we heed these wise and luminous poems. - Al Maginnes, author of The Next Place and Music From Small Towns
Translated by Younshil Cho The poems in this book, by the way they speak to all parts of our minds, invite us to come alive and experience each movement, each emotion and action, and some statements therein, intuitively and aesthetically. This is about a Korean man’s everyday life in the milieu of contemporary America; his struggle to find meaning in his immigrant life, in his vocation as a medical doctor, and to grow as a poet, a high calling for him. Weaving through personal narratives with the backdrop of historic events both domestic and foreign, he reaches a moralist’s viewpoint, as he searches for a right way to live. Equally excellent in lyric and narrative form, these poems give an indication he has found what he’s been after—good human relationships and artistic achievements, two founts giving ample significance to life. Chonggi Mah, a beloved poet of Korea and a retired medical doctor, has written over ten collections of poems and prose. Eyes of Dew was translated into English and published by White Pine Press in 2006. He has garnered numerous literary awards, and is acknowledged as one of major modern Korean poets. Youngshil Cho has won several grants for her translation of modern Korean poetry books and children’s books. Her publications include One Day, Then Another by Kim Kwang-Kyu (White Pine Press, 2013), A Warm Family by Codhill Press (2014), A Lion at Three in the Morning by Nam Jin-Woo (Homa & Sekey Books, 2017), Whisper of Splendor by Chong Hoyn-Jong (Homa & Sekey Books, 2018), Paper by Shin Dal-Ja (Codhill Press, 2018). Paperback Page count: 106 Trim size: 4.75 x 7 in.
A volume of lyric poetry including ekphrastic works, animal poems, life studies, and found objects. Excerpt from “Sardine:” A rough-sketched line, a tin’s sharp edge delineates the domain of a lonely sardine who misses her erstwhile mates. As oil soothes the rounded corners, she awaits the cracker or cat’s crunch. Sarah Wyman teaches comparative literature at SUNY New Paltz. Her poems have appeared in many publications including A Slant of Light: Contemporary Women Writers of the Hudson Valley, Eds. Laurence Carr and Jan Zlotnik Schmidt (Codhill, 2013). Finishing Line Press published her book Sighted Stones in 2018. Paperback Page count: 94 Trim size: 6.25 x 9.25 in.
Codhill Poetry Award Winner 2014Sonia Greenfield explores menace and loss so often, it’s as if her poems are scarecrows to hold against the night. She likes the lyric and persona, likes telling us over and over again, we survive. A master of the unsettling image and moment, she’s got a big imagination and an appetite for the complexity of our lives. “We always bend / our fear into something more useful.” I don’t know if we do, but Greenfield does. The poems in Boy with a Halo at the Farmer’s Market are more than useful—they are beautiful, and demonstrate once more that art is our deepest response to the fragility of life.
—Bob HicokSonia Greenfield’s vision is x-ray and technicolor at once. These are poems of tragedy and ecstasy, rendered in high music and beautiful and shocking imagery. It’s rare to find a poem “riveting,” but hers are poems that, once started, refuse to be left unread.
—Laura KasischkeIn Sonia Greenfield’s poems, we experience a mind busy with the work of description, and it is through that description—of people known and unknown, of lives on the edge of being unmade, or being sewn back up again—that Greenfield brings us to revelation. By looking at the surface of existence, and by narrating circumstances of particular people in particular places, Greenfield shows us how noticing matters, and how looking at the surface can illuminate the depths.
2015 | 76 pages
Contemporary Women Writers of the Hudson Valley This volume celebrates contemporary prose and poetry of more than a hundred women from New York's Hudson Valley. Writers from the Eastern border to the Catskills and along the length of the Hudson River evocatively address issues that touch not only women, but every reader who desires insight into the human experience. A Slant of Light is divided into five sections, each addressing a theme of women's lives. The book begins with Mythos, representations and revisions of myths on women. The second section, Body & Gender, explores visions of the body, gender socialization and the roles of women. The third section, Identity, examines both how women see themselves and how others see women. The fourth section presents women as parents, children, partners and lovers. The last, Woman in the World, shares works that meditate on our collective fate in a global world.
2013 | 220 pages
From A Warm Family… “ The sun is going down, and in the pureness of silence I drop the day’s anchor. As I shed the sweat-soaked clothes stars in the night sky draw near to me to be my friends, and my family.…”
—Kim Hu-Ran Translation by Cho Young-Shil
2014 | 120 pages
In the poetry of Celestine Frost, the I is not confessional, rarely even personal, but, like he or she, a voice, subliminal and quirky. In this, her fourth collection, the liquid, unamalgamated thought of the subconscious seeps into the conscious mind as ore into stone. The resulting idiom is the real subject of her work. "This is feisty, apt writing with an appetite one very much respects. No world is ever there unless it's come into. Here's a way in!"
—Robert Creeley"Celestine Frost's poems have the delicate touch that the surest poets command. Here is music that can devise with fire and grace."
—Ed Foster, Editor, Talisman"A brilliant song, a celebration of life connecting us to the universe. Frost experiments with language and form, creating a unique rhythm and vision--playful, profound."
—Marcia Arrieta, Editor, Indefinite Space
2003 | 120 pages
The authors of this collection are seven older women from diverse backgrounds who are members of a longstanding Hudson Valley writing group composed of academics, a social worker, a psychiatric nurse, a teacher and a lawyer. Some are retired, some are still working, some are musicians. All are volunteers, activists and artists. The sections of the book— Remembrance, Joy, Visibility, Resistance, Resilience, Transformation, Aging, and Bearing Witness—grew from the authors’ individual passions and from their collective perspective of being women-of-a-certain-age in a culture that tends to render older women invisible, irrelevant. This collection is filled with honest, insistent poetry and prose that demands to be heard by readers of all ages, genders and perspectives.
My mother said I had it, my father’s Black Irish. She loved him powerfully, as she did me. Still, I knew that couldn’t be good, the way she said it, a disease. But what exactly did it mean? – BLACK IRISH Dennis Doherty is author of three other volumes of poetry: The Bad Man (Ye Olde Fontshoppe Press, 2004), Fugitive (Codhill Press, 2007), Crush Test (Codhill Press, 2010), and a meditation on Mark Twain's classic, Why Read The Adventures of Huckleberry Finn? (New Street Communications, llc, 2013). Mr. Doherty’s works appear throughout the literary press. He teaches creative writing and literature at SUNY New Paltz, and lives with his wife, Shari, in Rosendale, New York, hometown to their beautiful three daughters.
2016 | 68 pages
Zen Echoes"It is astonishing how thousand-year-old riddles are brought here to evocative poetic life. David Rothenberg converts them into contemporary verbal music, an arcanum, a profound secret, a mystery without intellectual solution." —Frederick Franck, author of The Zen of Seeing, The Buddha Eye, and other books Much as Coleman Barks breathed new life into the work of the great Sufi poet Rumi and reached the hearts and minds of contemporary readers, David Rothenberg now brings us vividly poetic new versions of the enigmatic koans and riddles from the classic Zen Buddhist text, the Blue Cliff Record. Blue Cliff Record: Zen Echoes is an accessible contemporary distillation of this twelfth-century treasure of Zen Buddhism, a lively feast of words and images designed to stretch and open the mind. With a foreword by poet, author, and translator Sam Hamill. "David Rothenberg's adaptation of Blue Cliff Record is that rare thing, a work of art that is also useful. It is as bracing as a dive into a cold spring--a wake up call from reality--the splendor of what is." —Mark Rudman, winner of the National Book Critics' Circle Award for Poetry and author of Rider "What is unique and wondrous about these poetic responses to the Blue Cliff Record is that here philosophy, spiritual practice and creativity are fused and whole. Each poem remarkably celebrates the Zen past and at the same time builds the foundation for a new interpretation that helps imagine how we, here and now, can live the Dharma on these shores." —Charles Johnson, winner of the National Book Award in fiction for Middle Passage
2001 | 128 pages with 12 illustrations
Selected Poems: 1977–2005 A retrospective view of the best of Celestine Frost's work, culled from the five volumes she has published, along with a handful of uncollected work. The work reflects her view that the poet is a lightning rod and poetry a dangerous occupation.
2013 | 218 pages
Abraham Burickson's chapbook Charlie is an exploration of what it means to find oneself living without an instruction manual in a world filled with strangers. The poems follow Charlie and Sal, two very particular Everymen, as they navigate the emotional and intellectual straits of their lives, seeking meaning, pleasure, and some sense of self. The road is treacherous; pronouns jumble, rhythms overwhelm, and the intensity of sensual experience causes these poems to shimmer with longing and uncertainty. Charlie guides the reader on a journey that is as enticing as it is unsettling.
2010 | 45 pages
"Comfort, fathers of nostalgic rue? I'm charged to deliver the new, but change has shifted the shape of me; pain has twisted the make of me from all I thought I knew. Nomadic mappers of the land, I'm lost. Am I the message, messenger, or the one who heeds what calls?"
2010 | 64 pages
The poems in this volume are experimental in nature. They came out of a study of the enneagram—a symbol best described in P. D. Ouspensky's In Search of the Miraculous. While looking for a way to experience the laws expressed in the enneagram, Frederick Bauman devised a poetic form of nine verses of three lines each. The poems are presented in the order written and then the stanzas are rearranged in the order 9, 3, 6, 1, 4, 2, 8, 5, 7. Readers interested in the enneagram are referred to Mr. Ouspensky's book and the “Holy Planet Purgatory” chapter of G. I. Gurdjieff's Beelzebub's Tales to His Grandson, which does not mention the enneagram but discusses the laws it symbolizes.
2007 | 110 pages
“Rees’s poetic imagination, imagistic and psychologically honed, projects back into history, as far back as the myths of origin—and these poems, weighted with mattering, give a picture of the narrative behind our daily projections: longings, sorrows, retributions and redemptions. We feel a poet doing the poet’s hard work, processing what is.”
—Sven Birkerts“Elizabeth Rees’s poems project the bare inherent tattering of memory reknitting the current with ferocious loyalty & precise quick lilt: His hands hold his head / because his mind can’t see / why his eyes should weep. (Man Weeping in a Chair.) They are lucid in agitation: There isn’t time… / No, that’s wrong, / there are buckets of time. / Exploding takes forever. (Saboteurs.) With discerning detail & achingly tender triage—frontal, tough, sweet—they dig out the live among the dead, having blessed the bones. Enlivened, we emerge as the poems do: … a cave opens / and we wander out, squinting / from the heavy slope of light. (Sinai Desert Walk.)”
—Olga Broumas“No doubt that Elizabeth Rees is a poet of the world—commanding a range of subjects, replete with cultural and religious references, as she travels the terrains of our globe, utilizing the language of poetry as truth, never severing social consciousness from private mediations on family bonds, from which the book takes its title: My knees smeared with mulch, I tilled / until every stone was turned, until the fault was deep enough to bury / all the seeds that could have borne / a son. Weeds will be my daughters / and every root a branch. Reflective, fearless, and unrelenting with love, these poems pulsate to the music of formal poetry, while simultaneously liberating the vernacular to express the wonder and challenge of being human in a conflicted world, invoking poems of toughness and glass-like fragility.”
2014 | 76 pages
With each poem in this series, Bauman explores the life of an animal native to the Catskill region, delving into their secret suffering, fear, and determination. Through their daily struggles, he reveals the interconnected nature of our world and our shared fears. In his final poem, he extends these same fears and struggles to man through the mythic figure of Gilgamesh. Richly detailed and poignant, Feral Idylls asks us to consider existence and our place in the world.
2010 | 56 pages
Praise for Steve Clorfeine's work: "I found myself carried by his words...often an unremarkable or extravagantly beautiful list of things and events was made brilliant by the attention paid to their existence."
—Parabola: Myth, Tradition and the Search for Meaning"Clorfeine's day to day experiences read like a series of prose haikus...there is a clarity in his writing...a habit of seeing the ordinary and the extraordinary, the marvelous in the mundane..."
2006 | 90 pages
Codhill Poetry Award Winner 2017Between the destruction of angels, creation of philosophers, and use of mythological creatures, Fraying Edge of Sky captures a side of the other-world humans don’t see into very often: “A walking stampede, slow and terrible. / The hospital for nonexistent children. / A mountain devouring clouds.” Hanson’s beautiful lyricism and shocking imagery coalesce in wonderment, in poems that play with the power of light and dark, ultimately haunting the pages that make up her magical book, reminding us over and over of how “We are giants over the fallen.”The Experiment Collect light in a bucket of water, pour it off slowly—keep the light from breaking, watch it seep into soil. Now it is dark; time to get rid of the night. Dig a hole to drain it. See how the hole already brims over with darkness, saturated. Dig deeper, with more urgency. Mine the blackness. Keep pushing until fog rises up. Realize you are nothing. * * * The beautiful and fanciful investigations in Danielle Hanson’s Fraying Edge of Sky are homages to magical realism but are also lyrical bursts in splendidly gilt frames. The precise language of the poems conjures up the overlooked details of a world that, in its hurry, will miss them. The light in a bucket of water, the ribbon-like fog, the small mice who are angelic in their infestations—all are an inventory of the miraculous that Hanson’s truly original voice urges us to hear and to hold close. —Oliver de la Paz, author Requiem for the Orchard Dismantling worlds only to rebuild them anew, Danielle Hanson’s poems, little worlds made cunningly, as Donne would call them, expose the surrealism behind the most ordinary things. Take the tailor who “starts by sewing the fraying / edge of sky to a rock” and begins sewing a whole menagerie until he “creates / a daytime field of constellations, / embroidery of a new creation.” New indeed. These are visions like none other and if you want to see with the kind of fourfold vision Blake suggests, this original, this most precious of books is for you. — Richard Jackson, author Broken Horizons Danielle Hanson’s Fraying Edge of Sky traps the sun with mirrors, drowns the moon, staples spiders to the sky. There are strategies and curses, negotiations of light and dark, and, throughout, an ever-thickening swarm of angels that collide, that turn to blood, that infest. Photographs are empty, and even those emptinesses are deleted, leaving new emptinesses that are filled by a relentless drive to see things simultaneously as they are and what they intend to be. A lizard pretends to be a stone, but we still know it is a lizard; it is the pretending that strikes us. This is the heart of Hanson’s poetry: artifice that shows the truth. — Bradley Paul, author Plasma
2018 | 80 pages
"Winner of the 2012 Codhill Poetry Chapbook Award, Heather Cousins's Freeze, as sparse and elegant as winter branches, illuminates how time is both fixed and divisible, the human paradox both archetypal and mutable."
—Pauline Uchmanowicz, Final Judge
2013 | 30 pages