For many years young writers experimenting with forms and aesthetics in the early decades of this century, small journals known collectively as "little" magazines were the key to recognition. Joyce, Stein, Eliot, Pound, Hemingway, and scores of other iconoclastic writers now considered central to modernism received little encouragement from the established publishers. It was the avant-garde magazines, many of them headed by women, that fostered new talent and found a readership for it. Jayne Marek examines the work of seven women editors—Harriet Monroe, Alice Corbin Henderson, Margaret Anderson, Jane Heap, H.D., Bryher (Winifred Ellerman), and Marianne Moore—whose varied activities, often behind the scenes and in collaboration with other women, contributed substantially to the development of modernist literature. Through such publications as Poetry, The Little Review, The Dial, and Close Up, these women had a profound influence that has been largely overlooked by literary historians. Marek devotes a chapter as well to the interactions of these editors with Ezra Pound, who depended upon but also derided their literary tastes and accomplishments. Pound's opinions have had lasting influence in shaping critical responses to women editors of the early twentieth century. In the current reevaluation of modernism, this important book, long overdue, offers an indispensable introduction to the formative influence of women editors, both individually and in their collaborative efforts.

Jayne Marek examines the work of seven women editorsHarriet Monroe, Alice Corbin Henderson, Margaret Anderson, Jane Heap, H.D. (Hilda Doolittle), Bryher (Winifred Ellermann), and Marianne Moore - whose varied activities, often behind the scenes and in collaboration with other women, contributed substantially to the development of modernist literature. Through such publications as Poetry, The Little Review, The Dial, and Close Up, these women had a profound influence that has been largely overlooked by literary historians. Marek devotes a chapter as well to the interactions of these editors with Ezra Pound, who depended upon but also derided their literary tastes and accomplishments. Pound's opinions have had lasting influence in shaping critical responses to women editors of the early twentieth century. In the current reevaluation of modernism, this important book, long overdue, offers an indispensable introduction to the formative influence of women editors, both individually and in their collaborative efforts.

"Focusing on both the natural and the human worlds, these powerful lyrics recognize the competing forces of death and life, chance and design, the sublime and the profane. There are no easy answers here, but there is hard-earned wisdom. Read this book, it will feed you." -Eric Nelson, author of Horse Not Zebra

In and Out of Rough Water takes its title from the rocky Pacific coast where sea lions forage in vigorous waves. Landscapes and weather provide persistent stimuli for the poems in this book. Included among the book's four sections are two sequences: Nothing Is Given moves between wilderness and city in its meditations about poetics and loss, while Wheel of Orion makes a wintry sojourn in the high desert country of central Oregon. In a variety of open and shaped forms, these poems ponder the meanings of memory, fear, and acceptance amid the harsh loveliness of life. Jayne Marek's In and Out of Rough Water presents us with an acutely apprehended "Poetics of Place and Loss" in which wisdom is hard-won but also deeply celebrated. In groups of individual lyric poems as well as a masterful lyric sequence, "Nothing is Given," reminiscent of Roethke's journey across the North American continent, this work grows in power as we traverse the contours of the poet's inner landscape. "More than the eye with its parallax / of encroachment // and calculation," we are held across the drift of time in a beneficent thrall of language and observation, and we find illumination in and out of these linguistic waters. -Carolyne Wright, American Book Award, Blue Lynx Prize, National Translation Award, author of A Change of Maps and Seasons of Mangoes & Brainfire "What our feet can grip, / we may not see. So move," writes Jayne Marek, in her full-length debut, In and Out of Rough Water. And in and out of the rough places she moves, fluidly, assuredly, with an eye that inhabits the natural world and an ear that illuminates the beauty of the barely heard. This is a poetry of the body, in which the poet's "feet" root her in a force the body knows infinitely more than the mind alone "can grip." She includes the reader, in her generous vision, as participant and not simply observer. Marek's lovely poems, her intricate eye and ear, are a pleasure to behold! -George Kalamaras, Former Poet Laureate of Indiana (2014-2016), author of Kingdom of Throat-Stuck Luck and The Mining Camps of the Mouth

A poetry collection by friends, fans, and students of the late Diane di Prima furthering her call for revolution. This book features work by Anne Waldman, Lisa Jarnot, and Andrew Schelling among many others.

Clear and accessible, this poetry's natural imagery adds surprise and beauty to topics of loss and illness, travel adventures in Asia and the U.S., and the simple pleasures of daily events.

"Mountains, air, a river and a bear - this image-driven suite of poems places the reader at the bank of the Duckabush in summer, immersed in the beauty of the natural world."--Publisher's website.