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.
Deeply invested in landscape, the spiders my arms 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.
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.
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.
Contemporary concerns about food such as those stemming from mad cow disease, salmonella, and other potential food-related dangers are hardly new-humans have long been wary of what they eat. Beyond the fundamental fear of hunger, societies have sought to protect themselves from rotten, impure, or unhealthy food. From the markets of medieval Europe to the slaughterhouses of twentieth-century Chicago, Madeleine Ferrières traces the origins of present-day behavior toward what we eat as she explores the panics, myths, and ever-shifting attitudes regarding food and its safety. She demonstrates that food fears have been inspired not only by safety concerns but also by cultural, political, and religious prejudices.
Flour from human bones and pâté from dead cats are just two of the more unappetizing recipes that have scared consumers away from certain foods. Ferrières considers the roots of these and other rumors, illuminating how societies have assessed and attempted to regulate the risks of eating. She documents the bizarre and commonsensical attempts by European towns to ensure the quality of beef and pork, ranging from tighter controls on butchers to prohibiting Jews and menstruating women from handling meat. Examining the spread of Hungarian cattle disease, which ravaged the livestock of seventeenth-century Europe, Ferrières recounts the development of safety methods that became the Western model for fighting animal diseases.
Ferrières discusses a wealth of crucial and curious food-related incidents, trends, and beliefs, including European explorers' shocked responses to the foodways of the New World; how some foods deemed unsafe for the rich were seen as perfectly suitable for the poor; the potato's negative reputation; the fierce legal battles between seventeenth-century French bread bakers and innkeepers; the role of the medical profession in food regulation; and how modern consumerism changed the way we eat. Drawing on history, folklore, agriculture, and anthropology, Ferrières tells us how our decisions about what not to eat reflect who we are.
Translated by Jody Gladding.
Small Lives (Vies minuscules), Pierre Michon’s first novel, won the Prix France Culture. Michon explains that he wrote it "to save my own skin. I felt in my body that my life was turning around. This book born in an aura of inexpressible joy and catharsis rescued me more effectively than my aborted analysis." Le Monde calls it "his chef d’oeuvre. A bolt of lightening." In Small Lives, Michon paints portraits of eight individuals, whose stories span two centuries in his native region of La Creuse. In the process of exploring their lives, he explores the act of writing and his emotional connection to both. The quest to trace and recall these interconnected lives seared into his memory ultimately becomes a quest to grasp his own humanity and discover his own voice.
Translated by Jody Gladding and Elizabeth Deshays.
Jody Gladding's Stone Crop, the winning volume in the 1992 Yale Series of Younger Poets competition, was selected from among 700 entries in this annual competition. Stone Crop is a collection of poems written over the past ten years. Many of the poems represent Gladding's attempts to synthesize landscape with sensibility, to restore the organic world's hold on our human imagination—its gossip value. Other poems try to find an effective political language, free of diatribe but not of outrage, frequently using mythical counterparts to make contemporary events resonate. The poems have other traits in common. Their attention often moves from the thing to its name, underscoring Gladding's conviction that the same organic processes generate both. Many wrestle with their metaphors, expressing the poet's attraction to and suspicion of that poetic device. Many layer images, aiming toward texture rather than pronouncement. And most are, at least to some degree, autobiographical.
Daniel Odier reveals his passionate experiences with a female Tantric master who taught him the suppressed practices of her ancient order.
In 1968 Daniel Odier left Europe for the Himalayas, searching for a master who could help him go where texts and intellectual searching could no longer take him. He wanted everything: the wisdom and spirituality gained from the life of an ascetic and the beauty, love, and sensuality of a life of passion. He found both in Shivaic Tantrism, the secret spiritual path that seeks to transcend ego and rediscover the divine by embracing the passions. In an isolated Himalayan forest Odier met Devi, a great yogini who would take him on a mystical journey like none he had ever imagined. At times taking him beyond the limits of sexual experience, at times threatening him with destruction, she taught him what it is to truly be alive and to know the divine nature of absolute love.
Tantrism is the only ancient philosophy to survive all historical upheavals, invasions, and influences to reach us intact by uninterrupted transmission from master to disciple, and the only one to retain the image of the Great Goddess as the ultimate source of power.
This is the personal memoir of one of France's most honored writers translated by Jody Gladding.
This study by Gilbert Dahan offers an overview of Jewish conditions in medieval Western Christendom, and discusses the changing patterns of Christian-Jewish polemical confrontation during the 12th and 13th centuries. Dahan analyzes the common literary genres through which Christians attempted to convert Jews.
Translated by Jody Gladding.
"A renowned French scholar takes readers through the social and cultural history of stripes in this imaginative... playful, but learned book that will doubtless have an influence" (The New York Times Book Review).
From the taboo striped cloaks of the Middle Ages to the liberating stripes of the French and American flags, The Devil''s Cloth by Michel Pastoureau chronicles the checkered past of this maligned and misunderstood pattern that has been linked to everything from medieval scandals to religious and political uprisings to contemporary fashion statements. The story begins nearly a thousand years ago, when the monks of the Carmelite Order were ordered by the Pope to surrender their striped garment - to superstitious minds a sure sign of the devil. Anti-stripe sentiment raged throughout the Middle Ages, becoming the de rigueur fashion for prostitutes, hangmen, lepers, court jesters, and disloyal Round Table knights. Over the centuries, the list expanded to include Jews, heretics, adulterous wives, madmen, convicts, and servants. Briefly rescued from ignominy by the Renaissance, the stripe enjoyed a resurgence in 1775, where its newly conferred status as an enduring symbol of freedom paved the way for a subsequent European comeback. With lively narrative style, Pastoureau traces the fascinating trajectory of the ubiquitous stripe from the stripe-related stress of biblical figures - Cain, Delilah, and Judas prominent among the - -to the bathing suits, pinstripe suits, and pajamas of today. Not even the hapless zebra escapes the skewering lens of history. Whether its subject is horizontal or vertical, stylish or subversive, this richly informative book will appeal to readers of every stripe.
Translated by Jody Gladding.
