Breccia (Poems 1972-1986)
"Breccia is a showcase for poems from roughly twenty, sometimes rather fugitive, volumes, written and published during a time when Joris was living as a kind of postmodern nomad. One of the virtues of this in-gathering of work is that it makes clear the extent to which a sense of 'nomadism' - of being intensely in a place because one knows one has already left it - marks Joris' poetry.... The sense of immediacy in his work is striking. But the images of weather and shifting light and shade that give so many poems their climate of feeling, always play against a complex flow of conceptual activity and the possibility, but only the possibility, of archetypal permanence..." - Don Byrd
Barzakh (Poems 2000-2012)
"A magnificent multi-layered tome from the brilliant poet and translator whose erudition and deep engagement with the doings of humanitas are on full disply. From a lyrical bi-lingual ode to Kerouac through DIS/ASTEROILDRECK, we are drawn into a kinetic weave of world and language.....A book for the time, for all times, for its care, its passion, its urgent soundings." Anne Waldman
Paul Celan — Breathturn Into Timestead: The Collected Later Poetry
"I will make the outrageous assertion that Paul Celan reinvented poetry—or invented a new kind of poetry—or took poetry to a place where it had never been before. By definition, such work cannot be translated. Then along comes Pierre Joris, and by some mysterious process of linguistic alchemy, he has managed to translate hundreds of examples of this work, or at least to produce versions that embody the strangeness and power of the originals—and the grand adventure of Celan's late poems lives on in English." —Paul Auster
A Voice Full of Cities: The Collected Essays of Robert Kelly
Long over-due, the present volume, A Voice Full of Cities, edited by Pierre Joris & Peter Cockelbergh, collects for the first time Kelly's essays, statements, & other writings on poetry & poetics, making available a vast array of difficult to obtain works. The editors' aim was to insure that — in Robert Kelly's own words — "the fifty years of thinking around the fifty years of making won't get lost, and making and thinking will be seen as one thing."