The Glass Constellation

"This book is an overwhelming feast, a treasure, and more than enough proof that Sze is a major poet." —NPR National Book Award winner Arthur Sze is a master poet, and The Glass Constellation is a triumph spanning five decades, including ten poetry collections and twenty-six new poems. Sze began his career writing compressed, lyrical poems influenced by classical Chinese poetry; he later made a leap into powerful polysemous sequences, honing a distinct stylistic signature that harnesses luminous particulars, and is sharply focused, emotionally resonant, and structurally complex. Fusing elements of Chinese, Japanese, Native American, and various Western experimental traditions—employing startling juxtapositions that are always on target, deeply informed by concern for our endangered planet and troubled species—Arthur Sze presents experience in all its multiplicities, in singular book after book. This collection is an invitation to immerse in a visionary body of work, mapping the evolution of one of our finest American poets.

A comprehensive collection by one of the most intensely musical and visionary poets writing today.

Winner of the 2019 National Book Award “The sight lines in Sze’s 10th collection are just that―imagistic lines strung together by jump-cuts, creating a filmic collage that itself seems to be a portrait of simultaneity.” ―The New York Times From the current phenomenon of drawing calligraphy with water in public parks in China to Thomas Jefferson laying out dinosaur bones on the White House floor, from the last sighting of the axolotl to a man who stops building plutonium triggers, Sight Lines moves through space and time and brings the disparate and divergent into stunning and meaningful focus. In this new work, Arthur Sze employs a wide range of voices—from lichen on a ceiling to a man behind on his rent—and his mythic imagination continually evokes how humans are endangering the planet; yet, balancing rigor with passion, he seizes the significant and luminous and transforms these moments into riveting and enduring poetry. “These new poems are stronger yet and by confronting time head on, may best stand its tests.” ―Lit Hub “The wonders and realities of the world as seen through travel, nature walks, and daily routine bring life to the poems in Sight Lines.” ―Library Journal

From #1 New York Times bestselling author Dava Sobel, the "inspiring" (People), little-known true story of women's landmark contributions to astronomy A New York Times Book Review Notable Book of 2017 Named one of the best books of the year by NPR, The Economist, Smithsonian, Nature, and NPR's Science Friday Nominated for the PEN/E.O. Wilson Literary Science Writing Award "A joy to read.” —The Wall Street Journal In the mid-nineteenth century, the Harvard College Observatory began employing women as calculators, or “human computers,” to interpret the observations their male counterparts made via telescope each night. At the outset this group included the wives, sisters, and daughters of the resident astronomers, but soon the female corps included graduates of the new women's colleges—Vassar, Wellesley, and Smith. As photography transformed the practice of astronomy, the ladies turned from computation to studying the stars captured nightly on glass photographic plates. The “glass universe” of half a million plates that Harvard amassed over the ensuing decades—through the generous support of Mrs. Anna Palmer Draper, the widow of a pioneer in stellar photography—enabled the women to make extraordinary discoveries that attracted worldwide acclaim. They helped discern what stars were made of, divided the stars into meaningful categories for further research, and found a way to measure distances across space by starlight. Their ranks included Williamina Fleming, a Scottish woman originally hired as a maid who went on to identify ten novae and more than three hundred variable stars; Annie Jump Cannon, who designed a stellar classification system that was adopted by astronomers the world over and is still in use; and Dr. Cecilia Helena Payne, who in 1956 became the first ever woman professor of astronomy at Harvard—and Harvard’s first female department chair. Elegantly written and enriched by excerpts from letters, diaries, and memoirs, The Glass Universe is the hidden history of the women whose contributions to the burgeoning field of astronomy forever changed our understanding of the stars and our place in the universe.

2015 Pulitzer Prize finalist "Compass Rose [is] a collection in which the poet uses capacious intelligence and lyrical power to offer a dazzling picture of our inter-connected world."—Pulitzer Prize finalist announcement [Sze] brings together disparate realms of experience—astronomy, botany, anthropology, Taoism—and observes their correspondences with an exuberant attentiveness."—The New Yorker A child playing a game, tea leaves resting in a bowl, an abandoned dog, a foot sticking out from a funeral pyre, an Afghan farmer pausing as mortars fire at the enemy: in Arthur Sze's tenth book, the world spins on many points of reference, unfolding with full sensuous detail. Arthur Sze is the author of The Ginkgo Light (2009), Quipu (2005), and The Redshifting Web (1998). He lives in Santa Fe, New Mexico.

*** Granta Best of Young American Novelists 2017 *** In a snow-covered village in Chechnya, eight-year-old Havaa watches from the woods as her father is abducted in the middle of the night by Russian soldiers. Their life-long friend and neighbour, Akhmed, has also been watching, and when he finds Havaa he knows of only one person who might be able to help. For tough-minded doctor Sonja Rabina, it’s just another day of trying to keep her bombed-out, abandoned hospital going. When Akhmed arrives with Havaa, asking Sonja for shelter, she has no idea who the pair are. But over the course of five extraordinary days, Sonja’s world will shift on its axis, revealing the intricate pattern of connections that binds these three unlikely companions together and unexpectedly decides their fate. 'A Constellation of Vital Phenomena is simply spectacular' Ann Patchett

Sze's poetry is bold and versatile and brings together "disparate realms of experience." -The New Yorker

Ezra Pound referred to 1922 as Year One of a new era. It was the year that began with the publication of James Joyce's Ulysses and ended with the publication of T. S. Eliot's The Waste Land, two works that were arguably "the sun and moon" of modernist literature, some would say of modernity itself. In Constellation of Genius, Kevin Jackson puts the titanic achievements of Joyce and Eliot in the context of the world in which their works first appeared. As Jackson writes in his introduction, "On all sides, and in every field, there was a frenzy of innovation." It is in 1922 that Hitchcock directs his first feature; Kandinsky and Klee join the Bauhaus; the first AM radio station is launched; Walt Disney releases his first animated shorts; and Louis Armstrong takes a train from New Orleans to Chicago, heralding the age of modern jazz. On other fronts, Einstein wins the Nobel Prize in Physics, insulin is introduced to treat diabetes, and the tomb of Tutankhamun is discovered. As Jackson writes, the sky was "blazing with a ‘constellation of genius' of a kind that had never been known before, and has never since been rivaled." Constellation of Genius traces an unforgettable journey through the diaries of the actors, anthropologists, artists, dancers, designers, filmmakers, philosophers, playwrights, politicians, and scientists whose lives and works—over the course of twelve months—brought a seismic shift in the way we think, splitting the cultural world in two. Was this a matter of inevitability or of coincidence? That is for the reader of this romp, this hugely entertaining chronicle, to decide.

Arthur Sze has rare qualifications when it comes to translating Chinese: he is an award-winning poet who was raised in both languages. A second-generation Chinese-American, Sze has gathered over 70 poems by poets who have had a profound effect on Chinese culture, American poetics and Sze's own maturation as an artist. Also included is an informative insightful essay on the methods and processes involved in translating ideogrammic poetry. MOONLIGHT NIGHT by Tu Fu can only look out alone at the moon. From Ch'ang-an I pity my children who cannot yet remember or understand. Her hair is damp in the fragrant mist. Her arms are cold in the clear light. When will we lean beside the window and the moon shine on our dried tears? Sze's anthology features poets who have become literary icons to generations of Chinese readers and scholars. Included are the poems of the great, rarely translated female poet Li Ching Chao alongside the remorseful exile poems of Su Tung-p'o. This book will prove a necessary and insightful addition to the library of any reader of poetry in translation. The poets include: T'ao Ch'ien Wang Han Wang Wei Li Po Tu Fu Po Chü-yi Tu Mu Li Shang-yin Su Tung-p'o Li Ch'ing-chao Shen Chou Chu Ta Wen I-to Yen Chen Arthur Sze is the author of six previous books of poetry, including The Redshifting Web and Archipelago. He has received the Asian American Literary Award for his poetry and translation, a prestigious Lannan Literary Award, and was recently a finalist for the Leonore Marshall Poetry Prize. He teaches at the Institute of American Indian Arts. from A Painting of a Cat Nan Ch'uan wanted to be reborn as a water buffalo, but who did the body of the malicious cat become? Black clouds and covering snow are alike. It took thirty years for clouds to disperse, snow to melt. -Pa-ta-shan-jen (1626-1705) The Last Day Water sobs and sobs in the bamboo pipe gutter. Green tongues of banana leaves lick at the windowpanes. The four sur

The “exquisitely crafted poems” of this prize-winning collection weave together past and present to explore touch, trauma, and the female body (G.C. Waldrep). The eighteenth-century glass armonica, a musical instrument whose sound emits from rotating water-filled vessels, has long held the power to mesmerize with its hauntingly sorrowful tones. Just as its song—which was once thought to induce insanity—wraps itself in and around the mind, Rebecca Dunham probes the depths of human psyche, inhabiting the voices of historical female “hysterics” and inciting in readers a tranquil unease. These are poems spoken through and for the melancholic, the hysteric, the body dysmorphic—from Mary Glover to Lavinia Dickinson to Freud’s famed patient Dora. Dunham offers unsettling depictions of uninvited contact—of hands laid upon the female body, of touch at times unwanted, and ultimately unspeakable from behind the hysteric’s “locked jaws.” Winner of the 2013 Lindquist & Vennum Prize for Poetry