Kirjahaku

Deadpan, epic, and searingly charismatic, A Sand Book is at once relatable and out-of-this-world. In poems tracking climate change, bystanderism, state murder, sexual trauma, shopping, ghosting, love, and the transcendent shock of prophecy, A Sand Book chronicles new dimensions of consciousness for our strange and desperate times.What does the destruction of our soil have to do with the weather in the human soul? From sand in the gizzards of birds to the iridescence on the surface of spilt oil, from sand storms on Mars to our internet-addicted present, from the desertifying mountains of Haiti to natural disasters and state violence, A Sand Book is both a travelogue and a book of mourning.

What has industrial slaughter got to do with poetry? "The Cow" performs an autopsy of the twentieth century on the bodies of ruined women, ransacking texts from the Bible to "Baudelaire" and "The Merck Veterinary Manual". It is hopeless, sexual, scarified, and alive. "No doubt about it, this is strong and original work. Scary in the best possible way." - Richard Foreman.

In The Rose, award-winning poet Ariana Reines navigates the intersection of power and surrender. Drawing on the history of "romance" as the troubadours knew it and the titular flower's ancient allegories for sexuality and mystery, Reines plunges into feminine archetypes to explore masculine pain: "I have always liked helpless / & terrible men because they break my mind." In these poems, inherited ideologies of gender performance are replaced with bold vulnerability: paradoxes of power and surrender transmute the speaker's understanding of suffering, desire, and the soul. The voice in The Rose is wry and bare, approaching the connection between erotic love and spirituality with humor. Investigating war, maternity, violent sensuality, and the role of language in magical acts, Reines is unafraid to uncover the "secret / & terrible shovelings / Of love," and the result is a bloody and pulsing, sexy and unabashed bloom.

“What could be more timely than the wresting of new ways of saying from the hand-me-down matter of language; what more exploratory and exacting/exciting? Perhaps, in an era of frequently cynical and lazy language-use, an appetite has grown among readers for writing that doesn’t so much hit the nail squarely on the head, as refashion the very concept of the hammer” says Tiffany Atkinson, in her Introduction to this volume; a volume that is the record of a year of hard work, experiment, conversation, revision, and speculative play between the weight of tradition and the desire to find new ways of saying. What is immediately visible in these pages is the sheer variation in style and form, from the fragmentary and epigrammatic to the ranging and discursive, from the intimate to the global, from the playful to the elegiac. What is not visible is the mutual care and camaraderie of a group working together to encourage the emergence of each distinctive voice.Here are the UEA Poets of 2018. Remember, you read them here first.‘It’s so nice to have such a collectively-minded group on the MA this year. People will one day speak of the Norwich School...’– Jeremy Noel-TodGboyega Abayomi • Naomi Afrassiabi • Blythe Zarozinia Aimson • Craig Barker • Max Bowden • Anna Cathenka • Cai Draper • Kat Franceska • Rachel Goodman • Laurence Hardy • Iona May • Keeley Middleton • Bec Miles • Ellen Renton • Jessica O'Brien Rhodes • Alice Willitts

Composed in the direct, accessible, consciousness-piercing style, Mercury comprises a group of long poems. These interlocking works speak to the substance and essence of what is said, transmitted, transacted, "communicated" between persons. Reines proposes that substance and essence are opposites, and explores this in contexts including commercial cinema and internet porn."This astonishing young poet is surely destined to be one of the crucial voices of her generation."-Michael Silverblatt, Bookworm"I applaud Ariana's desire to be disrespectful, lewd, broken, narcissistic-all the unforgivable female crimes which if instead were committed by humans would just be called 'hot.' She does it here and she does it WRONG, cheer, cheer."-Eileen Myles, Poetry FoundationYour music makes me feel lonelyYour music makes me feel lonelyYour musicMakes me feel lonelyPicking a lemonLate at nightMy heart tightensI fear natureYour music makes me feel lonelyI must be responsible for itI'm aliveI have this hair helmet onI'm so aliveI say yes to the megaplexYou say it's awful isn't it awfulI say yeahSo what. Something sentimentalThis placeI agreeHugeWe're gonna go into the movie. . .The day is long enoughThe day is long enoughThe day is so long enough"Mercury is the smallest planet and the closest to the sun. Mercury, the chemical, is highly toxic, commonly known as Quicksilver, and is the only metal that is liquid at room temperature. Mercury in its book form is filled with shimmering poetry that tastes like cotton candy mixed with cum and works as an antidote to the poison of withholding."-Liz Axelrod, Luna Luna

"Lines that make me want to have sex on the moon."-Thurston MooreCɶur de Lion is a book-length epistolary love poem that directly addresses a recently lost "you"--in accessible tones yet with extreme erudition and fierce intellect--but that also directly addresses the work of poetic address, how it shifts when the you shifts from a literal recipient, through loss, to poetry itself: art form, tradition; soul-catching medium. It's libidinal, heartful, hot with the memory of what was libidinal and heartfelt and hot. It's also a cult classic: self-published in 2007 and available now to an audience who will recognize the deep influence it has had on contemporary poets and poetry. "Scathing and meek, furious and thoughtful, reckless and careful, brave and frightened, Cɶur de Lion is something you've never seen before that you already know by heart."--Daniel Handler aka Lemony Snicket "A book of frank witty poetry that makes me laugh, cry, throw things."--Lena Dunham "She is in me now like a hot virus and i am smitten."--Melissa Broder "In Cɶur de Lion the erotics of power and powerlessness are not opposites--they flirt and morph and clash into a brilliant blast of poetic energy. I saw Ariana read from this book at UC Berkeley, and the walls of the academy rumbled. I fucking love this book." --Dodie Bellamy "At the time we thought Cɶur de Lion a more comfortable book than The Cow, for it is, after all, a 'love poem' no matter how perverse, but as I look at it again I'm struck by how fierce its valences are, how intransigent its anti-nationalism. Already I think of Reines' work in art as dividing, like Picasso's, into periods, and if this is the rose period it is also the time in which blood rained down on the peoples' heads. Asked for the history of a certain sort of public sex, I mumble that there was Zabriskie Point, and then there was Peter Hujar, and there was Cɶur de Lion." --Kevin Killian

Coeur de Lion er eit rått og intenst langdikt skrive kort tid etter eit kjærleiksbrot. Teksten er framleis varm av begjæret, men er samstundes lærd, skarp og intellektuell. Reines skriv beinhardt og generøst, og legg ingenting imellom, verken for seg sjølv eller lesaren: Dette er ei bok som tilstår alt. Ho er både vond, brutal og morosam, og kan ved første augekast verke hemnlysten. Men Reines er oppteken av å forstå det som har skjedd, det som skjer, og ho gir stemme til både Ariana og Jake, mellom anna ved at Ariana hackar seg inn på Jakes e-postkonto. Reines pustar med sitt moderne kjærleiksdikt nytt liv i sjangeren. Coeur de Lion frå 2007 har blitt ein kultklassikar og har allereie hatt stor innverknad på amerikansk samtidspoesi. Anna Kleiva har gjendikta teksten til norsk, og har også skrive eit etterord. Boka inneheld òg ein samtale mellom gjendiktaren og forfattaren.

Ra. dikt om det omskiftelege i eksistensen. Merkur er guden for handel, marknad og rikdom i romersk mytologi. Han er også bodbringar mellom gudane og menneska si verd, ein trickster. I alkymien står planeten Merkur for kvikksølv, som representerer ånda, det kvinnelege og det flytande. Eit omskifteleg grunnstoff som kan danne amalgam og - meiner alkymistane - gull. I ein vekselvis gåtefull og direkte stil krinsar det lyriske eg-et i den amerikanske poeten Ariana Reines si tredje diktsamling rundt tema som skjønnheit, liding og det ustabile, og dekonstruerer dikotomien mellom det heilage og det verdslege. Med eit metaforregister henta frå alkymien blir religiøs og spirituell søking blanda saman med dragninga mot suksess og konsum under kapitalismen, i ei åndeleg drift etter å endre grunndelane i mennesket - å støype om frå bly til gull.

A Sand Book is a poetry collection in twelve parts, a travel guide that migrates from wildfires to hurricanes, tweety bird to the president, lust to aridity, desertification to prophecy, and mother to daughter. It explores the negative space of what is happening to language and to consciousness in our strange and desperate times. From Hurricane Sandy to the murder of Sandra Bland to the massacre at Sandy Hook, from the sand in the gizzards of birds to the desertified mountains of Haiti, from Attar's "Conference of the Birds" to Chaucer's "Parliament of Fowls" to Twitter, A Sand Book is about change and quantification, the relationship between catastrophe and cultural transmission. It moves among houses of worship and grocery stores, flitters between geological upheaval and the weird weather of the Internet. In her long-awaited follow-up to Mercury, Reines has written her most ambitious work to date, but also her most visceral and satisfying.

I oktober 2023 er den amerikanske digter Ariana Reines på oplæsningsturné i Europa. Som så mange andre er hun limet til sin telefon og følger med i grusomhederne i Gaza. Krigen får hende til at tænke på hendes nyligt afdøde mor, som var jøde og hendes far, som hun afskyr. Bogen er et eksperiment udi at åbne sit hjerte på skrift, det er digte og dagbogsnotater og transskriptioner af små foredrag fra hendes turné. En akut og følelsesmæssig voldsom skrift, der er lige dele kropsligt og spirituelt forankret. Blodbølge er Andreas Eckhardt-Læssøe danske oversættelse af Ariana Reines “Wave of Blood” fra 2024.

A beautiful Tarot deck and booklet revealing the lost and forgotten Jewish origins of the Tarot—featuring a foreword by poet Ariana Reines.For hundreds of years, the original meaning of the Tarot de Marseille, the artistic ancestor of the contemporary Tarot, has been a source of mystery, speculation, and debate. When Torah student Stav Appel encountered the Jean Noblet Tarot—one of the oldest preserved decks in the tradition of the Tarot de Marseille—he found something curious: the Magician held his arms in the shape of the Hebrew letter aleph ?, the Hermit wore a Jewish prayer shawl, and three pieces of matzah hid beneath the Moon. In The Torah in the Tarot, Appel carefully analyzes the Noblet Tarot, uncovering a rich array of Jewish symbols ingeniously concealed in its images. Given the deck’s origin circa 1650, during the Catholic Church’s centuries-long campaign to eradicate Judaism, Appel argues persuasively that its secret content suggests it originally served as a tool for clandestine Jewish education. Writing in a rich style that draws on rabbinic literary forms, Appel has presented a landmark contribution to the field of Tarot studies—revealing that when we perceive the Tarot through a Jewish lens, we can, at long last, recognize the Torah hidden in the Tarot.The Torah in the Tarot includes a booklet written by Stav Appel with a foreword by Ariana Reines, as well as a historically accurate, 78-card color reproduction of the Jean Noblet Tarot—the only modern copy that preserves the full scope of the deck’s original Judaica—created by the French artist Florent Giraud of Tarotgraphe.