Most Popular Books by Jill Bialosky

Jill Bialosky, the poet behind the “tender, absorbing, and deeply moving memoir” (Entertainment Weekly) History of a Suicide, returns with a lyrical portrait of her mother’s life, told in reverse order from burial to birth. When Iris Yvonne Bialosky died in an assisted care facility on March 29, 2020, it unleashed a torrent of emotions in her daughter, Jill Bialosky. Grief, of course, but also guilt, confusion, and doubt, all of which were compounded by the arrival of the COVID-19 pandemic which made it impossible for Jill to be with her mother as she was dying and to attend her mother’s funeral. Now, with a poet’s eye for detail and a novelist’s flair for storytelling, Jill presents a profoundly moving elegy unlike any other. Starting with her mother’s end and the physical/cognitive decline that led her to a care home, The End Is the Beginning explores Iris’s battle with depression, the tragedy of a daughter’s suicide, a failed second marriage, the death of her beloved first husband only five years into their young marriage, her joyful teenage years, and the trauma of losing her own mother at just eight years old. Compounding her challenges of raising four daughters without a livelihood or partner, Iris’s life coincided with an age of unstoppable social change and reinvention, when the roles of wife and mother she was raised to inhabit ceased to be the guarantors of stability and happiness. As we see Iris become younger and younger, we learn how we are all the sum of our experiences. Iris becomes a multi-dimensional, fascinating woman. We come to understand her difficulties and shortcomings, her neediness and her generosity, her pride and her despair. The End Is the Beginning is not just a family memoir, it is a brave and compassionate celebration of a woman’s life and death and a window into a daughter’s inextricable bond to her mother.

From acclaimed poet and novelist Jill Bialosky, the New York Times bestselling exploration of her sister''s suicide and the lifelong impact it had on those left behind--"a beautifully composed, deeply reflective work" (Publishers Weekly). "It is so nice to be happy. It always gives me a good feeling to see other people happy...It is so easy to achieve." --Kim''s journal entry, May 3, 1988 On the night of April 15, 1990, Jill Bialosky''s twenty-one-year-old sister Kim came home from a bar in downtown Cleveland. She argued with her boyfriend on the phone. Then she took her mother''s car keys, went into the garage, closed the garage door. She climbed into the car, turned on the ignition, and fell asleep. Her body was found the next morning by the neighborhood boy her mother hired to cut the grass. Those are the simple facts, but the act of suicide is anything but simple. For twenty years, Bialosky has lived with the grief, guilt, questions, and confusion unleashed by Kim''s suicide. Now, in a remarkable work of literary nonfiction, she re-creates with unsparing honesty her sister''s inner life, the events and emotions that led her to take her life on this particular night. In doing so, she opens a window on the nature of suicide itself, our own reactions and responses to it--especially the impact a suicide has on those who remain behind. Combining Kim''s diaries with family history and memoir, drawing on the works of doctors and psychologists as well as writers from Melville and Dickinson to Sylvia Plath and Wallace Stevens, Bialosky gives us a stunning exploration of human fragility and strength. She juxtaposes the story of Kim''s death with the challenges of becoming a mother and her own exuberant experience of raising a son. This is a book that explores all aspects of our familial relationships--between mothers and sons, fathers and daughters--but particularly the tender and enduring bonds between sisters. History of a Suicide brings a crucial and all too rarely discussed subject out of the shadows, and in doing so gives readers the courage to face their own losses, no matter what those may be. This searing and compassionate work reminds us of the preciousness of life and of the ways in which those we love are inextricably bound to us.

Jill Bialosky follows her acclaimed debut collection, The End of Desire, with this powerful sequence of poems that probes the subterranean depths of eros. Gerald Stern has called Bialosky “the poet of the secret garden, the place, at once, of grace and sadness,” and here she enters that garden again, blending the classical with the contemporary in bold considerations of desire, fertility, virginity, and childbirth. Written against the idealizations of romantic love and motherhood, she tells of the loss of one child and the birth of another, the fierce passions of life before children, the seductions of suicide, and the comforts of art. Throughout, she braids and unbraids the distinct yet often inseparable themes of motherhood, love, and sexuality. “When he comes to me,” she writes, half-filled glass in his hand, wanting me to touch him, I hear you stir in your crib. I know what your body feels like. The soft skin of a flower, not bruised, not yet in torment . . . Subterranean is the moving and intimate account of the emergence of a female psyche. Like the figures of Persephone and Demeter, who appear in various forms in these poems, Bialosky finds a strange beauty in grief, and emerges from the realms of temptation with insight and distinction.

"An unconventional and inventive coming-of-age memoir organized around forty-three remarkable poems by poets such as Robert Frost, Emily Dickinson, Wallace Stevens and Sylvia Plath ... For Jill Bialosky, certain poems stand out like signposts at pivotal moments in a life: the death of a father, adolescence, first love, leaving home, the suicide of a sister, marriage, the birth of a child, the day in New York City the Twin Towers fell ... she illuminates the ways in which particular poems offered insight, compassion, and connection, and shows how poetry can be a blueprint for living"--

This first novel by a celebrated American poet is a story of mothers and daughters, of sexual identity, and of a family disintegrating after the premature death of its patriarch.

Finalist for the Gotham Book Prize An explosive tale of art and myth, desire and betrayal, from New York Times bestselling author Jill Bialosky Something terrible has happened and I don’t know what to do. An unnamed narrator’s life is unraveling. Her only child has left home, and her twenty-year marriage is strained. Anticipation about her soon-to-be-released book of poetry looms. She seeks answers to the paradoxes of love, desire, and parenthood among the Greek and Roman gods at the Metropolitan Museum of Art. As she passes her days teaching at a boys’ prep school, spending her off-hours sequestered in the museum''s austere galleries, she is haunted by memories of a yearlong friendship with a colleague, a fellow poet struggling with his craft. As secret betrayals and deceptions come to light and rage threatens to overwhelm her, the pantheon of gods assume remarkably vivid lives of their own, forcing her to choose between reality and myth in an effort to free herself from the patriarchal constraints of the past and embrace a new vision for her future. The Deceptions is a page-turning and seductively told exploration of female sexuality and ambition as well as a human drama that dares to test the stories we tell ourselves. It is also a brilliant investigation of a life caught between the dueling magnetic poles of privacy and its appropriation in art and literature. Celebrated poet, memoirist, and novelist Jill Bialosky has reached new and daring heights in her boldest work yet.

Jill Bialosky''s first collection of poems is an exceptional one--moving, very accomplished, marked by an unflinching realism and a sharply observant eye combined with great technical skill. Childhood and adolescence shattered by a father''s death and the struggles of a mother to raise her daughters are among its concerns. The poems have a dignity and magic that are quite distinctive.

In this haunting, beautiful third collection from Jill Bialosky, the poet examines the intrusion of eros, art, and the imagination on ordinary life. The lover who whispers “Is it still snowing? . . . Will you stay with me?” in the first poem reappears throughout the book in different guises—sometimes seemingly real, at other times as muse, doppelgänger, or dream. In “The Seduction,” as the lovers stand to watch a house fire— “gorgeous, dazzling, / the orange and reds of such ruin”—the poem, like the book itself, becomes a study in the nature of reality, selfhood, and the different levels of consciousness we inhabit. Evoking Penelope and Odysseus and Orpheus and Eurydice, Bialosky asks us to consider the instability of the self and the myriad forms it can take through art, in poems that are sexy, dark, and at once cool and emotional. The creation of the observing mind is paramount here; whether the lover goes or stays, the poems remain. InIntruder—her most mesmerizing gathering of poems yet—Bialosky has captured not only the fleeting truths and pleasures of passion but also its mysterious dangers. Don’t be afraid. Come closer. It’s bath time. The boy’s in the tub, Father’s shaving, Mother is dressed in her evening wear: black silk slip, high heels, leaning on the tub’s edge....... Look into Mother’s eyes. What truth do they belie? from“Saturday Night”

The strongest collection yet from this widely praised poet is about the central players in our lives, our relationships over time—between mother and son, mother and daughter—and how one generation of relationships informs and shapes the next. The opening sequence, “Manhood,” looks at the insular world of baseball, shedding light on the complexities of gender, boyhood, and coming-of-age. The poet captures the electrifying, proud language of baseball talk, channeling the tone and approach of the young men she observes as a mother, and bringing poignancy and deeper understanding to the transaction between herself and the young men she sees growing into adulthood. “American Comedy” is a sonnet sequence about the absurdities and realities of modern domestic life, while figures in literature are the players in “Interlude.” The final section, “The Players,” becomes a forceful and searing revelation about the legacy of generations. Exploring the nature of attachment on many levels, The Players brings us Jill Bialosky at her best, in poems that find a new language to describe the rich and universal story that is modern motherhood.

This book-length sequence by the critically acclaimed poet is a seeker''s story, revealing personal and historical traumas and how we search for understanding and meaning in their wake. In Asylum, poet Jill Bialosky embarks on a Virgilian journey, building a narrative sequence from 103 elegant poems and prose sections that cohere in their intensity and their need to explore darkness and sustenance both. Taken together, these piercing pieces--about her nascent calling as a writer; her sister''s suicide and its still unfolding aftermath; the horror unleashed by World War II; the life cycle of the monarch butterfly; and the woods where she seeks asylum--form a moving story, powerfully braiding despair, survival, and hope. Bialosky considers the oppositions that govern us: our reason and unreason, our need to preserve and destruct. "What are words when they meet the action of what they attempt to modify?" she asks, exploring the possible salve of language in the face of pain and grief. What Asylum delivers is a form of hard-won grace and an awareness of the cost of extreme violence, inexplicable loss, and the miraculous cycles of life, in work that carries Bialosky''s art to a new level of urgency and achievement.

Edward Darby has everything a man could hope for: meaningful work, a loving wife, and a beloved daughter. With a rising career as a partner at an esteemed gallery, he strives not to let ambition, money, power, and his dark past corrode the sanctuary of his domestic and private life. Influenced by his father, a brilliant Romantics scholar, Edward has always been more of a purist than an opportunist. But when a celebrated artist controlled by her insecurities betrays him, and another very different artist awakens his heart and stirs up secrets from his past, Edward will find himself unmoored from his marriage, his work, and the memory of his beloved father. And when the finalist of an important prize are announced, and the desperate artists maneuver to seek its validation, Edward soon learns that betrayal comes in many forms, and that he may be hurtling toward an act that challenges his own notions about what comprises a life worth living. A compelling odyssey of a man unhinged by his ideals, The Prize is also an unflinching portrait of a marriage struggling against the corroding tide of time and the proximity to the treacherous fault line between art and money.

A chance encounter with Stephen, a childhood friend with whom she has shared a complicated relationship, forces Eleanor Cahn, a literature professor and wife of a leading cardiac surgeon, to reevaluate her life, her erotic past, and the passionate woman she suppressed for years.

''The Skiers'' is a selection from Jill Bialosky''s three collections published in the US, plus a body of new work. Drawing on her experiences of childhood & adolescence, of childbirth & death, of motherhood, love & sexuality, she creates poems that are at once moving, unflinchingly honest & marked by a consummate technical skill.

Esta serie de relatos autobiograficos, como si de una catarsis se tratara, son el fruto de la necesidad de un grupo de conocidos escritores e intelectuales de compartir desde la creacion literaria esa experiencia tan angustiosa, y la enorme sinceridad con que exponen sus reflexiones y sentimientos mas intimos conmoveran no solo a las personas que han pasado por este trance tan dificil, sino a todos los que se plantean las preguntas clave de la existencia.