New Releases by Marie Ponsot

Now in paperback, the stunning lifework of this beloved prize-winning poet, gathered in one volume, covering sixty years of poetry, from 1956 to 2016. This celebratory volume covers nearly all of Marie Ponsot''s published work, from True Minds (published in 1956 as number five in the famous Pocket Poets series from City Lights press) through Easy (2009), her most recent collection; and it also includes some work written in the years since. Here is the lyrical joy, the full range of Ponsot''s gift for constructing the pleasures and pains of a riddle that the music and wit of her language solve just in the nick of time, in the "hand-span skill" that is the poem. Notable in this collection is the astonishing accomplishment of Ponsot''s sonnets: the traditional form in varieties we''ve never seen in one book before. Open these pages anywhere to experience "language as the primitive dialect of our human race," as she has described it--to gratefully enter a state that is "what poetry hopes of us and for us: enraptured attention."

The sixth volume of Still Against War compiles more poetry in honor of Marie Ponsot. Contributing poets include Helen Barnard, Janine Beichman, Margo Berdeshevsky, Patricia Brody, Stephanie Bulger, Michelle Y. Burke, Laura A. Ciraolo, Howard Clyman, Tom Cocotos, Elizabeth J. Coleman, Melody Compo, David Corcoran, Rosemary Deen, Katherine Korth Dehais, Alan Felsenthal, Jean Gallagher, Beatrix Gates, Rochelle Goldstein, David Groff, Scott Hightower, Rose Horowitz, Hettie Jones, Katrina Kostro, Laurence Loeb, Marcia Loughran, Meg McGuire Jane McKinley, Michael Morical, Constance Norgren, Sarah Paley, Michael Petshaft, Sapphire, Timothy Small, Susan Soriano, Karen Steinmetz, Jamie Stern, Katherine Barrett Swett, L. Sze, Carolyn Tacey, Jackson Taylor, Marjorie Tesser, LB Thompson, Clyde Tressler, Jonathan Wells, and Catherine Woodard.

From the award-winning author of The Bird Catcher, this life-spanning volume offers the delight of both discovery and re-discovery, as Ponsot tends the unruly garden of her mind with her customary care and passion. The book opens with a group of new poems, including “What Would You Like to Be When You Grow Up?”—a question that has kept Ponsot’s work vital for more than five decades. Throughout the selections from her four earlier books and a trove of previously unpublished work covering the years 1946 to 1971, she offers us a “lost haven in a springing world.” Sometimes sharp in her self-perception, but always listing toward pleasure and elegance, unafraid of grief and the passage of time, Ponsot continually refreshes her language and the spirited self from which it emerges.

In 1998, Marie Ponsot was awarded the National Book Critics Circle Award for poetry, confirming the praise that has been bestowed on her by critics and peers--among them Eavan Boland and Carolyn Kizer (who are quoted on the back of the book jacket) and Amy Clampitt, who had this to say of Ponsot''s last book: "She is marvelously attuned to the visual and to the audible. She is no less precisely a geographer of the interior life, above all the experience of being a woman."

Tout le monde pense savoir recruter ; en revanche, savoir se faire recruter semble moins évident. Il y a pourtant autant de pièges derrière l''apparente facilité à recruter que derrière l''extrême complexité à se faire recruter. Qui fait quoi dans le monde du recrutement ? Qu''est-ce qui marche ? Autant de questions qui restent bien souvent dans le flou. Le recrutement est aussi l''objet de tous les fantasmes : le pouvoir du recruteur à sélectionner, à piéger ou à mettre à nu les candidats, l''idéal du mouton à cinq pattes, la recherche du clone, etc. L''objectif de cet ouvrage est de dénoncer les idées reçues sur le recrutement des cadres, de montrer comment décoder et decrypter les pratiques et les méthodes, et de clarifier le rôle des différents acteurs sur le marché. [4ème de couv.]

A “delightful” (Poetry), celebratory volume of late-life poems from the award-winning octogenarian Marie Ponsot.

Bienvenue chez Josy Coiffure ! A Marseille, dans son modeste salon de quartier, Josy brosse avec tendresse la comédie du quotidien et met en scène une galerie de personnages attachants et irritants : Marie-Ange, experte-shampooineuse en chef qui danse le « zlow » avec des rondeurs toutes felliniennes, Jeanine Pantalacci, « qu''elle est beaucoup pressée », Madame Locci de longue tanquée dans le salon, Jocelyne avec ses airs de craintdégun, Mademoiselle Guillotot la prof d''anglais, la dame chic à l''accent jambon, sans oublier le plus beau, son mari « Rogié »... Ragots, rouleaux, sanglots, ciseaux, blues et blouses... Du haut de son tabouret en formica, Josy déroule un hallucinant monologue pétri de rires et de souvenirs. Elle orchestre une polyphonie de voix, d''accents et de caractères avec un phrasé d''une précision redoutable. Anne-Marie Ponsot a su rendre à l''écrit la fougue, la saveur et la beauté du verbe marseillais. Ecrit en 1980, ce texte a été joué par elle-même... près de 600 fois dans la France entière, faisant rayonner le parler et l''esprit de Marseille bien au-delà de la Viste et des Goudes... Œuvre littéraire inédite, grand ancêtre de l''Overlittérature, "Josy Coiffure" est un texte culte aux racines de la marseillitude !

This broadside was letterpress-printed in an edition of 150 copies at the Center for Book Arts, New York City, in honor of the poet''s reading on June 13, 2002. From Springing (2002), it was printed by permission of Alfred A. Knopf. --Center for Book Arts.

Traditional tales from ancient China.

The Common Sense is elemental and beautifully succinct. It focuses on the expository essay, which, despite its association with abominable teaching techniques and vapid results, is at its best the one form that reveals to students and teachers the power of writing. "It is not second-rate writing," Deen and Ponsot state, "nor is teaching it second-rate work." This is a commonsensical text that puts its principles directly at the service of upper secondary and college students of all abilities. It perceives the composing class as an active community of writers, stresses the uses of listening and reading aloud, and lays out a core of work that can''t be done wrong.

This book offers a revolutionary inductive approach to teaching composition, in particular the essay.

Little Tiger gives a party for all his friends and then goes off to see the world.