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Squander occupies a place where “the mind’s upstairs windows [are] blown out”: a place of juxtapositional delight through sensory and conceptual dislocation. Poems based in word origins work as fables, and poems based in dialogue work within a select concordance from authors and artists. The consequent subject’s meaning is diverted and new vantage points are created. Squander’s energized music, its alliance with feeling’s final rhythm “makes us complicit” in the re-awaking of language.

96 pages | 6 x 9 | © 2016


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Table of Contents

Language • Shakespeare, Where We Earned Our Names • Name • Mouth • Berryman Against This Silence • St. Augustine’s Confessional Custom, Art of Persuasion • Mirror • Sleep • Truth • Somnambulism • Daughter • Hair • Fire • Idea • Gravity • If You Would Please Concordance Hopkins This Much: • Georgia O’Keefe’s First Equivalent • Rock • Rain • Hunger • Fly • Rilke, Somewhere In The Gallery • Vacancy • White • Bleach • Light • Birth • Borges • Blind, Gives • Death • Dostoyevsky’s Final Battle Feast • Lewis Carroll In Alice, Lost During War • Proust’s Captive • Grace • Umbrella • Crying • Yes, Whitman’s • Double • Alchemy • Shoe • Honey • To Memory: Marianne Moore • Hadewijch Of Antwerp: Mouth To Mouth In A Wild Desert • Of Roethke, Roethke For This • Face • Yukio Mishima, As If From Ambush • Place • Virginia Woolf’s Arrival Of The Bright Moths • Richard Tuttle Behind Artist Richard Tuttle • Beauty • Stars • Clouds • Kiss • Lust • After A Bath, Boccacio’s Lack Of Discretion

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