Böcker av Mark Doty

A Washington Post Book World Best Book of the YearWinner of the Israel Fishman-Stonewall Book Award for Nonfiction"Tender and amusing. . . . Doty brilliantly captures the qualities that make dogs endearing." -- The New YorkerWhen Mark Doty decides to adopt a dog as a companion for his dying partner, he brings home Beau, a large, malnourished golden retriever in need of loving care. Joining Arden, the black retriever, to complete their family, Beau bounds back into life. Before long, the two dogs become Doty's intimate companions, and eventually the very life force that keeps him from abandoning all hope during the darkest days. Dog Years is a poignant, intimate memoir interwoven with profound reflections on our feelings for animals and the lessons they teach us about living, love, and loss.

The definitive collection of the poems of Lynda Hull, "perhaps the most intensely lyrical poet of her generation." (Mark Doty)If each of uscontains, within, humankind's totality, each possibilitythen I have been so fractured, so multiple & dazzling . . .-from "The Window"Lynda Hull's Collected Poems brings together her three collections-long unavailable-with a new introduction by Yusef Komunyakaa, and allows, for the first time, the full scale of her achievement to be seen. Edited with Hull's husband, David Wojahn, this book contains all the poems Hull published in her lifetime, before her untimely death in 1994.Collected Poems is the first book in the Graywolf Poetry Re/View Series, which brings essential books of contemporary American poetry back into print. Each volume-chosen by series editor Mark Doty-is introduced by a poet who brings to the work a passionate admiration. The Graywolf Poetry Re/View Series brings all-but-lost masterworks of recent American poetry into the hands of a new generation of readers.

The poignant, accomplished new collection of poetry from the author of My Alexandria--1993 winner of the National Book Critics Circle Award, Los Angeles Times Book Award, 1993 National Book Award Finalist.

The year is 1989 and Mark Doty's life has reached a state of enviable equilibrium. His reputation as a poet of formidable talent is growing, he enjoys his work as a college professor and, perhaps most importantly, he is deeply in love with his partner of many years, Wally Roberts. The harmonious existence these two men share is shattered, however, when they learn that Wally has tested positive for the HIV virus. From diagnosis to the initial signs of deterioration to the heartbreaking hour when Wally is released from his body's ruined vessel, Heaven's Coastis an intimate chronicle of love, its hardships, and its innumerable gifts. We witness Doty's passage through the deepest phase of grief -- letting his lover go while keeping him firmly alive in memory and heart -- and, eventually beyond, to the slow reawakening of the possibilities of pleasure. Part memoir, part journal, part elegy for a life of rare communication and beauty, Heaven's Coast evinces the same stunning honesty, resplendent descriptive power and rapt attention to the physical landscape that has won Doty's poetry such attention and acclaim.

In What Is the Grass, Doty - a poet, a lover of men, a New Yorker, and an American - keeps company with Whitman and his mutable, landmark work, Leaves of Grass, tracing the resonances between his own experience and the legendary poet's life and work. What is it, then, between us? Whitman asks.

Mark Doty has always felt haunted by Walt Whitman's bold, perennially new American voice, and by his equally radical claims about body and soul and what it means to be a self. In What Is the Grass, Doty-a poet, a New Yorker, and an American-keeps company with Whitman and his Leaves of Grass, tracing the resonances between his own experience and the legendary poet's life and work.What is it then between us? Whitman asks. In search of an answer, Doty explores spaces-both external and internal-where he finds the poet's ghost. He meditates on desire, love, and the mysterious wellsprings of the poet's enduring work: a radical experience of transformation and enlightenment, queer sexuality, and an obsession with death, as well as unabashed love for a great city and for the fresh, rowdy character of American speech. In riveting close readings threaded with personal memoir and illuminated by awe, Doty reveals the power of Whitman's persistent presence in his life and in the American imagination at large.How does a voice survive death? What Is the Grass is a conversation across time and space, a study of the astonishment one poet finds in the accomplishment of another, and an attempt to grasp Whitman's deeply hopeful vision of human possibility.

Mark Doty's last two award-winning collections of poetry, as well as his acclaimed memoir Heaven's Coast, used the devastation of AIDS as a lens through which to consider questions of loss, love and identity. The poems in Sweet Machine see the world from a new, hard-won perspective: A coming back to life, after so much death, a way of seeing the body's "sweet machine" not simply as a time bomb, but also as a vibrant, sensual, living thing. These poems are themselves "sweet machines"?lyrical, exuberant and joyous?and they mark yet another milestone in the extraordinary career of one of our most distinguished and accomplished poets.

This work pairs Mark Doty's elegy to his friend, Lynda Hull, with visual details of Murano glass. The poem originally appeared in "Sweet Machine" published by Harper Flamingo in 1998. The Murano glass is from the Getty collection.

'Pure appetite,' he writes ironically early in the collection, 'I wouldn't know anything about that.' And the following poem answers: Down there the little star-nosed engine of desire at work all night, secretive: in the morninga new line running across the wet grass, near the surface, like a vein.

A collection of poems by the author who is the recipient of a 1994 Whiting Writers' Award and also the author of "Turtle, Swan" and "Bethlehem in Broad Daylight".

Tells the story of a ten-year-old in top hat, cane and a red chiffon scarf, interrupted while belting out Judy Garland's 'Get Happy' by an alarmed mother at the bedroom door exclaiming, in shame and exasperation: 'Son, you're a boy'.

Doty examines the nature of AIDS as opposed to other illnesses, the responses of society, the frustration of medical care and the exhausting - and occasionally uplifting - burden of caring for the dying at home.