By Joshua Cohen
"Joshua Cohen has created a visionary novel that's terrifying and heartbreaking and humbling in its luminous brilliance. in my opinion, it firmly locations the writer at the related point as Kafka."—Michael Disend, writer of Stomping the Goyim
"The concept that there are a number of heavens, correct ones and improper ones, white ones and black ones, is driven to its fantastical limits via Brooklyn author Joshua Cohen in his dream-world novel of the afterlife. . . . Heaven is a tough yet profitable learn on thematic and formal levels."—The Brooklyn Rail
"A breathless flight of managed delirium, an exquisitely blasphemous travel of an afterlife the place earth's dominion, in all its terror and glory, trumps the excellent and overturns the area to come back. . . . It's a courageous publication that are supposed to earn its younger writer the reader's profound and enduring admiration."—Steve Stern, writer of The Frozen Rabbi
When a ten-year-old Jewish boy is exploded on a Jerusalem road through a ten-year-old Palestinian boy, he wakes up in a heaven nobody in his culture ready him for, a heaven of others. Joshua Cohen's novel stands on the crossroads of a conflicted urban and wordplay that either celebrates and dismantles culture.
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Additional info for A Heaven of Others
It is only natural that Fenollosa’s essay would be largely read through the prism of Pound’s own reading, since Pound edited, published, popularized, and continually defended the essay throughout his long career. ” Pound writes in Canto 98, “And as for these Bhud-foésâ•›/â•›They provide no mental means forâ•›/â•›Running an empire, nor do Taoistsâ•›/â•›With their internal and external pills—is it external? 15 Pound regularly deleted the more verbose sentences or passages marked by what Fenollosa would call “Buddhist colour,” since he and other Modernists wanted to break away from the “infinities” and “vibrations” that preoccupied nineteenthcentury transcendental Romanticism.
For instance, the emptiness within bowls or cups, between spokes of a wheel, inside the enclosed space of caves, and so on, is accorded a special status in Daoist discourses. But perhaps the most important “empty” place is imagined within the human body/mind. 35 The vast number of texts about references to this emptying and/or self-cultivation of body-mind-heart as chambers, vessels, or caverns are clearly different than the nexus of Buddhist notions of emptiness discussed earlier. To distinguish this overarching valuation of “emptiness” in Daoist discourses from those associated with Buddhist discourse, I am going to refer to them as housed emptiness.
As for this mixture, even a cursory glance at American poetry and poetics would turn up an impressive number of figures and movements that have looked eastward for inspiration. Just to name a few that are not discussed at length in this study, for instance, would bring to mind the transcendentalists (though this group’s access to even intertextual tributaries was quite limited); important modernist figures like Lafcadio Hearn, Laurence Binyon, or Wallace Stevens; most of the so-called Beat poets, ranging from Kenneth Rexroth, Joanne Kyger, Jack Kerouac, and Phillip Whalen, to Michael McClure, Albert Saijo, Diane DiPrima, and Lew Welch, among other Naropa-based writers like the later Allen Ginsberg, Anne Waldman, and Andrew Schelling; figures associated with the so-called LANGUAGE-oriented writers like Leslie Scalapino, Tenney Nathanson, Mei-mei Berssenbrugge, Beverly Dahlen, John Caley, and Norman Fischer, and their predecessors, John Cage and Jackson Mac Low; writers who presence diasporic Buddhist experience like Garrett Kaoru Hongo, Lawson Inada, Tsering Wangmo Dhompa, Shin Yu Pai, or Russell Leong (who often overlap culturally and intertextually with convert Buddhists); and finally, there are more mainstream, principally lyric poets like Sam Hamill and Jane Hirschfield, among still many others who are difficult to place (Aafa Weaver and Arthur Sze, for instance).
A Heaven of Others by Joshua Cohen