Agha Shahid Ali

Consisting primarily of expanded or revised versions, 'vault' material and "stray bastards", the 'posthumous' Contemporary Ghazals No. 7 (in the words of magazine founder and original editor R. W. Watkins) "represents the furthest one can take the ghazal form while still preserving the fundamental dynamics of its structure, if not always some semblance of its basic self". Hence the inclusion of such cutting-edge and often lengthy treatments of the form at the hands of such seasoned practitioners as Steffen Horstmann, Mike Alexander, David Raphael Israel and R. W. Watkins himself. Other familiar names found in this issue include Denver Butson, William Dennis, Barbara Little, Daniel Hales, Bill West and Red Slider. There is even a 'cut-up' of Agha Shahid Ali (1949-2001) ghazals as assembled and embellished by Watkins and Eugene Melino. The groundbreaking Contemporary Ghazals was discontinued as a regular publication in 2016, when Watkins chose to replace it with Eastern Structures, a magazine more inclusive of various other Asian poetic forms. But this double-length special issue-the second in a series of CG-related archival publications from Nocturnal Iris-is a not-so-subtle reminder of the earlier mag's devotion to form and a testament to its continued appeal.

The beloved Kashmiri-American poet Agha Shahid Ali presents his own American ghazals. Calling on a line or phrase from fellow poets, Ali salutes those known and loved—W. S. Merwin, Mark Strand, James Tate, and more—while in other searingly honest verse he courageously faces his own mortality.

In this stunningly inventive collection—a finalist for the 2001 National Book Award in poetry—Ali excavates the devastation wrought upon his childhood home, Kashmir, and reveals a more personal devastation: his mother's death and the journey with her body back to Kashmir.

"Translucent elegies 'for the city that is leaving forever' (Srinagar) from one of its sons, who also happens to be one of America's finest younger poets."—John Ashbery

Mapping America as he travels westward, the Nostalgist is an exile from his native Kashmir, and even from his first American home; his is the unique perspective of the outsider. These jeweled, intricate poems, like the multilayered "In Search of Evanescence," locate and reflect the America that must be "unseen to be believed." Somewhere between cartographer and stargazer, the Nostalgist links images of water, desert, and myth, returning to Tucson in the monsoons, or seeing Chile in his rearview mirror, all the while creating an intense and vital vision.