Station Hill Press

Station Hill of Barrytown, the dedicated project of the not-for-profit Institute for Publishing Arts, is an independent publisher of poetry, poetics, translation, and experimental prose. Our broad focus on innovative works in human alternatives also includes: philosophies and practices of conscious living (including studies in Buddhism, Dzogchen, Zen and Jewish esotericism); alternative health and healing (including acupuncture, bodywork, oriental medicine, mind-body therapies, and cooking). Founded in 1977, Station Hill is located a stone’s throw from the Hudson River in Barrytown, NY, and we are open to the public by appointment.

New from Station Hill

Eating The Colors Of A Lineup Of Words: The Early Books of Bernadette Mayer

Bernadette Mayer
Edited by Michael Ruby & Sam Truitt

Bernadette Mayer is among the most influential poets of the late 20th century and to the present, with much of that interest falling to her earliest works. At the age of 15, in 1960, Mayer began writing and instantly with an incarnate directness and resource belying her youth. Over the next two decades, this precocious start would culminate in a body of writing extraordinary in its range and import. Even given that Mayer was moving in a New York milieu given to radical practice—as evidenced in the journal 0 to 9 she co-edited in the late '60s—these books in their collective force represent an explosion of poetic forms and investigation as profound and sustained as American poetry perhaps has seen....

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Bernadette Mayer
Edited by Michael Ruby & Sam Truitt
Bernadette Mayer is among the most influential poets of the late 20th century and to the present, with much of that interest falling to her earliest works. At the age of 15, in 1960, Mayer began writing and instantly with an incarnate directness and resource belying her youth. Over the next two decades, this precocious start would culminate in a body of writing extraordinary in its range and import. Even given that Mayer was moving in a New York milieu given to radical practice—as evidenced in the journal 0 to 9 she co-edited in the late '60s—these books in their collective force represent an explosion of poetic forms and investigation as profound and sustained as American poetry perhaps has seen. The permutations of her poetic shapes are myriad and through it all forms the irreverent and sacred, jocular and deadly serious, erotic, rigorously fashioned and off the cuff, gentle and tough, deadpan dance of a soul on fire—a poetic intelligence and skill operating at the heights. These early books have played an oceanic role in the formation of generations of experimental poets, though in shards, as many of the books on which her reputation is based have long been out of print—and so their operative life partial. This multi-volume publication, which includes some poems that have never been published—including such early long poems as “A Moving Boat Is a Squeezed Boat: 52 Cards” and “Complete Music of Webern (A Movie)”—makes available for the first time the near totality of Mayer’s early books.

Ceremony Latin (1964) * Red Book in Three Parts * Story * The Old Style Is Finding Out Something About A Whole New Set of Possibilities * Moving * Poetry * Eruditio Ex Memoria * The Golden Book of Words


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Glossodelia Attract

George Quasha

If William Blake’s “Proverbs of Hell” are poetry, then George Quasha’s preverbs are like a close cousin. Its core question is: can poetry say the unsayable? Preverbs wonder: what is poetry? A well established poetic tradition both modern and post-modern—some call it experimental—starts its poetics with: poetry is not what you think it is...

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George Quasha

If William Blake’s “Proverbs of Hell” are poetry, then George Quasha’s preverbs are like a close cousin. Its core question is: can poetry say the unsayable? Preverbs wonder: what is poetry? A well established poetic tradition both modern and post-modern—some call it experimental—starts its poetics with: poetry is not what you think it is. Its work is journeying inside language, as if passing through a distant country or else another reality. It conveys news of alternate dimensions showing through in the here-and-now, embedded inside our everyday thoughts and speaking.


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In|Filtration: An Anthology of Innovative Poetry from the Hudson River Valley

Anne Gorrick & Sam Truitt, Editors

In|Filtration is an anthology of contemporary Hudson Valley poetry that in one sense or another is innovative. The poets’ work is sometimes formally original and other times innovative in the use of more familiar poetic forms: old bottle/new wine; new bottle/old wine; and, quite often, new bottle/new wine. Much of the poetry here is directly or indirectly in conversation with national and international movements directed toward more exploratory uses of the medium...

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Anne Gorrick & Sam Truitt, Editors

In|Filtration is an anthology of contemporary Hudson Valley poetry that in one sense or another is innovative. The poets’ work is sometimes formally original and other times innovative in the use of more familiar poetic forms: old bottle/new wine; new bottle/old wine; and, quite often, new bottle/new wine. Much of the poetry here is directly or indirectly in conversation with national and international movements directed toward more exploratory uses of the medium—work that goes beyond the explorer's map into uncharted territories, places where the map tatters in the explorer's pocket and another world begins. Like explorers the editors have sought to map the contemporary currents of radical poetics in the Hudson Valley. There is truly an enormous wealth of poetic activity in the region, and of course such an exploration cannot be comprehensive Themselves poets, the editors present what they take to be the salient characteristic of the region in their essay “A Hudson Valley Salt Line” at the end of the anthology, pointing to the geological, human and cultural histories of the Hudson Valley as they dovetail with its poetries. They also provide their rationale for the title In|Filtration with particular reference to the Hudson River's salt line, which becomes the essay's key trope.


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Tequila Mockingbird

The unforgettable sexy spirited fashion model Fiona Mays obsesses with supermodel best friend Brenda Rawlings in Carter Ratcliff’s hilarious Tequila Mockingbird. Fiona’s irresistible, loving, smart, sexually hyperactive, racing thoughts fill every page and make us fall in love with her. When Brenda receives death threats from Sergei Propokoff, the Russian oligarch she’s been dating, the story turns from the fast life in New York’s fashion world to thriller where the beautiful princess must be saved from the ogre, and it’s up to Fiona and Fiona alone.

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The unforgettable sexy spirited fashion model Fiona Mays obsesses with supermodel best friend Brenda Rawlings in Carter Ratcliff’s hilarious Tequila Mockingbird. Fiona’s irresistible, loving, smart, sexually hyperactive, racing thoughts fill every page and make us fall in love with her. When Brenda receives death threats from Sergei Propokoff, the Russian oligarch she’s been dating, the story turns from the fast life in New York’s fashion world to thriller where the beautiful princess must be saved from the ogre, and it’s up to Fiona and Fiona alone.


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Three New York Poets: Charles North Tony Towle Paul Violi

Edited with essays on the writers by Andrew McCarron

What is the shape of a life dedicated to poetry—and how, and from where, does such a dedication take hold? Moreover is that foundation a matter of decision, necessity and/or “grace”—or all three to degrees—and what are its costs? Combined with a selection of poems from these three distinguished poets, who together form a core of the Second Generation of New York School poets, Andrew McCarron pursues these questions, and more, through a series of biographical essays addressing each poet’s life story and psychological complexion...

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Edited with essays on the writers by Andrew McCarron

What is the shape of a life dedicated to poetry—and how, and from where, does such a dedication take hold? Moreover is that foundation a matter of decision, necessity and/or “grace”—or all three to degrees—and what are its costs? Combined with a selection of poems from these three distinguished poets, who together form a core of the Second Generation of New York School poets, Andrew McCarron pursues these questions, and more, through a series of biographical essays addressing each poet’s life story and psychological complexion—and what critical insights such gleanings might lead. The poetry alone of North, Towle and Violi—exact in its execution and wide in its—is of enduring value and utility; juxtaposed with and in part seen through McCarron’s exegeses, these qualities assume a poignancy that seems to lead us further into an examination of our human fate and of what it’s all about: or as Towle writes, “in between the great saga of America, / lying like a lost nickel in New York’s platonic gutter.” As long as interest in the New York School holds—and in fact continues to grow—Three New York Poets will remain an essential guide.


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George Quasha reading at ‘T’ Space (Rhinebeck, New York) on Saturday 7-11-15 his “preverbs” poem for architect José Oubrerie, on the occasion of the latter’s exhibition of The Chapel of the Mosquito.