The Things I Notice Now

Available now from Madhat Press

Praise for

The Things I Notice Now

This is a book of amazing range. Dennis Maloney is equally at home with ancient Japanese forms and the memory of hearing Janis Joplin at the Fillmore. Moving with confidence among continents and centuries, the poems have an uncanny immediacy that makes us feel as if the voice is always right here, right now. As one of our most accomplished translators, Maloney seems to have mastered the art of being invisible, so that his poems sing their human songs untethered from any particular autobiography, though they dip in and out of many. In this sense the book has multiple voices, all of which speak with the gravitas of age and experience while somehow preserving an arresting freshness of vision. Easy of access, playful, profound, surprising, and often quietly heartbreaking, The Things I Notice Now is the work of a poet writing at the height of his powers.

—Chase Twichell, author of Horses Where the Answers Should Have Been: New and Selected Poems

Reading Dennis Maloney’s newest collection, The Things I Notice Now, I was reminded of Rilke’s “great and eternal beauty.” Maloney passes through time and space to bring us the world, from the Great Wall of China to ‘60s Haight-Ashbury. A first-class noticer, his tanka are quietly observant, rich in complexity. “A good poem/should smell of tea,/earth or newly split wood.” Maloney writes. These are good poems indeed.

—Ellen Bass, author of Like a Beggar

The Faces of Guan Yin

Available now from Folded Word Press

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The Faces of Guan Yin by Dennis Maloney — This collection of 29 poems explores the various roles of Guan Yin, the embodiment of compassion and wisdom in Buddhism, in both historic and modern contexts.
*“Exquisite and powerful poems about and inspired by the great compassionate Guan Yin, these poems by Dennis Maloney open the door of compassion.”*

—Roshi Joan Halifax, Abbot of Upaya Zen Center

Praise for

The Faces of Guan Yin

Dennis Maloney’s poem-glimpses of the fascinating Buddhist figure of Guan Yin draw richly on an almost infinite set of teaching stories and folk tales. Maloney’s poems offer a many-sided, personal, and idiosyncratic introduction to this shape-shifting, gendershifting embodiment of freed thought, feeling, and action. These poems hold a much-needed, supple, inventive reminder of the central teaching of all Buddhism, as held by Guan Yin: that the key to ending suffering is an untethered, unstinting, unlimiting, and utterly unconventional compassion.

—Jane Hirshfield, author of “Beauty,” member of the American Academy of Arts and Sciences