BROADSTONE BOOKS announces
Publication Date:  March 1, 2017
Paperback,
92 pages
ISBN:  978-1-937968-3
1-1
$1
8.50
Booksellers:  Available from
S
mall Press Distribution
Christopher T. Keaveney received his
undergraduate degree in English from
Manhattan College and his MA in Japanese
Language and Literature and Ph.D. in
Comparative Literature from Washington
University in St. Louis. He also pursued
graduate studies at Tsukuba University in
Ibaraki, Japan and at Fudan University in
Shanghai and taught abroad in American
Samoa, Japan, and China. Keaveney
currently teaches Japanese language and
East Asian literature and film courses at
Linfield College in McMinnville, Oregon
and is the author of three books about
Japanese culture and Sino-Japanese literary
relations. His poetry has appeared in
Columbia Review, Spoon River Poetry
Review
, Borderlands: Texas Poetry Review,
The Minetta Review, Stolen Island,
Faultline, Wilderness House Literary
Review
, and elsewhere, and several of his
English language haiku have appeared in the
Mainichi Daily News. He lives in Portland
with his wife Shigeko and his daughters
Bridget and Erica.
ABOUT THE AUTHOR
Chris Keaveney’s debut collection is a litany of the almost, “What the leaves in the
bottom of the cup / should have said, / had we but waited for them to settle.” But if

he often writes of arriving late, of stopping just short, of ideals nearly believed in, of
songs learned save for a single chord, there is nothing left wanting in his language,
which is exquisitely precise, full of catch-your-breath moments. Through these
deceptively gently poems we learn to pay attention to the details that unmask the
mysteries, like a grandfather who knows “the difference between lacquer and
varnish”, or “the way / rain clung to pine that morning / like a drunken lover’s /
apology”, and to arrive at what is for each of us – as in the closing word in the book –
“precious.”  There is much wisdom on offer here, but none better than the reminder
that “The only promises that matter…/ are the ones we make to ourselves.”


Praise for Christopher Keaveney and Your Eureka Not Mined:

Christopher Keaveney's poems – I use all the following terms advisedly – address and
respect the full range of a reader's sensibility. They provide substantial challenges and
substantial satisfaction. I grant them equal respect and will reread them.

                                       William I. Elliott, author of
An Evening’s Entertainment

What makes a poet memorable to me is the ability to make me sit up and feel a
wow
moment, an idea, a poetic line or a usage of words that says to me this poet is unique.
Christopher Keaveney is that kind of poet. I had those moments when I read
Keaveney's poems.  They are of high quality and belong in “the show” which is
baseball talk for the major leagues.

                                       Zvi A. Sesling, author of
                                       A
cross Stones of Bad Dreams and Fire Tongue

Subtle, wry, sinuous, insisting – the poems in Christopher T. Keaveney’s debut,
Your
Eureka Not Mined
, deal in distance: the distance of memory, of language, of
metaphor. “[I]n the darkness,” Keaveney writes, “I brush away something / that may
turn out to be grass / or pity.” And that’s the very space the poet attempts to map
here, the difficult geography between the interior and the exterior, between our
labyrinthine psyches and the wild, multitudinous world. It’s a challenging endeavor,
and this is a finely wrought collection is up to the task.
Your Eureka Not Mined is full
of nuance, complexity, and surprise, just the way “the gabardine knot / of memory”
unfolds in “a shower of blossoms.”

                                       Joe Wilkins, author of
                                       
The Mountain and the Fathers, Killing the Murnion Dogs,
                                       and
When We Were Birds
Your Eureka
Not Mined

Poetry by
Christopher T.
Keaveney
Cover and Book Design by Laurie Powers