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The Nobble lives in a world all his own-a fantastical world where you can do the impossible things of dreams. It's a nice life and all he's ever known. Yet one day he begins to think about finding some place he hasn't been yet. Or maybe seeing something he hasn't seen yet. Or . . . something. So he sets off on a journey to an unusual place, where he discovers roary things, fuzzy things, and tall, shiny, rectangular things. Then a door knocks. If only he knew what a door was . . . C. K. Williams and Stephen Gammell's enchanting tale is about finding the courage to go out and search for what you want most in the world. And sometimes, that's a friend.
A boy walks through a forest full of snakes and wolves and bears, but this boy isn't afraid because he knows they'll stay out of his way. The scary monster in this forestwon'tstay out of his way, though. He pops out at the boy and growls! But the brave boy just keeps walking along because he doesn't believe in monsters. This sets the monster to begging and begging for the boy to believe in him, even just a smidge. Will the boy ever agree? This unusual monster story, with thrills and fangs and growls, shows that a little confidence and a lot of courage can shrink fears to a size that might even be a little cuddly.
In this book, Pulitzer Prize-winning poet C. K. Williams sets aside the mass of biography and literary criticism that has accumulated around the work and person of Walt Whitman, and attempts to go back toLeaves of Grassas he first encountered it, to explore why Whitman's epic "continues to inspire and sometimes daunt" him. The result is a personal reassessment and appreciation of one master poet by another, as well as an unconventional and brilliant introduction--or reintroduction--to Whitman. In brief, thematic chapters with many quotations fromLeaves of Grass, Williams explores the innovations, originality, and sheer genius of the poetry that has become, as he puts it, "the unconscious" of much of the poetry of America and the world. Williams pays particular attention to the music of Whitman's poetry, its blazing perception and enormous human sympathy, its affecting anecdotes, and its vast cast of characters, as well as to the radical nature of Whitman's first-person speaker, his liberating attitude toward sex, and his unconventional ideas about death. While conveying the singularities of Whitman's work, Williams also shows what Whitman had in common with other great poets of his time, such as Baudelaire, and the powerful influence Whitman had on later poets such as Eliot and Pound. Beautifully written and rich with insight, this is a book that refreshes our ability to see Whitman in all his power.
Repair is body work in C. K. Williams's sensual poems, but it is also an imaginative treatment of the consternations that interrupt life's easy narrative. National Book Critics Circle Award-winner Williams keeps the self in repair despite love, death, social disorder, and the secrets that separate and join intimates. These forty poems experiment with form but maintain what Alan Williamson has heralded Williams for having so steadily developed from French influences: "the poetry of the sentence".
Yehuda Amichai (1924-2000) was Israel's most popular poet, as well as a literary figure of international reputation. In this collection, renowned translators Chana Bloch and Stephen Mitchell have selected Amichai's most beloved poems, including forty poems from his later work. A new foreword by C.K. Williams, written especially for this edition, addresses Amichai's enduring legacy and sets his poetry in the context of the new millennium.
New work from the Pulitzer Prize winning author of Repair. Reality has put itself so solidly before me there's little need for mystery. Except for us, for how we take the world to us, and make it more, more than we are, more even than itself. --from "The World" In his first volume since Repair, C. K. Williams treats the characteristic subjects of a poet's maturity--the loss of friends, the love of grandchildren, the receding memories of childhood, the baffling illogic of current events--with an intensity and drive that recall not only his recent work but also his early books, published forty years ago. He gazes at a Rembrandt self-portrait, and from it fashions a self-portrait of his own. He ponders an "anatomical effigy" at the Museum of Mankind, an in so doing "dissects" our common humanity. Stoking a fire at a house in the country, he recalls a friend who was burned horribly in war, and then turns, with eloquence and authority, to contemporary life during wartime, asking "how those with power over us can effect these things, by what cynical reasoning do they pardon themselves."The Singing is a direct and resonant book: touching, searching, heartfelt, permanent.
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