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The Orient and the Young Romantics
by Andrew WarrenThrough close readings of major poems, this book examines why the second-generation Romantic poets - Byron, Shelley, and Keats - stage so much of their poetry in Eastern or Orientalized settings. It argues that they do so not only to interrogate their own imaginations, but also as a way of criticizing Europe's growing imperialism. For them the Orient is a projection of Europe's own fears and desires. It is therefore a charged setting in which to explore and contest the limits of the age's aesthetics, politics and culture. Being nearly always self-conscious and ironic, the poets' treatment of the Orient becomes itself a twinned criticism of 'Romantic' egotism and the Orientalism practised by earlier generations. The book goes further to claim that poems like Shelley's Revolt of Islam, Byron's 'Eastern' Tales, or even Keats's Lamia anticipate key issues at stake in postcolonial studies more generally.
The Orient of Style: Modernist Allegories of Conversion
by Beryl SchlossmanIn this study of modernist aesthetics, Beryl Schlossman reveals how for such writers as Marcel Proust, Gustave Flaubert, and Charles Baudelaire, the Orient came to symbolize the highest aspirations of literary representation. She demonstrates that through allegory, modernism became a style itself, a style that married the ancient and the modern and that emerged as both a cause and an effect, both an ideal construct and an textual materiality, all symbolized by the Orient--land of style, place of plurality, and site of the coexistence of holy lands. Toward the end of Remembrance of Things Past, the narrator describes the act of creating a work of art as a conversion of sensation into a spiritual equivalent. By means of such allegories of "conversion," Schlossman shows, the modernist artist disappeared within the work of art and left behind the trace of his sublime vocation, a vocation in which he was transformed, in Schlossman's words, "into a kind of priest kneeling at the altar of beauty before the masked divinity of representation. " The author shows how allegory--the representation of the symbolic as something real--was adapted by modernist writers to reflect subjectivity while masking an authorial origin. She reveals how modernist allegory arose, as Walter Benjamin suggests, at the crossroads of history, sociology, economics, urban architecture, and art--providing a kind of map of capitalism--and was produced through the eyes of a melancholic gazing at a "monument of absence. "
Orient Point: Poems
by Julie Sheehan"Tender, sassy, quietly observant, deeply cutting ... a collection bursting with verbal and existential exuberance."--Billy Collins Julie Sheehan draws from nature guides and self-help books, weaves legal argot and street slang, and fills her work with "muscle, size, shadows, and nuance" (Linda Gregg).
Orientalism and Modernism: The Legacy of China in Pound and Williams
by Zhaoming QianChinese culture held a well-known fascination for modernist poets like Ezra Pound and William Carlos Williams. What is less known but is made fully clear by Zhaoming Qian is the degree to which oriental culture made these poets the modernists they became. This ambitious and illuminating study shows that Orientalism, no less than French symbolism and Italian culture, is a constitutive element of Modernism.Consulting rare and unpublished materials, Qian traces Pound's and Williams's remarkable dialogues with the great Chinese poets--Qu Yuan, Li Bo, Wang Wei, and Bo Juyi--between 1913 and 1923. His investigation reveals that these exchanges contributed more than topical and thematic ideas to the Americans' work and suggests that their progressively modernist style is directly linked to a steadily growing contact and affinity for similar Chinese styles. He demonstrates, for example, how such influences as the ethics of pictorial representation, the style of ellipsis, allusion, and juxtaposition, and the Taoist/Zen-Buddhist notion of nonbeing/being made their way into Pound's pre-Fenollosan Chinese adaptations, Cathay, Lustra, and the Early Cantos, as well as Williams's Sour Grapes and Spring and All. Developing a new interpretation of important work by Pound and Williams, Orientalism and Modernism fills a significant gap in accounts of American Modernism, which can be seen here for the first time in its truly multicultural character.
Origami Bridges: Poems of Psychoanalysis and Fire
by Diane AckermanIn a prefatory note to this collection of poems, Diane Ackerman tells us that her goal in this book was "to corral the unruly emotions that arose during intense psychotherapy."
An Origin Like Water: Collected Poems 1957-1987
by Eavan Boland"Readers of this work will recognize and relish the way this collection charts a life's course."--Publishers Weekly Here, from one of our major poets, is the collected early work that has been long unavailable in this country. Included in this volume is the work from Eavan Boland's five early volumes of poetry: New Territory, The War Horse, In Her Own Image, Night Feed, and The Journey. The poems from Boland's first book, New Territory, show her to be, at twenty-two, a master of formal verse reflecting Irish history and myth. This collection charts the ways in which Boland's work breaks from poetic tradition, honors it, and reinvents it. Poems like "Anorexic," "Mastectomy," and "Witching" have an intensity reminiscent of Sylvia Plath and Anne Sexton. In later poems, her subjects become more personal, sequencing Boland's life as a woman, poet, and mother. Boland writes, "I grew to understand the Irish poetic tradition only when I went into exile with it," becoming, in effect, "a displaced person / in a pastoral chaos." This collection demonstrates how Boland's mature voice developed from the poetics of inner exile into a subtle, flexible idiom uniquely her own.
The Origin of Sin
by Prudentius Martha A. MalamudAurelius Prudentius Clemens (348–ca. 406) is one of the great Christian Latin writers of late antiquity. Born in northeastern Spain during an era of momentous change for both the Empire and the Christian religion, he was well educated, well connected, and a successful member of the late Roman elite, a man fully engaged with the politics and culture of his times. Prudentius wrote poetry that was deeply influenced by classical writers and in the process he revived the ethical, historical, and political functions of poetry. This aspect of his work was especially valued in the Middle Ages by Christian writers who found themselves similarly drawn to the Classical tradition. Prudentius's Hamartigenia, consisting of a 63-line preface followed by 1,290 lines of dactylic hexameter verse, considers the origin of sin in the universe and its consequences, culminating with a vision of judgment day: the damned are condemned to torture, worms, and flames, while the saved return to a heaven filled with delights, one of which is the pleasure of watching the torments of the damned. As Martha A. Malamud shows in the interpretive essay that accompanies her lapidary translation, the first new English translation in more than forty years, Hamartigenia is critical for understanding late antique ideas about sin, justice, gender, violence, and the afterlife. Its radical exploration of and experimentation with language have inspired generations of thinkers and poets since-most notably John Milton, whose Paradise Lost owes much of its conception of language and its strikingly visual imagery to Prudentius's poem.
The Original 1939 Notebook of a Return to the Native Land: Bilingual Edition (Wesleyan Poetry Series)
by James Arnold Clayton Eshleman Aime CesaireAime Cesaire's masterpiece, Notebook of a Return to the Native Land, is a work of immense cultural significance and beauty. This long poem was the beginning of Cesaire's quest for negritude, and it became an anthem of Blacks around the world. Commentary on Cesaire's work has often focused on its Cold War and anti-colonialist rhetoric material that Cesaire only added in 1956. The original 1939 version of the poem, given here in French, and in its first English translation, reveals a work that is both spiritual and cultural in structure, tone, and thrust. This Wesleyan edition includes the original illustrations by Wifredo Lam, and an introduction, notes, and chronology by A. James Arnold.
Original Fire: Selected and New Poems
by Louise ErdrichIn this important new collection, her first in fourteen years, award-winning author Louise Erdrich has selected poems from her two previous books of poetry, Jacklight and Baptism of Desire, and has added nineteen new poems to compose Original Fire.
The Origins of Criticism: Literary Culture and Poetic Theory in Classical Greece
by Andrew FordBy "literary criticism" we usually mean a self-conscious act involving the technical and aesthetic appraisal, by individuals, of autonomous works of art. Aristotle and Plato come to mind. The word "social" does not. Yet, as this book shows, it should--if, that is, we wish to understand where literary criticism as we think of it today came from. Andrew Ford offers a new understanding of the development of criticism, demonstrating that its roots stretch back long before the sophists to public commentary on the performance of songs and poems in the preliterary era of ancient Greece. He pinpoints when and how, later in the Greek tradition than is usually assumed, poetry was studied as a discipline with its own principles and methods. The Origins of Criticism complements the usual, history-of-ideas approach to the topic precisely by treating criticism as a social as well as a theoretical activity. With unprecedented and penetrating detail, Ford considers varying scholarly interpretations of the key texts discussed. Examining Greek discussions of poetry from the late sixth century B.C. through the rise of poetics in the late fourth, he asks when we first can recognize anything like the modern notions of literature as imaginative writing and of literary criticism as a special knowledge of such writing. Serving as a monumental preface to Aristotle's Poetics, this book allows readers to discern the emergence, within the manifold activities that might be called criticism, of the historically specific discourse on poetry that has shaped subsequent Western approaches to literature.
Origins of the Syma Species (African Poetry Book)
by Tares OburumuWinner of the Sillerman First Book Prize for African Poets Winner of the Sillerman First Book Prize for African Poets, Tares Oburumu&’s collection is a brief history of where he came from: Syma, a neglected oil-producing region of Nigeria. After growing up with a single mother in the creek- and brook-marked region, and himself now a single parent, Oburumu examines single parenthood and how love defines family circles. Mixing music, religion, and political critique, Origins of the Syma Species evokes pasts and futures. Inspired by the relative chaos found in the origin of things, Oburumu&’s poems explore how the beauty of chaos binds us to our ancestral roots. In his poems Oburumu identifies with anyone who is a single parent or is dealing with the lonely trauma of a broken home. His poems instill hopefulness in a world that has the means to throw many into poverty and agony.
Orion Sweeping
by Anne Marie TodkillAnne Marie Todkill's debut recalibrates the anxiety of the present. It gives doubt a hearing, finding resilience in fragility and grace in unexpected places. The poems assembled in Orion Sweeping take nothing at face value. What are we to make of a radioactive souvenir, a shape-shifting dog, landscapes made strange by time? The speakers gathered here seek to set the record straight: a mink gives advice; a wolf disputes a rumour; a photographer zooms in on a kill; a military strategist gives lessons in peace. But the sum of the evidence is not bleak. A baby arrives as robustly as a whale; the solidarity of marriage is enacted in surprising ways; father and daughter share a gift for reprieve. Under the penetrating gaze of these poems, beauty and tenderness come quietly into view.
Orlando Furioso: Part Two (Orlando Furioso #2)
by Ludovico AriostoA dazzling kaleidoscope of adventures, ogres, monsters, barbaric splendor, and romance, this epic poem stands as one of the greatest works of the Italian Renaissance.
Orlando Furioso: Part One (Orlando Furioso #1)
by Ludovico AriostoOne of the greatest epic poems of the Italian Renaissance, Orlando Furioso is an intricate tale of love and enchantment set at the time of the Holy Roman Emperor Charlemagne's conflict with the Moors. When Count Orlando returns to France from Cathay with the captive Angelica as his prize, her beauty soon inspires his cousin Rinaldo to challenge him to a duel - but during their battle, Angelica escapes from both knights on horseback and begins a desperate quest for freedom. This dazzling kaleidoscope of fabulous adventures, sorcery and romance has inspired generations of writers - including Spenser and Shakespeare - with its depiction of a fantastical world of magic rings, flying horses, sinister wizardry and barbaric splendour.
Oroonoko (Penguin Little Black Classics)
by Aphra Behn'We are bought and sold like apes or monkeys, to be the sport of women, fools, and cowards, and the support of rogues . . .'Spy, traveller and pioneering female writer Aphra Benn's story of an African prince sold into slavery is considered one of the earliest English novels
Oroonoko and Other Writings
by Aphra Behn Paul SalzmanA collection of Aphra Behn''s work contains Oroonoko and other works of fiction ranging from comedy and high melodrama to tragedy and in addition a selection of her poetry from public political verse to lyrics and witty conversation poems.
Orphan Hours: Poems
by Stanley PlumlyA luminous new volume from a National Book Award finalist and recipient of the Los Angeles Times Book Prize. Orphan Hours is a book of reconciliation, of coming to terms with time in its most personal and memorable manifestations, and of learning the wisdom of what cannot be changed. The urgency of the elegy has been absorbed by an acceptance of the detail, texture, and small moments that constitute and enrich mortality. from "Lapsed Meadow" I remember, in Ohio, fields of wastes of nature, lost pasture, fallow clearings, buckwheat and fireweed and broken sparrow nests, especially in the summer, in the fading hilltop sun, when you could lose yourself by simply lying down. Who will find you, who will call you home now, at dusk, with the dry tips of the goldenrod confused with a little wind, filling in what's left of the light.
Orpheus & Eurydice
by Gregory OrrHow can I celebrate love/ now that I know what it does? So begins this booklength lyric sequence which reinhabits and modernizes the story of Orpheus, the mythic master of the lyre (and father of lyric poetry) and Eurydice, his lover who died and whom Orpheus tried to rescue from Hades.Gregory Orr uses as his touchstone the assertion that myths attempt to narrate a whole human experience, while at the same time serving a purpose which resists explanation. Through poems of passionate and obsessive erotic love, Orr has dramatized the anguished intersection of infinite longings and finite lives and, in the process, explores the very sources of poetry.When Eurydice saw himhuddled in a thick cloak,she should have knownhe was alive,the way he shiveredbeneath its useless folds.But what she sawwas the usual: a strangerconfused in a new world.And when she touched himon the shoulder,it was nothingpersonal, a kindnesshe misunderstood.To guide someonethrough the halls of hellis not the same as love."A reader unfamiliar with Orr's work may be surprised, at first, by the richness of both action and visual detail that his succinct, spare poems convey. Lyricism can erupt in the midst of desolation."--Boston GlobeWhen Gregory Orr's Burning the Empty Nest appear, Publisher's Weekly praised it as an "auspicious debut for a gifted newcomer...he already demonstrates a superior control of his medium." Kirkus Review celebrated it as "an almost unbearably powerful first book of poetry" and enthusiastically reviewed his second book Gathering the Bones Together, noting that "Orr's power is the eloquence of understatement." Most recently, his City of Salt was a finalist for the Los Angeles Times Book Award. Gregory Orr teaches at the University of Virginia.
Orphic Paris
by Henri ColeA poetic portrait of Paris that combines prose poetry, diary, and memoir by award-winning writer and poet Henri Cole.Henri Cole’s Orphic Paris combines autobiography, diary, essay, and poetry with photographs to create a new form of elegiac memoir. With Paris as a backdrop, Cole, an award-winning American poet, explores with fresh and penetrating insight the nature of friendship and family, poetry and solitude, the self and freedom. Cole writes of Paris, “For a time, I lived here, where the call of life is so strong. My soul was colored by it. Instead of worshiping a creator or man, I cared fully for myself, and felt no guilt and confessed nothing, and in this place I wrote, I was nourished, and I grew.” Written under the tutelary spirit of Orpheus—mystic, oracular, entrancing—Orphic Paris is an intimate Paris journal and a literary commonplace book that is a touching, original, brilliant account of the city and of the artists, writers, and luminaries, including Cole himself, who have been moved by it to create.
Orphic Politics
by Tim LilburnA new collection by the winner of the Governor General's Award for Poetry. Tim Lilburn's award-winning work has observed the natural world with an intensity of seeing and a reverence that shifts the way we understand our lives. Now, in his brilliant new collection of poems, Lilburn has turned his meticulous, unerring eye to an intimate, utterly compelling exploration of the body's fall into illness. These haunting poems take the reader below the surface of things into a peculiar world of personal and social alteration. Its incantatory insistence and its shocking imagistic leaps make the poetry a sustained act of therapy, a ritual instrument for change.From the Trade Paperback edition.
The Orphic Voice: Poetry and Natural History
by Elizabeth SewellA wondrously written book of literary criticism and philosophy that maps the relationship between poetry and natural history, connecting verse from poets such as Shakespeare and Rainer Maria Rilke to the work of scientists and theorists like Francis Bacon and Michael Polanyi.Taking its bearings from the Greek myth of Orpheus, whose singing had the power to move the rocks and trees and to quiet the animals, Elizabeth Sewell&’s The Orphic Voice transforms our understanding of the relationship between mind and nature. Myth, Sewell argues, is not mere fable but an ancient and vital form of reflection that unites poetry, philosophy, and natural science: Shakespeare with Francis Bacon and Giambattista Vico; Wordsworth and Rilke with Michael Polanyi. All these members of the Orphic company share a common perception that &“discovery, in science and poetry, is a mythological situation in which the mind unites with a figure of its own devising as a means toward understanding the world.&” Sewell&’s visionary book, first published in 1960, presents brilliantly illuminating readings of A Midsummer Night&’s Dream and Rilke&’s Sonnets to Orpheus, among other masterpieces, while deepening our understanding not only of poetry and the history of ideas but of the biological reach of the mind.
Ortiga
by Elena Barrio FabregatOrtiga es una selección de poemas de Elena Barrio, un canto a la añoranza, a la tierra, a la familia, a la mujer, a la infancia. «En este álbum familiar: las mujeres que pisaron estos bosques y los domesticaron sin herirlos. las que cuidaron de los suyos por encima de la resistencia de sus carnes. las que abortaron en silencio y se levantaron para continuar labrando, dejando la pena a un lado. las que salieron de noche, a la caza del lobo. las que cultivaron la compasión y la resistencia. las que emigraron. las que permanecieron.»
Ortiga
by Elena Barrio FabregatOrtiga es una selección de poemas de Elena Barrio, un canto a la añoranza, a la tierra, a la familia, a la mujer, a la infancia. «En este álbum familiar: las mujeres que pisaron estos bosques y los domesticaron sin herirlos. las que cuidaron de los suyos por encima de la resistencia de sus carnes. las que abortaron en silencio y se levantaron para continuar labrando, dejando la pena a un lado. las que salieron de noche, a la caza del lobo. las que cultivaron la compasión y la resistencia. las que emigraron. las que permanecieron.»
Os cem melhores poemas portugueses dos últimos cem anos
by José Mario SilvaEntre grandes nomes canónicos já desaparecidos e jovens e promissórias vozes, o mundo da poesia portuguesa contemporânea é-nos apresentado com uma frescura e originalidade inesperadas e os poemas vão guiando o leitor numa viagem íntima por esse mundo à parte e imorredouro, apesar de actualíssimo, que é a poesia. Reúne poemas de autores como Fernando Pessoa, Camilo Pessanha, Jorge de Sena, Vitorino Nemésio, Sophia de Mello Breyner Andresen, Herberto Helder, Alexandre O'Neill, Mário Cesariny entre outros.