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Selected Writings of Gertrude Stein
by Gertrude SteinThis collection, a retrospective exhibit of the work of a woman who created a unique place for herself in the world of letters, contains a sample of practically every period and every manner in Gertrude Stein's career. It includes The Autobiography of Alice B. Toklas in its entirety; selected passages from The Making of Americans; "Melanctha" from Three Lives; portraits of the painters Cezanne, Matisse, and Picasso; Tender Buttons; the opera Four Saints in Three Acts; and poem, plays, lectures, articles, sketches, and a generous portion of her famous book on the Occupation of France, Wars I Have Seen.
Selected Writings of Ralph Waldo Emerson
by Ralph Waldo EmersonFrom one of the greatest figures of 19th-century America. . . This new edition offers a broad view of the author's finest work, featuring his critical essays, poems, and letters, plus a considerable amount of material from the Journals, including an entry discovered in 1964 in the Library of Congress.
Selected and Last Poems: 1931-2004
by Czeslaw MiloszThe long-awaited paperback edition of Selected Poems, revised and updated with more than forty new poems never before published in English2011 marks the centenary year of one of the twentieth century’s most important poets, Nobel laureate Czeslaw Milosz. To mark the occasion, Anthony Milosz has translated into English the last poems his father wrote, granting readers new insight into the work of an unparalleled master of the form. Life opened for Czeslaw Milosz with the clash of civilizations in northeastern Europe. What unfolded around him was a century of catastrophe and madness: two world wars, revolutions, invasions, and the murders of tens of millions of people. In the thick of this upheaval, wide awake and in awe of living, Milosz tried to understand both history and the moment, with humble respect for the suffering of each individual. He wrote masterful poetry infused with a tireless spirit and a penetrating insight into fundamental human dilemmas and the staggering yet simple truth that “to exist on the earth is beyond any power to name.”
Selections from Canadian Poets: With Occasional Critical and Biographical Notes and an Introductory Essay on Canadian Poetry
by Douglas Lochhead Edward DewartSelections from Canadian Poets set an important precedent when it was published in 1864. It was the first anthology of native Canadian poetry and was compiled, as Edward Hartlet Dewart explained, in order to 'rescue from oblivion some of the floating pieces of Canadian authorship worthy of preservation in a more permanent form ...' This anthology, like any other, reflects the tastes of the anthologist and the tenor of the times. Pre-confederation poets had deeply felt ties with other countries from which developed a shared concern for what Douglas Lochhead terms in his introduction the 'now' and the 'place,' often described in terms of the 'past' and the 'other place,' which embraced a still larger loyalty – religious, political, philosophical, and above all nationalistic. Dewart was widely commended by critics of his attention for its endeavour to come to grips with the influences of other literatures (mainly English) and for its realization that so-called 'colonialism' was a major shaping force of Canadian poetry. On the first page of his essay Dewart states that: A national literature is an essential element in the formation of national character. These words, as well as his perceptive appraisal of the problems of Canadian literary endeavours, still apply today and make this reprint timely and pertinent.
Selections from the 'Carmina Burana'
by David ParlettThis is a selection from the 13the century collection of secular latin poems. Some are serious (eg Crusade poems) but the majority are light, including many love poems. A number of items from the Carmina are well known as text for Carl Orff's 'Scenic Cantata'.
Selena Didn't Know Spanish Either: Poems
by Marisa TiradoSelena Didn't Know Spanish Either is a debut poetry collection which seeks Tejano pop star Selena Quintanilla as a means of reconnecting to the speaker’s cultural identity. As Spanish language and culture becomes more accessible to non-Latinx populations, the speaker grapples with her own complex story of assimilation. Modern marginalization, appropriation, tokenizing, and fetishizing are examined in this multi-generational memoir tracking a Latinx family’s journey to assimilation. This dynamic collection is far-reaching, exploring BIPOC experiences in predominantly white cultures.
Self-Literacy: Writing Out Personhood (Routledge Studies in Literature and Health Humanities)
by Alan BleakleySelf-Literacy: Writing Out Personhood offers fifty perspectives on gaining an understanding of what ‘personhood’ may mean through various disciplines. Literature is a key medium through which selves are mapped as humans are written into being. Such literature is intimately tied to health such as within self-help literature, written accounts of illness, or of characters who are defined by their afflictions – physical, psychological, and moral. This book adopts an essay approach to aspects of selfhood, including disciplines of psychology (personality), sociology (social selves), anthropology (cultural selfhood), literary (the self as portrayed in literature), and history (notions of self through time). Each chapter can be read in isolation, and a comprehensive list of works on self is provided as a bibliography. This book will appeal to researchers and postgraduates engaged in the fields of Literature and Health Humanities, as well as psychology, sociology, and anthropology academics and students.
Self-Portrait Without a Bicycle
by Jessica HiemstraPainters use the term "fugitive pigments" to describe those colours most prone to fading after a brief exposure to light. In Self-Portrait Without a Bicycle, poet and visual artist Jessica Hiemstra uses the idea of fugitive colour to explore the grieving process; whether her subject is a lost grandparent, language, child, painting or cat, Hiemstra renders the fleetingness of life with fine, delicate strokes."The poet listens, tastes and remembers, senses afloat, dipping into the past and then surfacing again, drawn by a perfect but fleeting moment." - DescantJessica Hiemstra is a visual artist and writer. Self-Portrait Without a Bicycle is her third volume.
Self-Portrait in a Convex Mirror
by John AshberyA collection of poetry by John Ashbery.<P><P> Winner of the National Book Award.<P> Pulitzer Prize Winner
Self-Portrait in the Zone of Silence
by Homero AridjisAn exciting new collection of poems by “one of the Spanish-speaking world’s greatest living writers” (LA Review of Books) Self-Portrait in the Zone of Silence, by the renowned Mexican writer Homero Aridjis, is a brilliant collection of poems written in and for the new century. Aridjis seeks spiritual transformation through encounters with mythical animals, family ghosts, migrant workers, Mexico’s oppressed, female saints, other writers (such as Jorge Luis Borges and Philip Lamantia), and naked angels in the metro. We find tributes to Goya and Heraclitus, denunciations of drug traffickers and political figureheads, and unforgettable imaginary landscapes. As Aridjis himself writes: “a poem is like a door / we’ve never passed through...” And now past eighty, Aridjis reflects on the past and ponders the future. “Surrounded by light and the warbling of birds,” he writes, “I live in a state of poetry, because for me, being and making poetry are the same.”
Self-Portrait with Spurs and Sulfur: Poems (Mary Burritt Christiansen Poetry Series)
by Casey ThayerPart fun-house hall of mirrors in its distorted and dizzying central narrative, part spaghetti western, and part prayer, Self-Portrait with Spurs and Sulfur is an exploration into the possibilities of storytelling. Through persona poems and odes, the collection argues that the muddier the narrative, the closer the story gets to truth.
Selfie: Poetry, Social Change & Ecological Connection
by James SherrySelfie: Poetry, Social Change & Ecological Connection presents the first general theory that links poetry in environmental thought to poetry as an environment. James Sherry accomplishes this task with a network model of connectivity that scales from the individual to social to environmental practices. Selfie demonstrates how parts of speech, metaphor, and syntax extend bidirectionally from the writer to the world and from the writer inward to identities that promote sustainable practices. Selfie shows how connections in the biosphere scale up from operating within the body, to social structures, to the networks that science has identified for all life. The book urges readers to construct plural identifications rather than essential claims of identity in support of environmental diversity.
Selves
by Philip BoothBooth's eighth poetry collection, with its evocations of compassion, tenderness and invading darkness, implies that redemption will come only from having loved well and wisely. PW remarked, Booth is a traveler keenly, almost mystically, aware that 'how you get there is where you'll arrive. '
Selves
by Philip BoothBooth's eighth poetry collection, with its evocations of compassion, tenderness and invading darkness, implies that redemption will come only from having loved well and wisely. Publishers Weekly remarked, "Booth is a traveler keenly, almost mystically, aware that 'how you get there is where you'll arrive.' "
Sem Resposta: Quando tudo é Respondido
by Kunal Narayan UniyalDesde os primórdios da existência, a humanidade rebuscou o fugitivo elixir da paz, da felicidade e da tranquilidade. Os seus esforços concentraram-se na criação de um caminho e um destino que levassem a uma imaculada e duradoira felicidade, a um estilo de vida distinto de uma pureza divina e a uma existência baseada no livre arbítrio. Muitos empreenderam este árduo caminho e fracassaram, seja parcialmente que lastimosamente. Todavia, a pesquisa sempre conservou o seu fascínio. Acumulam-se riquezas materiais, persegue-se o sucesso e forçam-se relações para colmatar um vazio que, nesta pesquisa, não é possível preencher. Este livro procura preencher algum vazio, responder algumas destas incertezas e dar voz algumas reflexões não exprimidas; fala de um percurso que liberta e eleva. Esta colectânea não é apenas uma articulação da natureza da pesquisa, mas também dos obstáculos que se encontram no caminho que leva a perceber quem somos; é também uma tentativa para perceber a natureza incógnita, aquele enigma ilusório e fascinante que nós conhecemos como “maya”. Todos os artigos, e as poesias, deste livro são baseados na minha experiencia pessoal com a “verdade”, assim como cheguei a conhecê-la. O meu navegar no oceano da espiritualidade conduziu-me às margens da certeza, da paz e da consciência daquilo que sou hoje. Esta obra é uma humilde tentativa para explicar a natureza da minha viagem. Ficarei feliz se servirá também a outros para encontrar a “Luz”. Não sou que o teu instrumento. Ámen.
Semantics of the World: Selected Poems (Afro-Latin American Writers in Translation)
by Rómulo Bustos AguirreA poet of both the body and spirit, the work of Rómulo Bustos Aguirre often explores the nature of existence at the turn of the twenty-first century—humankind&’s relationship to itself and the universe, the meaning or purpose, if any, of human existence, and the daunting task of discerning that meaning. Critics have described his poetry as highly refined lyricism, metaphysical, existential, and at times erotic. Semantics of the World introduces the English-speaking world to the exciting work of Rómulo Bustos Aguirre, one of Colombia&’s most celebrated living writers.This selection of extraordinary poems, edited and translated by Nohora Arrieta Fernández and Mark A. Sanders, presents Bustos Aguirre&’s works in Spanish alongside their English translations and features the critical apparatus necessary for making Bustos Aguirre&’s poetry more accessible to students, scholars, and the general reading public. The volume offers the perfect introduction to Rómulo Bustos Aguirre and his poetry for critical and popular audiences throughout the Anglosphere.
Send Bygraves
by Martha GrimesIn Send Bygraves, Martha Grimes has given us her most fascinating book, a dramatic mystery poem that uses the conventions of the traditional British mystery to explore the very nature of crime, the criminal, and the criminal investigator. Illustrated with thirty-five line drawings by acclaimed artist Devis Grebu, it is an elegant, darkly humorous work--a tour de force of chilling wit and brilliant literary imagination.
Senryu Poems of the People
by J. C. BrownSenryu is a form of Japanese poetry named after a man who wrote no senryu. Karai Hachiemon (1718-1790) was a government official in the Asakusa district of Edo (now Tokyo), a post he inherited from his father. Under the pen name Senryu, meaning River Willow, he was also a noted poet, and acted as judge at contests of maekuzuke, or "verse capping." In this traditional form of literary amusement,a given short verse of fourteen syllables was capped by a longer verse of seventeen syllables to produce a thirty-one-syllable poem in the traditional tanka form (the longer verse could also be capped by the shorter). The capping portions, known as tsukeku, eventually came to be read and appreciated by themselves. In 1765 Karai Senryu published a selection of tsukeku that reflected his personaltaste and humor. This anthology, Yanagidaru, became widely popular and was followed by 22 more of the same title, also compiledby Senryu, and a further 144 volumes compiled by his successorsto the tradition.The type of poems Karai chose eventually came to be known assenryu. They did not require inclusion of a seasonal word, as didhaiku, which developed from the introductory portion of linkedverse. Although senryu were at first written in only seventeen syllables(in lines of five, seven, and five syllables) or fourteen syllables(in lines of seven and seven), these rules became less strictly adheredto as time passed. The main difference between senryu and haiku is one of tone.The meaning and structure of a haiku can be brilliant, but I personallyoften find them conventionally serious and sentimental, offering few surprises. One has to be a near genius to write good haiku, but almost anyone can write reasonably good senryu; the form seems somehow to have escaped the structural restrictions that bind and, perhaps, limit haiku. Whereas haiku often call foranalysis, I have found that a typical response to senryu is a laugh or a chuckle followed by a remark like "That's so true!" To me, that is the appeal of senryu: They express everyday truths, happy or sad, in succinct verse. Although the poems I have selected for this book date from the eighteenth to the early twentieth century, senryu are still being written today. Newspapers run regular columns featuring senryu submitted by their readers, and many other people, imagining they are writing haiku, are really composing senryu. A chance encounter with an old acquaintance, a drunken night on the town, a lovers'spat-everyday happenings like these have been and continue to be inspirations for senryu. I hope that this small book will make you smile, reflect upon life, and come to the realization that poetry can be found in anything.
Senryu Poems of the People
by J. C. BrownSenryu is a form of Japanese poetry named after a man who wrote no senryu. Karai Hachiemon (1718-1790) was a government official in the Asakusa district of Edo (now Tokyo), a post he inherited from his father. Under the pen name Senryu, meaning River Willow, he was also a noted poet, and acted as judge at contests of maekuzuke, or "verse capping." In this traditional form of literary amusement,a given short verse of fourteen syllables was capped by a longer verse of seventeen syllables to produce a thirty-one-syllable poem in the traditional tanka form (the longer verse could also be capped by the shorter). The capping portions, known as tsukeku, eventually came to be read and appreciated by themselves. In 1765 Karai Senryu published a selection of tsukeku that reflected his personaltaste and humor. This anthology, Yanagidaru, became widely popular and was followed by 22 more of the same title, also compiledby Senryu, and a further 144 volumes compiled by his successorsto the tradition.The type of poems Karai chose eventually came to be known assenryu. They did not require inclusion of a seasonal word, as didhaiku, which developed from the introductory portion of linkedverse. Although senryu were at first written in only seventeen syllables(in lines of five, seven, and five syllables) or fourteen syllables(in lines of seven and seven), these rules became less strictly adheredto as time passed. The main difference between senryu and haiku is one of tone.The meaning and structure of a haiku can be brilliant, but I personallyoften find them conventionally serious and sentimental, offering few surprises. One has to be a near genius to write good haiku, but almost anyone can write reasonably good senryu; the form seems somehow to have escaped the structural restrictions that bind and, perhaps, limit haiku. Whereas haiku often call foranalysis, I have found that a typical response to senryu is a laugh or a chuckle followed by a remark like "That's so true!" To me, that is the appeal of senryu: They express everyday truths, happy or sad, in succinct verse. Although the poems I have selected for this book date from the eighteenth to the early twentieth century, senryu are still being written today. Newspapers run regular columns featuring senryu submitted by their readers, and many other people, imagining they are writing haiku, are really composing senryu. A chance encounter with an old acquaintance, a drunken night on the town, a lovers'spat-everyday happenings like these have been and continue to be inspirations for senryu. I hope that this small book will make you smile, reflect upon life, and come to the realization that poetry can be found in anything.
Senryu Poems of the People
by J. C. BrownSenryu is a form of Japanese poetry named after a man who wrote no senryu. Karai Hachiemon (1718-1790) was a government official in the Asakusa district of Edo (now Tokyo), a post he inherited from his father. Under the pen name Senryu, meaning River Willow, he was also a noted poet, and acted as judge at contests of maekuzuke, or "verse capping." In this traditional form of literary amusement,a given short verse of fourteen syllables was capped by a longer verse of seventeen syllables to produce a thirty-one-syllable poem in the traditional tanka form (the longer verse could also be capped by the shorter). The capping portions, known as tsukeku, eventually came to be read and appreciated by themselves. In 1765 Karai Senryu published a selection of tsukeku that reflected his personaltaste and humor. This anthology, Yanagidaru, became widely popular and was followed by 22 more of the same title, also compiledby Senryu, and a further 144 volumes compiled by his successorsto the tradition.The type of poems Karai chose eventually came to be known assenryu. They did not require inclusion of a seasonal word, as didhaiku, which developed from the introductory portion of linkedverse. Although senryu were at first written in only seventeen syllables(in lines of five, seven, and five syllables) or fourteen syllables(in lines of seven and seven), these rules became less strictly adheredto as time passed. The main difference between senryu and haiku is one of tone.The meaning and structure of a haiku can be brilliant, but I personallyoften find them conventionally serious and sentimental, offering few surprises. One has to be a near genius to write good haiku, but almost anyone can write reasonably good senryu; the form seems somehow to have escaped the structural restrictions that bind and, perhaps, limit haiku. Whereas haiku often call foranalysis, I have found that a typical response to senryu is a laugh or a chuckle followed by a remark like "That's so true!" To me, that is the appeal of senryu: They express everyday truths, happy or sad, in succinct verse. Although the poems I have selected for this book date from the eighteenth to the early twentieth century, senryu are still being written today. Newspapers run regular columns featuring senryu submitted by their readers, and many other people, imagining they are writing haiku, are really composing senryu. A chance encounter with an old acquaintance, a drunken night on the town, a lovers'spat-everyday happenings like these have been and continue to be inspirations for senryu. I hope that this small book will make you smile, reflect upon life, and come to the realization that poetry can be found in anything.
Sensaciones
by Norberto AlbalongaSi lees éste hermoso poemario, tan fluido como el agua, no quedará indiferente. <P><P>El poemario está compuesto por una serie de poemas que trascienden la línea de lo meramente poético para engarzarse a todo un rosario de sentimientos y experiencias que hacen de la poesía de Norberto Albalonga un arte estético único. <P>La sabiduría histórica y cultural, así como la amplia temática, hacen de este libro una obra que ahonda en la dificultad de la sencillez donde cada palabra adquiere un significado revelador y emocionante para entregar al lector la verdadera razón del placer de la lectura.
Senses of Style: Poetry before Interpretation
by Jeff DolvenIn an age of interpretation, style eludes criticism. Yet it does so much tacit work: telling time, telling us apart, telling us who we are. What does style have to do with form, history, meaning, our moment’s favored categories? What do we miss when we look right through it? Senses of Style essays an answer. An experiment in criticism, crossing four hundred years and composed of nearly four hundred brief, aphoristic remarks, it is a book of theory steeped in examples, drawn from the works and lives of two men: Sir Thomas Wyatt, poet and diplomat in the court of Henry VIII, and his admirer Frank O’Hara, the midcentury American poet, curator, and boulevardier. Starting with puzzle of why Wyatt’s work spoke so powerfully to O’Hara across the centuries, Jeff Dolven ultimately explains what we talk about when we talk about style, whether in the sixteenth century, the twentieth, or the twenty-first.
Sensuale: Una collezione di poesie e prosa da brivido e da batticuore
by R. A. BentinckL'attrazione non dovrebbe mai essere sottovalutata. Per non perdere gradualmente la sua deliziosa avventura, lucentezza, fascino e magia eterea. Dovremmo cercare costantemente di rivitalizzare i fuochi morenti della passione. Nutri le fiamme del desiderio in un modo che permetta loro di sfuggire al controllo, anche se momentaneamente. In questa raccolta straordinariamente unica di versi e prosa contemporanei, Bentinck ha riunito diversi pezzi diversi che garantiscono di accarezzare il tuo lato seducente. Ti incoraggia a pensare a una persona speciale con desideri irrequieti che ti spingono verso il precipizio della sensualità prima che il tuo limitato autocontrollo si svegli. Sultry celebra con entusiasmo la magnifica bellezza della passione, della tentazione e dell'irresistibile attrazione con creatività e abilità poetiche. In questa raccolta di poesie sono integrati alcuni abili usi di metafore e immagini immaginarie che tenteranno le tue insaziabili fantasie. Alimenteranno le tue voglie insoddisfatte, delizieranno la tua lussuria setosa e susciteranno la tua curiosità sul culmine di un'esplosione avventurosa. Dopo aver completato questa raccolta, ti lascerà il desiderio di esprimere, esplorare e indulgere con quella persona significativa. Troverai la motivazione per perseguire modi sperimentali e creativi per comunicare la tua passione e desideri senza sensi di colpa.