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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'.
The Self-Completing Tree
by Dorothy LivesayThe Self-Completing Tree is the author’s own collection of the best of her last 50 years of writing. In this new edition, the celebrated Grand Dame of English Canadian letters and award-winning poet uses the metaphor implied by the title — a tree, half verdant, half in flames — to symbolize the androgynous self. This is the theme of much of Livesay’s work and a central metaphor for the most definitive collection of her poetry. The result is a spiritual autobiography charting the fascinating domains of her own life and the universal struggles we all share.
The Self-Dismembered Man: Selected Later Poems of Guillaume Apollinaire (Wesleyan Poetry Series)
by Donald Revell Guillaume ApollinaireGuillaume Apollinaire's final years exactly coincided with the clamorous advent of European Modernism and with the cataclysms of WWI. In The Self-Dismembered Man, poet Donald Revell offers new English translations of the most powerful poems Apollinaire wrote during those years: poems of nascent surrealism, of combat and of war-weariness. Here, too, is Apollinaire's last testament, "The Pretty Redhead," a farewell to the epoch that he--as poet, convict, art-critic, artilleryman and boulevardier--did so much to conjure and sustain until his death on Armistice Day in 1918. Readers of Apollinaire's more familiar early work, Alcools (Wesleyan, 1995), will find here a darker and yet more tender poet, a poet of the broken world who shares entirely the world's catastrophe even as he praises to the end its glamour and its strange innocence. This English translation, facing the original French, illuminates Apollinaire's crucial and continuing influence on the European and American avant-garde. The volume includes a short translator's preface.
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 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.
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.
The Selvage
by Linda GregersonA magnificent new collection from National Book Award finalist and Kingsley Tufts Award winner Linda GregersonIn eloquent poems about Ariadne, Theseus, and Dido, the death of a father, a bombing raid in Lebanon, and in a magnificent series detailing Masaccio's Brancacci frescoes, The Selvage deftly traces the "line between" the "wonder and woe" of human experience. Keenly attuned to the precariousness of our existence in a fractured world--of "how little the world will spare us"--Gregerson explores the cruelty of human and political violence, such as the recent island massacre in Norway and "the current nightmare" of war and terrorism. And yet, running as a "counterpoint" to violence and cruelty is "The reigning brilliance / of the genome and / the risen moon . . . ," "The / arachnid's exoskeleton. The kestrel's eye." The Selvage is the boldest evidence yet that Linda Gregerson's unique combination of dramatic lyricism and fierce intelligence transcends current fashions to claim an enduring place in American poetry.
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.
semiautomatic (Wesleyan Poetry Series)
by Evie ShockleyArt can’t shield our bodies or stabilize the earth’s climate, but Evie Shockley’s semiautomatic insists that it can feed the spirit and reawaken the imagination. The volume responds primarily to the twenty-first century’s inescapable evidence of the terms of black life—not so much new as newly visible. The poems trace a whole web of connections between the kinds of violence that affect people across the racial, ethnic, gender, class, sexual, national, and linguistic boundaries that do and do not divide us. <P><P> How do we protect our humanity, our ability to feel deeply and think freely, in the face of a seemingly endless onslaught of physical, social, and environmental abuses? <P><P>Where do we find language to describe, process, and check the attacks and injuries we see and suffer? <P><P>What actions can break us out of the soul-numbing cycle of emotions, moving through outrage, mourning, and despair, again and again? <P><P>In poems that span fragment to narrative and quiz to constraint, from procedure to prose and sequence to song, semiautomatic culls past and present for guides to a hoped-for future.
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.
Señor Pancho Had a Rancho
by René Colato Laínez Elwood H. Smith"Old MacDonald Had a Farm" goes multi-cultural in this rollicking Spanish-English rendition, in which the cow says moo--and la vaca says mu!
¡Una señora con frío se tragó un poco de nieve! (There Was a Cold Lady Who Swallowed Some Snow!)
by Lucille ColandroHere's the newest (and coldest) twist on the familiar tale of There Was an Old Lady Who Swallowed a Fly, now in board book!¡Esta vez, la señora con frío se traga todo, desde la nieve hasta una pipa, carbón, un sombrero y más! Esta animada versión, con un texto alegre y rimado e ilustraciones divertidas, atraerá a los lectores jóvenes en cada vuelta de página. ¡Y esta vez, hay una sorpresa al final que ningún lector podrá adivinar!This time, this cold lady is swallowing everything from snow to a pipe, some coal, a hat, and more! With rollicking, rhyming text and funny illustrations, this lively version will appeal to young readers with every turn of the page. And this time, there's a surprise at the end no reader will be able to guess!
Señorita Mariposa
by Ben Gundersheimer (Mister G)A captivating and child-friendly look at the extraordinary journey that monarch butterflies take each year from Canada to Mexico; with a text in both English and Spanish.Rhyming text and lively illustrations showcase the epic trip taken by the monarch butterflies. At the end of each summer, these international travelers leave Canada to fly south to Mexico for the winter--and now readers can come along for the ride! Over mountains capped with snow, to the deserts down below. Children will be delighted to share in the fascinating journey of the monarchs and be introduced to the people and places they pass before they finally arrive in the forests that their ancestors called home.
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.
A Sense of the Whole: Reading Gary Snyder's Mountains and Rivers Without End
by Mark GonnermanIn 1997, Mark Gonnerman organized a yearlong research workshop on Gary Snyder's Mountains and Rivers Without End at the Stanford Humanities Center. Members of what came to be known among faculty, students, and diverse community members as the Mountains & Rivers Workshop met regularly to read and discuss Snyder's epic poem. Here the poem served as a commons that turned the multiversity into a university once again, if only for a moment.The Workshop invited writers, teachers and scholars from Northern California and Japan to speak on various aspects of Snyder's great accomplishment. This book captures the excitement of these gatherings and invites readers to enter the poem through essays and talks by David Abram, Wendell Berry, Carl Bielefeldt, Tim Dean, Jim Dodge, Robert Hass, Stephanie Kaza, Julia Martin, Michael McClure, Nanao Sakaki, and Katsunori Yamazato. It includes an interview with Gary Snyder, appendices, and other resources for further study.Snyder once introduced a reading of this work with reference to whitewater rapids, saying most of his writing is like a Class III run where you will do just fine on your own, but that Mountains and Rivers is more like Class V: if you're going to make it to take-out, you need a guide. As a collection of commentaries and background readings, this companion volume enhances each reader's ability to find their way into and through an adventurous and engaging work of art.
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.