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Feeding the Flying Fanellis: And Other Poems from a Circus Chef
by Kate Hosford Cosei KawaWhat do you feed a trapeze family to keep them up in the air? A fire eater with a penchant for hot sauce? Or a lion with a gourmet palate? How do you satisfy a sweet-toothed human cannonball who's outgrowing his cannon? Find out what keeps these performers juggling, balancing, and entertaining—meals prepared by their tireless chef! Poems from this jolly cook give a glimpse of his unusual perspective, from delightful to downright funny. Enjoy a front-row seat for this whimsical look at circus life that just might make you hungry!
The Iliad: From The Text Of Dindorf; Books I-xii (classic Reprint) (First Avenue Classics ™)
by HomerThe tenth and final year of the Trojan War comes to its climactic end in this infamous Greek epic. With the mighty Achilles brooding on the sidelines of the battle, the Greek army faces almost certain defeat. At the mercy of the intervening gods of Mount Olympus, the legendary warriors of Greece and Troy fight to the death in the name of honor, love, and vengeance. Originally written around 750 BCE, the authorship of this epic poem remains uncertain, but most scholars ascribe it to a blind Greek poet named Homer. William Cowper first published his translation in 1791; this unabridged edition comes from the work edited by Robert Southey, LL.D., with notes by M. A. Dwight, which was published in 1860.
The Odyssey: 1 (First Avenue Classics ™)
by HomerOdysseus, the hero of the Trojan War, longs to return home to his kingdom in Ithaca, where a horde of suitors (who believe the long-absent Odysseus to be dead) are courting his beloved wife. Odysseus had angered the sea god, Poseidon, and for the past ten years, he's been beset by a host of challenges. The Greek hero must rely on wit, strength, and the aid of the gods of Mount Olympus to survive tumultuous storms, battles with great beasts, and the seductive powers of witches, sirens, and nymphs as he makes his way homeward. Originally written around 700 BCE, the authorship of this epic poem remains uncertain, but most scholars ascribe it to a blind Greek poet named Homer. This unabridged translation by William Cowper was originally published in 1791.
Paradise Regained: Large Print (First Avenue Classics ™)
by John MiltonA companion to the epic poem Paradise Lost, John Milton's Paradise Regained describes the temptation of Christ. After Adam and Eve are expelled from the Garden of Eden, Satan and the fallen angels stay on earth to lead people astray. But when God sends Jesus, the promised savior, to earth, Satan prepares himself for battle. As an adult, Jesus goes into the wilderness to gain strength and courage. He fasts for 40 days and nights, after which Satan tempts him with food, power, and riches. But Jesus refuses all these things, and Satan is defeated by the glory of God. This is an unabridged version of Milton's classic work, which was first published in England in 1671.
Beowulf (First Avenue Classics ™)
by AnonymousKing Hrothgar of Denmark has a problem: though his land prospers, his great mead-hall is plagued nightly by a horrible beast, Grendel, that pillages and kills his men. Leaving his home in Sweden, the warrior Beowulf sails to the king's aid. Beowulf and his men camp in the mead-hall to wait for Grendel. When the beast attacks, Beowulf grabs him by the claw and rips his arm off, making the beast flee in defeat. But Grendel isn't the only challenge facing Beowulf and, even in his native Sweden, adventures and dangers await. Written between the 8th and 11th centuries, Beowulf is the oldest surviving epic poem written in Old English. This unabridged version is taken from the translation by published by John Lesslie Hall in 1892.
The Aeneid: Selected And Arranged With Brief Notes (classic Reprint) (First Avenue Classics ™)
by VirgilAeneas—the son of a human and Venus, the goddess of love—escapes the siege of Troy with a boat full of other Trojans, and sails for Italy where he is destined to found the city of Rome. A storm diverts them to Carthage, where Aeneas meets Dido, the city’s ruler and queen. He recounts the tale of his dangerous journey across the Mediterranean to her, and the two fall in love. After the gods remind Aeneas that it is his fate to start a new city, he sails for Italy, leaving a devastated Dido behind. The Italians are at first friendly, but when war breaks out, Aeneas must fight to fulfill his destiny. Virgil originally wrote his epic poem, The Aeneid, in Latin around 20 BCE. This is an unabridged version of the English translation by John Dryden, first published in 1697.
Twas the Night before Christmas: A Visit from St. Nicholas (First Avenue Classics ™)
by Clement Clarke MooreIt's a quiet Christmas Eve. The snow is fresh and white, the kids are tucked in and dreaming, and even the mice are snug in their homes. But wait—what's that clatter? This classic Christmas poem was first published anonymously in a newspaper 1823, and it later appeared in an anthology of poetry from the American author Clement Clarke Moore in 1844. This unabridged version from a 1912 edition includes color illustrations from American artist Jessie Willcox Smith.
Dante's Inferno: The Vision of Hell from The Divine Comedy (First Avenue Classics ™ #Vol. 1)
by Dante AlighieriInferno is the first part of Italian poet Dante Alighieri's epic poem Divine Comedy. The allegory describes Dante's journey through the depths of Hell. He is led by the Roman poet Virgil down into the nine circles of Hell, each of which holds and punishes progressively worse sinners. From the First Circle, where unbaptized souls live in peaceful limbo, down to the Ninth Circle, where Satan is trapped in ice, Dante sees firsthand the consequence of unrepentantly sinning against God. Dante published his narrative poem between 1308 and 1321. This version is taken from an 1892 English edition, featuring British author Rev. H. F. Cary's blank verse translation and woodcut illustrations by French artist Gustave Doré.
Dante's Purgatorio: The Vision of Purgatory from The Divine Comedy (First Avenue Classics ™)
by Dante AlighieriPurgatorio is the second part of Italian poet Dante Alighieri's epic poem Divine Comedy and describes Dante's climb up the Mount of Purgatory. As in the Inferno, the Roman poet Virgil is guiding Dante on a journey; this time they visit the seven terraces of Purgatory, where sinners are cleansing themselves in preparation for entering Paradise. Each of the terraces represents one of the seven deadly sins, ranging from pride to lust. Through this allegory, Dante conveys that repentant souls can be redeemed. Dante wrote his narrative poem between 1308 and 1321. This version is taken from a 1901 English edition, featuring British author Rev. H. F. Cary's blank verse translation and woodcut illustrations by French artist Gustave Doré.
Dante's Paradiso: The Vision of Paradise from The Divine Comedy (First Avenue Classics ™)
by Dante AlighieriParadiso is the third and final part of Italian poet Dante Alighieri's epic poem Divine Comedy and describes Dante's journey through heaven. He is now led by Beatrice, who joined him at the end of Purgatorio. Beatrice takes Dante into the nine celestial spheres of Heaven. From the First Sphere, where they find those who were good but did not keep their vows, to the Ninth Sphere and the Empyrean, the home of the angels and God, Dante experiences the blessings given to those who live a life faithful to God. Dante wrote his narrative poem between 1308 and 1321. This version is taken from a 1901 English edition, featuring British author Rev. H. F. Cary's blank verse translation and woodcut illustrations by French artist Gustave Doré.
Leaves of Grass: 1st Edition 1855 (First Avenue Classics ™)
by Walt WhitmanIn Leaves of Grass, American poet Walt Whitman assembled most of his poetic works. Included in this collection are some of Whitman's most famous poems, including "Song of Myself," "I Sing the Body Electric," "Out of the Cradle Endlessly Rocking," and "O Captain! My Captain!" The first edition of Leaves of Grass was published in 1855 and contained only twelve poems. Whitman kept revising his collection throughout his life; the final edition contains more than three hundred poems. This is an unabridged version of the poems from the final edition of Whitman's celebrated collection, published shortly before his death in 1892.
It's Not You, It's Me: The Poetry of Breakup
by Jerry Williams“This may be an anthology for anyone who’s been broken-hearted, but it’s not an anthology for anyone who’s faint-hearted . . . Superb” (Entertainment Weekly). It’s Not You, It’s Me is a poetry anthology—at once amusing, angry, sweet, and bitter—that gives a fresh voice to the all-too-familiar experience of ending a relationship. Williams has compiled over ninety poems by contemporary writers including Denis Johnson and Kim Addonizio, as well as former poets laureate Robert Hass, Maxine Kumin, and Mark Strand, whose comforting and healing words dragged him out of his breakup-induced depression. We have all been through a breakup, but these poems have created an art out of heartbreak: sharing their wisdom on the pain of the flip side of romance, and poking fun at the mess we become at the mercy of love. “This collection . . . gathers many of the poems that have helped Williams (a poet himself, with two books to his name) through his rooms of anguish over the years. Happily, they’re pretty great.” —The New York Times “In It’s Not You, It’s Me: The Poetry of Breakup today’s big contemporary poets make breaking up and even divorce sound painfully beautiful. You’ll want to read with a box of tissues, a pint of chocolate ice cream and sappy love songs playing in the background.” —Lemon Drop Literary
Le Contre-ciel (Tusk Ivories)
by Kelton W. Knight Rene DaumalRené Daumal's Le Contre-Ciel is a collection of poems about death, not a death that ends life but a death that begins it. For this early 20th century French poet-philosopher, Life, in its most dynamic sense, can only be experienced after the facade of self identity has been systematically negated through a kind of metaphysical suicide. In Le Contre-Ciel, Daumal invites us, his readers, to go through this process of regeneration-through-negation with him in order to revive in ourselves a knowledge and understanding of our primordial sources.
Circus Days and Nights
by Robert LaxJack Kerouac called Robert Lax "one of the great original voices of our times...a Pilgrim in search of beautiful innocence, writing lovingly, finding it, simply, in his own way." Though many hold him to be one of the greatest American poets of this century, Lax has maintained a low profile, living and writing in seclusion on the Greek island of Patmos. In Circus Days & Nights, Lax's three great long poems on the circus--"Circus of the Sun," "Mogador's Book," and "Sunset City"--are collected together for the first time, placing this early masterwork in the position within American literature that it so richly deserves. Each of the three poems in this collection expresses a reverence for the acts of daring, beauty, and grace that make the circus the singular event it is. What also emerges is the drawing of a link between this world of the circus--wherein a tent is erected, acts are performed, and then the tent is disassembled only to be re-erected the next day--and Lax's faith. As Denise Levertov has said, "the radiant security of Lax's faith appears in his work as a serenity of tone."
Circus Days and Nights
by Robert LaxJack Kerouac called Robert Lax “one of the great original voices of our times…a Pilgrim in search of beautiful innocence, writing lovingly, finding it, simply, in his own way.” Though many hold him to be one of the greatest American poets of this century, Lax has maintained a low profile, living and writing in seclusion on the Greek island of Patmos. In Circus Days & Nights, Lax's three great long poems on the circus—“Circus of the Sun,” “Mogador's Book,” and “Sunset City”—are collected together for the first time, placing this early masterwork in the position within American literature that it so richly deserves. Each of the three poems in this collection expresses a reverence for the acts of daring, beauty, and grace that make the circus the singular event it is. What also emerges is the drawing of a link between this world of the circus—wherein a tent is erected, acts are performed, and then the tent is disassembled only to be re-erected the next day—and Lax's faith. As Denise Levertov has said, “the radiant security of Lax’s faith appears in his work as a serenity of tone.”
Circus Days and Nights
by Robert Lax"Perhaps the greatest English language poem of this century" (The New York Times)-finally in paperback! Jack Kerouac called Robert Lax "one of the great original voices of our times. . . a Pilgrim in search of beautiful innocence, writing lovingly, finding it, simply, in his own way. " Though many hold him to be one of the greatest American poets of the 20th century, Lax maintained a low profile, living and writing in seclusion on the Greek island of Patmos. In Circus Days and Nights, Lax's three great long poems on the circus-"Circus of the Sun," "Mogador's Book," and "Sunset City"-are collected together for the first time, placing this early masterwork in the position within American literature that it so richly deserves.
Chocolate Pie: The Special Issue on Food
by Michael ChitwoodChocolate PiePoetry by Michael Chitwood "The woman who made ithadn't been to churchin years . . ."This article appears in the Summer 2012 issue of Southern Cultures. The full issue is also available as an ebook.Southern Cultures is published quarterly (spring, summer, fall, winter) by the University of North Carolina Press. The journal is sponsored by the University of North Carolina at Chapel Hill's Center for the Study of the American South.
Counter-revolution of the Word
by Alan FilreisDuring the Cold War an unlikely coalition of poets, editors, and politicians converged in an attempt to discredit--if not destroy--the American modernist avant-garde. Ideologically diverse yet willing to bespeak their hatred of modern poetry through the rhetoric of anticommunism, these "anticommunist antimodernists," as Alan Filreis dubs them, joined associations such as the League for Sanity in Poetry to decry the modernist "conspiracy" against form and language. In Counter-revolution of the Word Filreis narrates the story of this movement and assesses its effect on American poetry and poetics.Although the antimodernists expressed their disapproval through ideological language, their hatred of experimental poetry was ultimately not political but aesthetic, Filreis argues. By analyzing correspondence, decoding pseudonyms, drawing new connections through the archives, and conducting interviews, Filreis shows that an informal network of antimodernists was effective in suppressing or distorting the postwar careers of many poets whose work had appeared regularly in the 1930s. Insofar as modernism had consorted with radicalism in the Red Decade, antimodernists in the 1950s worked to sever those connections, fantasized a formal and unpolitical pre-Depression High Modern moment, and assiduously sought to de-radicalize the remnant avant-garde. Filreis's analysis provides new insight into why experimental poetry has aroused such fear and alarm among American conservatives.
Raising Cane and Backwater Graffiti
by Tammy BrownHow can a stolen body steal cane?Blazing sun--no sign of rain . . ."This article appears in the Fall 2012 issue of Southern Cultures. The full issue is also available as an ebook.Southern Cultures is published quarterly (spring, summer, fall, winter) by the University of North Carolina Press. The journal is sponsored by the University of North Carolina at Chapel Hill's Center for the Study of the American South.
Exiles from a Future Time
by Alan M. WaldWith this book, Alan Wald launches a bold and passionate account of the U.S. Literary Left from the 1920s through the 1960s. Exiles from a Future Time, the first volume of a trilogy, focuses on the forging of a Communist-led literary tradition in the 1930s. Exploring writers' intimate lives and heartfelt political commitments, Wald draws on original research in scores of archives and personal collections of papers; correspondence and interviews with hundreds of writers and their friends and families; and a treasure trove of unpublished memoirs, fiction, and poetry. In fashioning a "humanscape" of the Literary Left, Wald not only reassesses acclaimed authors but also returns to memory dozens of forgotten, talented writers. The authors range from the familiar Mike Gold, Langston Hughes, and Muriel Rukeyser to William Attaway, John Malcolm Brinnin, Stanley Burnshaw, Joy Davidman, Sol Funaroff, Joseph Freeman, Alfred Hayes, Eugene Clay Holmes, V. J. Jerome, Ruth Lechlitner, and Frances Winwar.Focusing on the formation of the tradition and the organization of the Cultural Left, Wald investigates the "elective affinity" of its avant-garde poets, the "Afro-cosmopolitanism" of its Black radical literary movement, and the uneasy negotiation between feminist concerns and class identity among its women writers.
Alan M. Wald's American Literary Left Trilogy, Omnibus E-Book
by Alan M. WaldOffered here for the first time as an Omnibus E-Book, this collection brings together Alan M. Wald's ground-breaking trilogy.American Night, the final volume of this unprecedented trilogy, brings Alan Wald's multigenerational history of Communist writers to a poignant climax. Using new research to explore the intimate lives of novelists, poets, and critics during the Cold War, Wald reveals a radical community longing for the rebirth of the social vision of the 1930s and struggling with a loss of moral certainty as the Communist worldview was being called into question. The resulting literature, Wald shows, is a haunting record of fracture and struggle linked by common structures of feeling, ones more suggestive of the "negative dialectics" of Theodor Adorno than the traditional social realism of the Left.The second of three volumes by Wald that track the political and personal lives of several generations of U.S. left-wing writers, Trinity of Passion carries forward the chronicle launched in Exiles from a Future Time. In this volume Wald delves into literary, emotional, and ideological trajectories of radical cultural workers in the era when the International Brigades fought in the Spanish Civil War (1936-39) and the United States battled in World War II (1941-45). Confronting questions about Jewish masculinity, racism at the core of liberal democracy, the corrosion of utopian dreams, and the thorny interaction between antifascism and Communism, Wald re-creates the intellectual and cultural landscape of a remarkable era.In Exiles from a Future Time, Wald offers a comprehensive history and reconsideration of the U.S. literary left in the mid-twentieth century. Recovering the central role Marxist-influenced writers played in fiction, poetry, theater, and literary criticism, he explores the lives and work of figures including Richard Wright, Muriel Rukeyser, Mike Gold, Claude McKay, Tillie Olsen, and Meridel Le Sueur.
The Romantic Fragment Poem: A Critique of a Form
by Marjorie LevinsonThe fragment poem, long regarded as a peculiarly Romantic phenomenon, has never been examined outside the context of thematic and biographical criticism. By submitting the unfinished poems of the English Romantics to both a genetic investigation and a reception study, Marjorie Levinson defines the fragment's formal character at various moments in its historical career. She suggests that the formal determinancy of these works, hence their expressive or semantic affinities, is a function of historical conditions and projections.The English Romantic fragment poems share not so much a particular mode of production as a myth of production. Levinson pries apart these two dimensions and analyzes each independently to consider their relationship. By reconstructing the contemporary reception of such works as Wordsworth's "Nutting," Coleridge's "Christabel" and "Kubla Khan," Shelley's "Julian and Maddalo," and Keats's Hyperion fragments, and juxtaposing this model against dominant twentieth-century critical paradigms, Levinson discriminates layers, phases, and kinds of intentionality in the poems and considers the ideological implications of this diversity.This study is the first to investigate the English Romantic fragment poem by identifying the assumptions -- contemporary and belated -- that govern interpretative procedures. In a substantial summary chapter, Levinson reflects upon the meaning and effects of these assumptions with respect to the facts and fictions of literary production in the period and to the processes of canon formation.Originally published in 1986.A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.
A Two-Colored Brocade
by Annemarie SchimmelAnnemarie Schimmel, one of the world's foremost authorities on Persian literature, provides a comprehensive introduction to the complicated and highly sophisticated system of rhetoric and imagery used by the poets of Iran, Ottoman Turkey, and Muslim India. She shows that these images have been used and refined over the centuries and reflect the changing conditions in the Muslim world.According to Schimmel, Persian poetry does not aim to be spontaneous in spirit or highly personal in form. Instead it is rooted in conventions and rules of prosody, rhymes, and verbal instrumentation. Ideally, every verse should be like a precious stone--perfectly formed and multifaceted--and convey the dynamic relationship between everyday reality and the transcendental.Persian poetry, Schimmel explains, is more similar to medieval European verse than Western poetry as it has been written since the Romantic period. The characteristic verse form is the ghazal--a set of rhyming couplets--which serves as a vehicle for shrouding in conventional tropes the poet's real intentions.Because Persian poetry is neither narrative nor dramatic in its overall form, its strength lies in an "architectonic" design; each precisely expressed image is carefully fitted into a pattern of linked figures of speech. Schimmel shows that at its heart Persian poetry transforms the world into a web of symbols embedded in Islamic culture.
The Collected Poems of Jean Toomer
by Margot Toomer Latimer Robert B. JonesThis volume is the only collected edition of poems by Jean Toomer, the enigmatic American writer, Gurdjieffian guru, and Quaker convert who is perhaps best known for his 1923 lyrical narrative Cane. The fifty-five poems here -- most of them previously unpublished -- chart a fascinating evolution of artistic consciousness.The book is divided into sections reflecting four distinct periods of creativity in Toomer's career. The Aesthetic period includes Imagist, Symbolist, and other experimental pieces, such as "Five Vignettes," while "Georgia Dusk" and the newly discovered poem "Tell Me" come from Toomer' s Ancestral Consciousness period in the early 1920s. "The Blue Meridian" and other Objective Consciousness poems reveal the influence of idealist philosopher Georges Gurdjieff. Among the works of this period the editor presents a group of local color poems picturing the landscape of the American Southwest, including "Imprint for Rio Grande." "It Is Everywhere," another newly discovered poem, celebrates America and democratic idealism. The Quaker religious philosophy of Toomer's final years is demonstrated in such Christian Existential works as "They Are Not Missed" and "To Gurdjieff Dying."Robert Jones's clear and comprehensive introduction examines the major poems in this volume and serves as a guide through the stages of Toomer's evolution as an artist and thinker. The Collected Poems of Jean Toomer will prove essential to Toomer's admirers as well as to scholars and students of modern poetry, Afro-American literature, and American studies.
Poems in Their Place: Intertextuality and Order of Poetic Collections
by Neil FraistatWith essays by 13 leading scholars, this collection establishes the grounds for a new kind of poetics that considers the poetry book itself -- the concept and the material fact -- as an object of interpretation. The authors argue that the decisions poets make about the presentation of their works play a meaningful role in the poetic process and therefore should figure as part of the reading experience.The common practice of approaching poems chronologically, as they are presented in anthologies or in posthumous editions, has been fostered by the long prevailing tendency of the New Criticism to treat each poem as self-contained. This volume urges the reader to reconsider the most fundamental ways that one reads, teaches, and inteprets poetry.Moving from classical to contemporary poetry, these essays develop a literary history and theory for such a poetics, at the same time providing a generous set of models for a related practical criticism. At the heart of this collection are such issues as order, arrangement, and intertextuality. Reading poems in their place helps to return them to their historical contexts because the book itself has had a particular place in its own culture and society.Originally published in 1987. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.