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Poems Seven: New and Complete Poetry, the winner of the National Book Award, presents the life work of a giant of American letters, tracks a forty-year career of honest, tough artistry, and shows a man at nearly 80 years of age and still at the height of his poetic power. Dugan's new poems continue his career-long concerns with renewed vigor: the poet's insistence that art is a grounded practice threatened by pretension, the wry wit, the jibes at the academic and sententious, and the arresting observations on the quotidian battles of life. All the while he peppers his poems with humorous images of the grim and daunting topics of existential emptiness.
Poems to Read is a welcoming avenue into poetry for readers new to poetry, including high school and college students. It is also meant to be a fresh, valuable collection for readers already devoted to the art. This anthology concentrates on the actual pleasures of reading poems: hearing the poem in your voice, bringing it to other people, musing about it, taking excitement or comfort from it, wandering with it or as in the Keats letter quoted in the Introduction having it as a starting post. Many of these 200 poems are accompanied by comments from readers of various ages, regions, and backgrounds who participated in the Favorite Poem Project. Included are poems by John Donne, Walt Whitman, William Butler Yeats, Langston Hughes, Elizabeth Bishop, Gwendolyn Brooks, Seamus Heaney, Allen Ginsberg, and Louise Glück, to name a few. The editors offer their own comments on some of the poems, which are arranged in thematic chapters.
Showcasing the cutting-edge talent of New Wave horror writers, "Poe's Children" brings the best of the genre's stories to a wider audience. Each story has been selected by "New York Times"-bestselling author Straub.
In the winter of 1979 Nabeel Yasin, Iraq's most famous young poet, fled Iraq with his wife and son. Written by a journalist who has spent many years in the Middle East, and who is a close friend of Yasin's, "Nabeel's Song" is the gripping story of a family and its fateful encounter with history.
In these inventive essays, Joan Retallack conveys her unique post-utopian vision as she explores the relationship between art and life in today's chaotic world. In the tradition of the essay as complex humanist exploration, she engages ideas from across history: Aristotle's definition of happiness, Epicurus's swerve into unpredictable possibility, Montaigne's essays as an instrument of self-invention, John Cage's redefinition of Silence.
This study of character in a comparative context presents a new approach to transatlantic literary history. Rereading Romanticism across national, generic and chronological boundaries, and through close textual comparisons, it offers exciting possibilities for rediscovering how literature engages and persuades readers of the reality of character. Historically grounded in the eighteenth-century philosophical, political and cultural conditions that generated nation-based literary history, it reveals alternative narratives to those of origin and succession, influence and reception. It also reintroduces rhetoric and poetics as ways of addressing questions about uniqueness and representativeness in character creation, epistemological issues of identity and impersonation, and the generation of literary value. Drawing comparisons between works from Alexander Pope and Cotton Mather through Robert Burns, Jane Austen, John Keats, Nathaniel Hawthorne, Edgar Allan Poe, R. W. Emerson, Margaret Fuller and Herman Melville, to George Eliot and Henry James, Susan Manning reveals surprising metaphorical, metonymic and performative connections.
Christians in post-Reformation England inhabited a culture of conversion. Required to choose among rival forms of worship, many would cross - and often recross - the boundary between Protestantism and Catholicism. This study considers the poetry written by such converts, from the reign of Elizabeth I to that of James II, concentrating on four figures: John Donne, William Alabaster, Richard Crashaw, and John Dryden. Murray offers a context for each poet's conversion within the era's polemical and controversial literature. She also elaborates on the formal features of the poems themselves, demonstrating how the language of poetry could express both spiritual and ecclesiastical change with particular vividness and power. Proposing conversion as a catalyst for some of the most innovative devotional poetry of the period, both canonical and uncanonical, this study will be of interest to all specialists in early modern English literature.
The Poetics of Eros in Ancient Greece offers the first comprehensive inquiry into the deity of sexual love, a power that permeated daily Greek life. Avoiding Foucault's philosophical paradigm of dominance/submission, Claude Calame uses an anthropological and linguistic approach to re-create indigenous categories of erotic love. He maintains that Eros, the joyful companion of Aphrodite, was a divine figure around which poets constructed a physiology of desire that functioned in specific ways within a network of social relations. Calame begins by showing how poetry and iconography gave a rich variety of expression to the concept of Eros, then delivers a history of the deity's roles within social and political institutions, and concludes with a discussion of an Eros-centered metaphysics.Calame's treatment of archaic and classical Greek institutions reveals Eros at work in initiation rites and celebrations, educational practices, the Dionysiac theater of tragedy and comedy, and in real and imagined spatial settings. For men, Eros functioned particularly in the symposium and the gymnasium, places where men and boys interacted and where future citizens were educated. The household was the setting where girls, brides, and adult wives learned their erotic roles--as such it provides the context for understanding female rites of passage and the problematics of sexuality in conjugal relations. Through analyses of both Greek language and practices, Calame offers a fresh, subtle reading of relations between individuals as well as a quick-paced and fascinating overview of Eros in Greek society at large.
With its dominance as a European power and the explosion of its prose and dramatic writing, Spain provided an irresistible literary source for English writers of the early modern period. But the deep and escalating political rivalry between the two nations led English writers to negotiate, disavow, or attempt to resolve their fascination with Spain and their debt to Spanish sources. Amid thorny issues of translation and appropriation, imperial competition, the rise of commercial authorship, and anxieties about authenticity, Barbara Fuchs traces how Spanish material was transmitted into English writing, entangling English literature in questions of national and religious identity, and how piracy came to be a central textual metaphor, with appropriations from Spain triumphantly reimagined as heroic looting.From the time of the attempted invasion by the Spanish Armada of the 1580s, through the rise of anti-Spanish rhetoric of the 1620s, The Poetics of Piracy charts this connection through works by Ben Jonson, William Shakespeare, Francis Beaumont, John Fletcher, and Thomas Middleton. Fuchs examines how their writing, particularly for the stage, recasts a reliance on Spanish material by constructing narratives of militaristic, forcible use. She considers how Jacobean dramatists complicated the texts of their Spanish contemporaries by putting them to anti-Spanish purposes, and she traces the place of Cervantes's Don Quixote in Beaumont's The Knight of the Burning Pestle and Shakespeare's late, lost play Cardenio. English literature was deeply transnational, even in the period most closely associated with the birth of a national literature.Recovering the profound influence of Spain on Renaissance English letters, The Poetics of Piracy paints a sophisticated picture of how nations can serve, at once, as rivals and resources.
During the Progressive Era, the United States regularly suspended its own laws to regulate racialized populations. Judges and administrators relied on the rhetoric of sovereignty to justify such legal practices, while in American popular culture, sovereignty helped authors coin tropes that have become synonymous with American exceptionalism today. In this book, Andrew Hebard challenges the notion of sovereignty as a "state of exception" in American jurisprudence and literature at the turn of the twentieth century. Hebard explores how literary trends such as romance and realism helped conventionalize, and thereby sanction, the federal government's use of sovereignty in a range of foreign and domestic policy matters, including the regulation of overseas colonies, immigration, Native American lands, and extra-legal violence in the American South. Weaving historiography with close readings of Mark Twain, the western, and other hallmarks of Progressive Era literature, Hebard's study offers a new cultural context for understanding the legal history of race relations in the United States.
The Gospel of John describes the Incarnation of Christ as "the Word made flesh"--an intriguing phrase that uses the logic of metaphor but is not traditionally understood as merely symbolic. Thus the conceptual puzzle of the Incarnation also draws attention to language and form: what is the Word; how is it related to language; how can the Word become flesh? Such theological questions haunt the material imagery engaged by medieval writers, the structural forms that give their writing shape, and even their ideas about language itself. In Poetics of the Incarnation, Cristina Maria Cervone examines the work of fourteenth-century writers who, rather than approaching the mystery of the Incarnation through affective identification with the Passion, elected to ponder the intellectual implications of the Incarnation in poetical and rhetorical forms. Cervone argues that a poetics of the Incarnation becomes the grounds for working through the philosophical and theological implications of language, at a point in time when Middle English was emerging as a legitimate, if contested, medium for theological expression.In brief lyrics and complex narratives, late medieval English writers including William Langland, Julian of Norwich, Walter Hilton, and the anonymous author of the Charters of Christ took the relationship between God and humanity as a jumping-off point for their meditations on the nature of language and thought, the elision between the concrete and the abstract, the complex relationship between acting and being, the work done by poetry itself in and through time, and the meaning latent within poetical forms. Where Passion-devoted writing would focus on the vulnerability and suffering of the fleshly body, these texts took imaginative leaps, such as when they depict the body of Christ as a lily or the written word. Their Incarnational poetics repeatedly call attention to the fact that, in theology as in poetics, form matters.
The 10th anniversary edition of this important and inspiring collection is a sweeping overview of poetry written in New York in the year after the 9/11 attacks. This 10th anniversary edition of the popular anthology contains poems by forty-five of the most important poets of the day, as well as some of the literary world's most dynamic young voices, all writing in New York City in the year immediately following the World Trade Center attacks.After 9/11 poetry was everywhere--on telephone poles, on warehouse walls, in the bus shelters. People spontaneously turned to poetry to understand and cope with the tragedy of the attack. Full of humor, love, rage and fear, this diverse collection of poems attests to the power of poetry to express and to heal the human spirit. Featuring poems by Pulitzer Prize winner Stephen Dunn; Best American Poetry series editor David Lehman; National Book Award winner and New York State Poet Jean Valentine; the first ever Nuyorican Slam-Poetry champ; poets laureate of Brooklyn and Queens; and a poem and introduction by National Book Award finalist Alicia Ostriker.From the Trade Paperback edition.
Words are powerful, and words matter to people. When words embody sense imagery, they conjure up visions in the imagination and affect us on a visceral level. When we embrace special words of our choosing to soothe or inspire us, they often function like a companion or a talisman. This book focuses on the act of reading word combinations found in poems and stories. It also highlights the act of writing creative pieces in response to these literary works and to a rich variety of other stimuli. This book is even more about how the acts of reading and writing personally meaningful words can act as springboards to growth and healing through the guidance and encouragement of a skilled helper.
"[When we read and write poetry,] it is as if a long-settled cloud in our mind suddenly dissipates, and we are divine once again." -- from the Introduction Poetry is the language of devotion in prayer, chant, and song. Reading and writing poetry creates clarity, deepens and expands spiritual inquiry, and cultivates wisdom, compassion, self-confidence, patience, and love. In author Robert McDowell's words, poetry makes you into a tuning fork of the Divine. But poetry has disappeared over the centuries from religious ceremonies, academic curricula, and public discourse. In Poetry as Spiritual Practice, the first inspirational and instructional guide to combine poetry and spirituality, McDowell restores poetry as the natural language of spiritual practice and invites you to recognize poetry as "the pure sound and shape of your spirit." Vividly illustrated with a wide range of poems from all historical eras and poetic traditions, numerous religions and faiths, and McDowell's own and his students' work, Poetry as Spiritual Practice will reintroduce you to the unique pleasure of verse. And meditations throughout will allow you to integrate reading and writing poetry into your spiritual journeys and daily life. Since many of us have long forgotten, or never learned, the mechanics and terminology of poetry -- trochaic feet and tropes trip us up; we can't tell a villanelle from its shorter cousin, rondeau; and a terza rima may as well be a tanka -- this is also an instructional handbook on reading and writing poetry. An engaging guide through the landscape of world poetry, McDowell argues along the way for the many practical benefits of poetic literacy. Making poetry an essential part of daily rituals, aspirations, and intentions will put you on the path to greater meaning, growth, and peace in your life. At once an engaging technical primer, a profound meditation on the relationship between poetry and the Divine, and an inspirational guide for integrating poetry into spiritual practice, Poetry as Spiritual Practice will become a cherished companion.
An introduction to the poetic form known as the limerick, from its origins in the 1600s to today. Example poems and analysis explore such elements as wit and nonsense.
Includes more than 35 of Dickinson's best loved poems, including "I'm nobody, who are you?" and "I started early, took my dog."
Everyone at East High is freaking out. In one week, the students in Ms. Barrington's English class will have to recite an original poem in front of the whole school! Chad is usually happy to ham it up no matter who is watching, but the embarrassing memory of a past poetry performance is seared onto his brain--and he's not sure he'll be able to pull off this assignment. Troy enlists Gabriella to teach Chad and the other basketball players that there's more than one way to bust a rhyme. But will she be able to save them from schoolwide humiliation?
Flexible enough for any poetry course, this text is designed to make your students lifelong lovers of poetry. It combines classic poetry with today's hippest verse, mixing in delicious portions of contemporary life, humor, and universal themes. In-depth chapters on authors such as Emily Dickinson and Billy Collins reveal the real-life contexts in which poets create. There is also plenty of support for students -- with thorough chapters on the poetic elements, six sensible chapters on critical reading and writing, and many helpful sample close readings, writing assignments, and student papers.
After trying everything from blind dates to online matchmaking to speed dating, Alexis Sharp has given up finding Mr. Right. Or even Mr. Almost Right. Until the stormy night when the South Carolina spa owner gets a flat...and a hunky stranger comes to her rescue.Sexy, sensitive, supersuccessful Chicago chef Jared Van Buren is everything Alexis could want in a man. There's only one thing standing in the way of their budding romance-Jared isn't black.To her surprise, Alexis discovers she and Jared aren't as different as she thinks. As desire melts their barriers, Jared vows to prove to Alexis that they belong together. When it comes to affairs of the heart, what will it take to convince the woman who fills his life with passionate poetry that love is color-blind?
From the book: Maybe you've heard before that poetry is magic, and it made you roll your eyes, but I believe it's true. Poetry matters. At the most important moments, when everyone else is silent, poetry rises to speak. I wrote this book to help you write poems and to give practical ideas for making your poems sound the way you want them to sound. We're not going to smash poems up into the tiniest pieces. This book is about writing poetry, not analyzing it. I want this book to help you have more wonderful moments in the poetry you write. I want you to feel the power of poetry. It's my hope that through this book you will discover lots of ways to make your poems shine, sing and soar.
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