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A reissue of Browning's novel in verse that describes Aurora's successful rebellion against Victorian convention and her right to pursue her own career as a writer as well as be in love.
A collectible new Penguin Classics series: stunning, clothbound editions of ten favourite poets, which present each poet's most famous book of verse as it was originally published. Designed by the acclaimed Coralie Bickford-Smith and beautifully set, these slim, A format volumes are the ultimate gift editions for poetry lovers. A Shropshire Lad was first published in 1896 at A. E. Housman's own expense. The collection of lyrical poems became hugely successful following the Second Boer War and World War I, with themes such as nostalgia for one's home and the patriotic celebration of the life of the solider striking a chord with English readers. This collection contains Housman's greatest works, demonstrating the lyrical precision and emotional depth of his writing. It includes 'To an Athlete Dying Young', a lyrical elegy to a life lost at its prime and 'When I was One-and-Twenty', a love poem on the ignorance of youth.
Pineapples in the Pool is a collection of poems about falling in love and having your heart broken; they're about moving around and feeling a little bit lost; growing older and having no idea what life is about but having a go anyway. They're also about how handsome Dev Patel is and how great it is to eat crisps in your underwear and old lady vaginas. So a mixed bag really. If you like your poetry lighthearted and hopeful with a splattering of celebrity adoration then Pineapples in the Pool is for you. The author's own mother once described the poems as "actually quite good", and with praise as good as that, how can you resist?
"Tropicalia" is a collection of poems by Emma Trelles, winner of the Andres Montoya Poetry Prize. The book is a melodic union between the green insistence of the subtropics and the city ensconced within. Trelles's language is detailed and startling, her poems infused with color and light, and the secret beauty of back alleys and parking lots is seamed to sorrow, hope, and land. Rock bands play among odes to Lorca and Chagall, and the hard news of protest and war lives among the simple pleasures of words and sky.
""Tropicalia" borrows its title from the Brazilian art movement of the same name, a vibrant blend of genres and styles that colored the international arts scene in the late 1960s and 1970s. Edgier and more savvy than the flower-power hippie culture of its neighbors to the north, its vast creative energy drew from many different sources to shape a new hybrid most strongly felt in music, but also visual and performance art, poetry, film, and fashion. As mirror, "Tropicalia" the book brings a similar energy into the mix. Trelles imbues her odd brew of poetic styles and voices with a strong visual sense. The result is a narrative infused with a powerful physicality of place." --from the introduction by Silvia Curbelo, 2010 Andres Montoya Poetry Prize judge
"True to the musical movement of its namesake, "Tropicalia" is a unique fusion of sounds, sights, and textures that entrances the reader into a dream-state. Like a deja vu of the soul, the physical and emotional landscapes these poems render so precisely feel at once familiar and yet like completely new worlds in which I find love, meaning, and resolve for the first time, again. 'Beauty is better felt than seen, ' Trelles writes, and it is true: "Tropicalia" is not a book I merely read, but felt word by word; not poems I merely pondered, but experienced syllable after precious syllable." --Richard Blanco
" 'Everything looks better in a poem, / or worse, depending on how much of the day you were able / to hoard'--That's a typical flash of wisdom from a poet who is herself a hoarder of images, a beautifier of the Miami streets she lyrically documents. I love the immediacy and gusto of "Tropicalia." I am thankful that it is 'thankful to be standing / in the heat watching egrets.' The world may not always 'look better' in Emma Trelles's poems, but it is a better place for all lovers of poetry, thanks to her rich and heartfelt book." --Campbell McGrath
"In "Tropicalia," Emma Trelles gives us Miami--the flora, the fauna, the languages, the interstate. Her poems are luxurious and scrumptious, socially relevant, with oomph and sizzle. The buoyancy of her images and the poignancy of her direct language make Trelles the most exciting poet to emerge from the state with the prettiest name." --Denise Duhamel
"In the poem 'Nocturne in Parts, ' Trelles writes 'There is something all-powerful and holy / about a cold orange. Imagine peeling / each day into one flawless strip." This gorgeous description of how the divine may perceive the passing of time is convincing, yet false when considering the fruit that is this fibrous and sweet debut collection of poems. Amid interstates and wet grass, saints and devils, protests and surrenders, Trelles exists as an eye--a recurring image in the collection--giving credence to a Florida alien and true. Rather than a contiguous peel, this collection is more like the pile of bright rinds one finds between their feet after feeding ravenously." --Kyle G. Dargan, author of "Logorrhea Dementia: A Self-Diagnosis"
This poetry collection showcases all the features of Joan Logghe's work that have attracted so many readers: her attention to detail, her warmth, humor, and passionate and inclusive social conscience. At once postmodern and deeply rooted in her adopted northern New Mexico home, Logghe's work connects disparate events and objects. "I named my last child Hope. I never had a last child," she writes in the poem "True or False." Television Is the Golden Calf I read about In Sabbath School. My teacher lied. We live on the northern edge of the Sonorous desert. Armageddon is a small lizard that reconstitutes at first rain. Turtles have an aversion to helium because they are heavyhearted. "Joan Logghe is one of the most exciting poets in America today. Her words sing, slide, slip, & jive. I love everything by Joan."--Natalie Goldberg, author of Writing Down the Bones
Virginia Astley has been a much admired songwriter and musician since the 1980s, known for her engaging lyrics as well as for her melodious style. Now her other two passions take centre stage in this book: poetry and the River Thames. She grew up by the river's upper reaches, knew the old lock-keepers and was familiar with all aspects of the Thames and its hinterland: both the natural world and the people whose lives are intimately connected with the river. In recent years, she has returned to the Thames, working for a summer as an assistant lock-keeper, and walking its length to record and respond to its landscapes, river life and river folk as a poet and photographer. Her pamphlet The Curative Harp won Ireland's Fool for Poetry chapbook competition in 2015 and was published by Southword. The English River is her first book-length poetry collection, showing many new sides to this multi-talented artist: as poet, nature writer, storyteller and photographer. The foreword is by Peter Townshend. `Virginia's story is about the river and the people who work on it, especially those who man the locks. She captures a view of the upper reaches of the River Thames that is entirely fresh. There are glimpsed moments of the claustrophobic beauty of the wooded parts that contrast with the open expanses of uplifting countryside where the river meanders through woodland and farmland. Focussing on the professionals who work on the river, and who manage the locks and the flood plains around them, Virginia suggests - as she works as a lock-keeper's assistant - that they become almost addicted to the peace and beauty of their place of work. She herself becomes enchanted, that is certain. She makes herself vulnerable in the most romantic way, working and writing and evoking everything she sees and feels as both a storyteller and poet, and as photographer.' - Pete Townshend, musician
Just as the day could use another hour, I need another idea. Not a conceptor a slogan. Something more like a rutmade thousands of years ago by one of the firstwheels as it rolled along. It never came backto see what it had done, and the rutjust stayed there, not thinking of itselfor calling attention to itself in any way.Sun baked it. Water stood, or rather satin it. Wind covered it with dust, then blew itaway. Always it was available to itselfwhen it wished to be, which wasn't often.
Then there was a cup and ball theoryI told you about. A lot of people had left the coast.Squirt conditions obtained. I forgot I overwhelmed youonce upon a time, between everybody's sound sleepand waking afterward, trying to piece togetherwhat had happened. The rut glimmeredthrough centuries of snow and after.I suppose it was trying to make some pointbut we never found out about that, having come to know each other years laterwhen our interest in zoning had revived again.
This collection is Benjamin Zephaniah's first new book of poems in five years. It addresses the struggles of black Britain more forcefully than all his previous books. With poems like "Chant of a Homesick Nigga" and "Kill Them Before Ramadan, " he shows that he's a poet who won't stay silent, who doesn't pull any punches, writing out of a sense of urgency and a commitment to social justice. He opens this hard-hitting and blackly funny book of poems with an outspoken comment on where he's coming from, setting his poetry against the political landscape of Britain.
Death Magazine is a neutropian vision of our soundbite, snippet-obsessed, digital and print magazine culture. It employs the Dadaist technique of cut-up to produce poems that range from the blackly comic to the surreal, from the nonsensical to the prescient. Many of the poems confine themselves to the precise aesthetics of magazine columns, doing away with line breaks entirely to find new meaning in their Modernist forms. Added to the mix are a range of free verse poems more traditional in form. This monster hybrid of styles, of fact and fiction, aims to replicate the untrustworthy, hyperbolic stream of media that absorbs our lives every day. This radical work creates a futuristic landscape of human emotion as product - a pink, shattered diamond refracting our chaotic times.
"My Index of Slightly Horrifying Knowledge" is a fierce and original collection--its generosity of voice and emotional range announce the arrival of a major new poet.
At the age of twelve, Paul Guest suffered a bicycle accident that left him paralyzed for life. But out of sudden disaster evolved a fierce poetic sensibility--one that blossomed into a refuge for all the grief, fury, and wonder at life forever altered. Although its legacy lies in tragedy, the voice of these brilliant poems cuts a broad swath of emotions: whether he is lamenting the potentiality of physical experience or imagining the electric temptations of sexuality, Guest offers us a worldview that is unshakable in its humanity.
Wanneer die son verduister, staan mense stil om na te dink oor lig en donker. So word daar oor veel meer as hierdie natuurlike verskynsel besin. Sinisme en humor bly nie agterwee nie maar die groot gedagte skyn weemoed en verwondering te wees. In hierdie 94 gedigte praat bekende digters en debutante saam; prosaskrywers, joernaliste, musikante en ander openbare figure waag hulle hand aan die poesie. Die resultaat is ín sonderlinge verkenning van die kreatiewe kragte wat vaardig raak wanneer die natuur sy heerskappy bevestig.
Being Alive is the sequel to Neil Astley's Staying Alive, which became Britain's most popular poetry book because it gave readers hundreds of thoughtful and passionate poems about living in the modern world. Now he has assembled this equally lively companion anthology for all those readers who've wanted more poems that touch the heart, stir the mind and fire the spirit. Being Alive is about being human: about love and loss, fear and longing, hurt and wonder. Staying Alive didn't just reach a broader readership, it introduced thousands of new readers to contemporary poetry, giving them an international gathering of poems of great personal force, poems with emotional power, intellectual edge and playful wit. It also brought many readers back to poetry, people who hadn't read poetry for years because it hadn't held their interest. Being Alive gives readers an even wider selection of vivid, brilliantly diverse contemporary poetry from around the world. A third companion anthology, Being Human (2011), completed this modern poetry trilogy. Essential Poems from the Staying Alive Trilogy (2012) selects 100 poems from all three anthologies, a third from each. These anthologies have been welcomed not only by poets but by a wide range of well-known people respected for their work in fields other than poetry - all avid readers of poetry. They want to recommend these books above all other anthologies of contemporary poetry.
Lyrical Ballads (1798) is a landmark collection of poems that marks the beginning of the English Romantic Movement in literature. Co-written by friends William Wordsworth and Samuel Taylor Coleridge, the collection broke away from traditional poetic form. Of the twenty-three poems, Wordsworth penned works such as 'Lines written a few miles above Tintern Abbey' and 'The Idiot Boy' that use colloquial speech and take the everyday as their theme. The collection also includes Coleridge's greatest poem 'The Rime of the Ancyent Marinere', a supernatural tale of a sailor's voyage.
"Sherwin Bitsui's new poetry collection, "Flood Song--"a sprawling, panoramic journey through landscape, time, and cultures--is well worth the ride."--"Poets & Writers"
"""Bitsui's poetry is elegant, probative, and original. His vision connects worlds."--"New Mexico Magazine"
"His images can tilt on the side of surrealism, yet his work can be compellingly accessible."--"Arizona Daily Star"
"Sherwin Bitsui sees violent beauty in the American landscape. There are junipers, black ants, axes, and cities dragging their bridges. I can hear Whitman's drums in these poems and I can see Ginsberg's supermarkets. But above all else, there is an indigenous eccentricity, 'a cornfield at the bottom of a sandstone canyon, ' that you will not find anywhere else."--Sherman Alexie
Native traditions scrape against contemporary urban life in "Flood Song," an interweaving painterly sequence populated with wrens and reeds, bricks and gasoline. Poet Sherwin Bitsui is at the forefront of a new generation of Native writers who resist being identified solely by race. At the same time, he comes from a traditional indigenous family and "Flood Song" is filled with allusions to Dine (Navajo) myths, customs, and traditions. Highly imagistic and constantly in motion, his poems draw variously upon medicine song and contemporary language and poetics. "I map a shrinking map," he writes, and "bite my eyes shut between these songs." An astonishing, elemental volume.
"I retrace and trace over my fingerprints"
"and on the peninsula of his finger pointing west--"
Sherwin Bitsui's acclaimed first book of poems, "Shapeshift," appeared in 2003. He has earned many honors for his work, including fellowships from the Witter Bynner Foundation and Lannan Foundation, and he is frequently invited to poetry festivals throughout the world. He lives in Tucson, Arizona.
Openbare Domein is Daniel Hugo se vyftiende digbundel. Hierdie is toeganklike gedigte vir gewone lesers en letterkundiges.
Hugo geniet wye mediadekking as digter, vertaler, resensent, rubriekskrywer, radiovoorleser en openbare onderhoudvoerder.
Hugo is een van Afrikaans se voorste en gewildste digters. Hy is ook een van die bekendste radiostemme in die land.
From the Pulitzer Prize-winning former poet laureate, a collection of elegiac, irreverent new poems-an American master at the height of his talent The latest volume of poetry from Charles Simic hums with the liveliness of the writer's pen. Scribbled in the Dark brings the poet's signature sardonic sense of humor, piercing social insight, and haunting lyricism to diverse and richly imagined landscapes. Peopled by policemen, presidents, kids in Halloween masks, a fortune-teller, a fly on the wall of the poet's kitchen; set on crowded New York streets, on park benches, and under darkened skies; the pages within toy with the end of the world and its infinity. Simic continues to be an imitable voice in modern American poetry and one of its finest chroniclers of the human condition.
Although the life of Federico Garcia Lorca (1898-1936) was
tragically brief, the Spanish poet and dramatist created an
enduring body of work that remains internationally important. This
selection of 55 poems from the 1921 collection "Libro de poemas"
represents some of his finest work. Imbued with Andalusian
folklore, rich in metaphor, and spiritually complex.
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