This sensitive and evocative collection of poems by a thirteen-year-old encompasses a spectrum of emotions and thoughtsfrom harsh reality of children of war to the blossoming of a weed into a magnificent ivy; from fear of being shackled to a wondrous winter. The poems dont just impress but also inspire and invigorate the reader to view the world with empathy and innocence.
The events of 1999’s Columbine shooting preoccupy Forsythe in these poems, refracting her vision to encompass killer, victim, and herself as a girl, suddenly aware of the precarity of her own life and the porousness of her body to others’ gaze, demands, violence. Deeply researched and even more deeply felt, Perennial inhabits landscapes of emerging adulthood and explosive cruelty—the hills of Pittsburgh and the sere grass of Colorado; the spines of books in a high school library that has become a killing ground; the tenderness of children as they grow up and grow hard, becoming acquainted with dread, grief, and loss.
Face at the Bottom of the World and Other Poems is a collection of Japanese poetry by master poet, Hagiwara Sakutaro. Hagiwara Sakutaro (1886-1942) is generally recognized in Japan as the best poet to have emerged since contact was re-established with the outside world. His work represents the astonishing achievement in the poetic field of General Meiji endeavor to blend "Western learning with the Japanese spirit." He and perhaps he alone, have successfully combined the lyric intensity characteristic of the short forms of traditional Japanese poetry with the freedom of length, form and rhythm which characterizes the poetry of the West. In him East and West, despite Kipling's dictum, have indeed met; and from him the future poets of both traditions have much to learn. For all the startling beauty and originality of his work, Hagiwara remains a poet of the dark. Shiveringly sensitive to loveliness in all its million modes, he finds it not only in its familiar haunts but even in such unexpected subjects as rotten calm or the dead body of an alcoholic. A man intensely aware that the sun, that symbol of Japan, rises as much to cast shadows as to give light.
Hart Crane's Queer Modernist Aesthetic argues that the aspects of experience which modernists sought to interrogate – time, space, and material things – were challenged further by Crane's queer poetics. Reading Crane alongside contemporary queer theory shows how he creates an alternative form of modernism.
Five of Coleridge's major poems are given fresh scrutiny in this arresting study. One of its unusual features is the attention given the Preface to "Kubla Khan," the Gloss to The Ancient Mariner, and other prose accompaniments to the poems usually dismissed as extraneous. Devices such as these, the author argues, are strategically employed by Coleridge in an effort to engage the reader in a fully imaginative response. Kathleen Wheeler elucidates the texts in terms of aesthetic experience and also in terms of the philosophical principles that inform them, showing how Coleridge's theories of mind and imagination function within the poems and shape their design. A subtle and gifted reader of poetry, she enriches our understanding of poems we thought we knew well, and provides insights along the way into the creative process.
With their tidal imagination, the poems in this debut collection sweep between old worlds and new, seeking the lost and recovering the found among shipwrecks, underwater zoos and discovered lands. Emma Jones brings her inventive worlds dramatically to life in a series of vividly distilled meetings - of settlers and indigenous peoples, of seawaters and shore, of humanity and the wilds of nature. Here, tigers stalk the captive and the free, while Death encounters his own double and Daphne tells of her new leaves, 'They sing, and make the world.' The same might be said of the poems themselves in this restless and memorable search for belonging.
Red Earth is an ecofeminist collection of poems that meditates on place and the making of home. Journeying through the landscape of dreams, memory, time and place, Red Earth locates the speaker in relation to the myriad of places, cultures, people and non-human kin she co-inhabits this world with. Grounded in her local bioregion, and traversing borders and boundaries, Red Earth is a collection of verse that invokes the spirit of place by reinstating a woman's voice amidst the boom of machinery and economy in the context of capitalism, urbanisation and the ensuing alienation from nature. Tracing its poetic lineage to ecofeminist forebearers like Mary Oliver, Eavan Boland, Grace Nichols, Joy Harjo and Kathy Jetnil-Kijiner, Red Earth is an ecofeminist act of solidarity with marginalised others (non-human and human person-beings) and an artifact of social and environmental activism. Situated in Singapore and moving across geographies, Red Earth embodies a new planetary politics of relations that 'makes kin' with fellow person-beings to offer hope and healing in a time of state-sanctioned violence against the land and by proxy, its people, and increasing urban alienation.
Guillen's view of Europe from the New World, his experience as an exile and as an immigrant, as well as is encounter with Spanish America and with Spain in America. --City Lights Publishers.
Psychologically and philosophically oriented, this work concentrates on the minor poetry of Keats and how that poetry serves as an enlightenment to the artist's multifaceted mind and spirit.
