You are a poetry lover or you wouldn't be holding this book. Extreme Rhyming Poetry is reader friendly. Each poem is unique with plenty of laughs, intellect, and enlightenment. There's also in them the realities in life we all face, good, bad, happy, and sad. Whether or not you believe in God or Satan, demons, heaven or hell, aliens, monsters, etc., you'll believe in something after reading these poems. These poems are addictive. You'll read them over and over again. You'll discover things deep within the words that will come forth to simply amaze you! Enjoy, and God bless!
You are a poetry lover or you wouldn't be holding this book. Extreme Rhyming Poetry is reader friendly. Each poem is unique with plenty of laughs, intellect, and enlightenment. There's also in them the realities in life we all face, good, bad, happy, and sad. Whether or not you believe in God or Satan, demons, heaven or hell, aliens, monsters, etc., you'll believe in something after reading these poems. These poems are addictive. You'll read them over and over again. You'll discover things deep within the words that will come forth to simply amaze you! Enjoy, and God bless!
An anthology of 144 "extreme" formal poems by 36 contemporary poets, many of them multi-award winners. The poets included are: Alexander Pepple; B. Fulton Jennes; Barbara Loots; Benjamin S. Grossberg; Beth Houston; Bruce Bennett; C. B. Anderson; Catherine Chandler; Chris O'Carroll; Claudia Gary; D. R. Goodman; David Anthony; David Stephenson; Debra Wierenga; Duncan Gillies MacLaurin; Elizabeth Spencer Spragins; Eric Meub; Gail White; Jane Blanchard; JD Michael; Jean L. Kreiling; Jerome Betts; John J. Brugaletta; Joseph S. Salemi; Kevin Durkin; Kyle Potvin; Leslie Monsour; Maryann Corbett; Max Gutmann; Nicole Caruso Garcia; Robin Helweg-Larsen; Susan de Sola; Susan Jarvis Bryant; Ted Charnley; Tim Taylor; Wendy Sloan
The editors of this legendary and hilarious anthology write: "It would seem at a hasty glance that to make an anthology of Bad Verse is on the whole a simple matter . . . On the contrary . . . Bad Verse has its canons, like Good Verse. There is bad Bad Verse and good Bad Verse. It has been the constant preoccupation of the compilers to include in this book chiefiy good Bad Verse." Here indeed one finds the best of the worst of the greatest poets of the English language, masterpieces of the maladroit by Dryden, Wordsworth, and Keats, among many others, together with an index ("Maiden, feathered, uncontrolled appetites of, 59;. . . Manure, adjudged a fit subject for the Muse, 91") that is itself an inspired work of folly.
The instant New York Times bestseller featured on NPR's Weekend Edition with Scott Simon! B. J. Novak (bestselling author of The Book With No Pictures) described this groundbreaking poetry collection as "Smart and sweet, wild and wicked, brilliantly funny--it's everything a book for kids should be." Lauded by critics as a worthy heir to such greats as Silverstein, Seuss, Nash and Lear, Harris's hilarious debut molds wit and wordplay, nonsense and oxymoron, and visual and verbal sleight-of-hand in masterful ways that make you look at the world in a whole new wonderfully upside-down way. With enthusiastic endorsements from bestselling luminaries such as Lemony Snicket, Judith Viorst, Andrea Beaty, and many others, this entirely unique collection offers a surprise around every corner. Adding to the fun: Lane Smith, bestselling creator of beloved hits like It's a Book and The Stinky Cheese Man and Other Fairly Stupid Tales, has spectacularly illustrated this extraordinary collection with nearly one hundred pieces of appropriately absurd art. It's a mischievous match made in heaven! "Ridiculous, nonsensical, peculiar, outrageous, possibly deranged--and utterly, totally, absolutely delicious. Read it! Immediately!" --Judith Viorst, bestselling author of Alexander and the Terrible, Horrible, No Good, Very Bad Day
In this unusual collection, poems and photographs focus on shapes in nature. Some shapes are found in familiar places: A circle is the sun and a crescent is the moon. But there are imaginative surprises too: an alligator's tooth is a triangle and a frond's shadow forms a square. Related shape words—round, halo, sphere, etc.—are scattered throughout the spreads. This collaboration captures the beauty of shapes in nature in a playful way.
An accessible introduction to poetry's unusual uses of language that tackles a wide range of poetic features from a linguistic point of view. Equally appealing to the non-expert and more experienced student of linguistics, this book delivers an engaging and often witty summary of how we define what poetry is.
From the first Police album, Outlandos D'Amour, through Sacred Love, here are the collected lyrics written by Sting, along with his commentary. “Publishing my lyrics separately from their musical accompaniment is something that I’ve studiously avoided until now. The two, lyrics and music, have always been mutually dependent, in much the same way as a mannequin and a set of clothes are dependent on each other; separate them, and what remains is a naked dummy and a pile of cloth. Nevertheless, the exercise has been an interesting one, seeing perhaps for the first time how successfully the lyrics survive on their own, and inviting the question as to whether song lyrics are in fact poetry or something else entirely. And while I’ve never seriously described myself as a poet, the book in your hands, devoid as it is of any musical notation, looks suspiciously like a book of poems. So it seems I am entering, with some trepidation, the unadorned realm of the poet. I have set out my compositions in the sequence they were written and provided a little background when I thought it might be illuminating. My wares have neither been sorted nor dressed in clothes that do not belong to them; indeed, they have been shorn of the very garments that gave them their shape in the first place. No doubt some of them will perish in the cold cruelty of this new environment, and yet others may prove more resilient and become perhaps more beautiful in their naked state. I can’t predict the outcome, but I have taken this risk knowingly and, while no one in their right mind should ever attempt to set “The Waste Land” to music, in the hopeful words of T. S. Eliot, These fragments I have shored against my ruins.” —Sting, from the Introduction
