Shaping Up is more personal and intimate than the author's previous works. The poems and images reflect a period while he was living outside of Zimbabwe, in South Africa. The immigrant experience gives the work a more personal, closed, abstracted feel driven by loneliness of the exilitic condition. Living in the element, uninhibited and careless can help deal with confounding, controversial issues more easily, this theme can be dissected from the drawings to do with sex, sexuality and gender issues. The line breaks, whirls, thins out, sometimes is bold, sometimes is barely there, thus the drawings straddle the tenuousness of time and life.
The much-anticipated debut collection from a celebrated young poet, Someone Else's Wedding Vows marks the arrival of an exciting new voice in American poetry. Someone Else’s Wedding Vows reflects on the different forms of love, which can be both tremendously joyous and devastatingly destructive. The title poem confronts a human ritual of marriage from the standpoint of a wedding photographer. Within the tedium and alienation of the ceremony, the speaker grapples with a strange human hopefulness. In this vein, Stone explores our everyday patterns and customs, and in doing so, exposes them for their complexities. Drawing on the neurological, scientific, psychological, and even supernatural, this collection confronts the difficulties of love and family. Stone rankles with a desire to understand, but the questions she asks are never answered simply. These poems stroll along the abyss, pointing towards the absurdity of our choices. They recede into the imaginative in order to understand and translate the distressing nature of reality. It is a bittersweet question this book raises: Why we are like this? There is no easy answer. So while we look down at our hands, perplexed, Someone Else’s Wedding Vows raises a glass to the future.
The astonishing, powerful debut by the winner of a 2016 Whiting Writers' Award WHEREAS her birth signaled the responsibility as mother to teach what it is to be Lakota therein the question: What did I know about being Lakota? Signaled panic, blood rush my embarrassment. What did I know of our language but pieces? Would I teach her to be pieces? Until a friend comforted, Don’t worry, you and your daughter will learn together. Today she stood sunlight on her shoulders lean and straight to share a song in Diné, her father’s language. To sing she motions simultaneously with her hands; I watch her be in multiple musics. —from “WHEREAS Statements” WHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. “I am,” she writes, “a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation—and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live.” This strident, plaintive book introduces a major new voice in contemporary literature.
A scintillating collection of essays on language from one of literature's most supple minds In The Night Sky, her first work of essays, acclaimed poet Ann Lauterbach writes of the ways in which art and poetry are integral and necessary to human conversation. At the center of the book is a series of seven essays, by turns meditative and polemical, that articulate the interstices between Lauterbach's poetics and her experience. She advocates an active encounter with language, at once imaginative and practical, and argues for the importance of art to the well- being of a democratic society. Lauterbach's "nimble and glittering" (Booklist) writings bring us to a new understanding of the relationship between self-knowledge and cultural meaning, as well as demonstrating the ways in which contemporary philosophy and theory might be integrated with practical knowledge.
Pura Belpré Award Winner Ruth Behar's inspiring story of a Jewish girl who escapes Poland to make a new life in Cuba, where she works to rescue the rest of her family The situation is getting dire for Jews in Poland on the eve of World War II. Esther's father has fled to Cuba, and she is the first one to join him. It's heartbreaking to be separated from her beloved sister, so Esther promises to write down everything that happens until they're reunited. And she does, recording both the good--the kindness of the Cuban people and her discovery of a valuable hidden talent--and the bad: the fact that Nazism has found a foothold even in Cuba. Esther's evocative letters are full of her appreciation for life and reveal a resourceful, determined girl with a rare ability to bring people together, all the while striving to get the rest of their family out of Poland before it's too late. Based on Ruth Behar's family history, this compelling story celebrates the resilience of the human spirit in the most challenging times.
In this remarkable blend of memoir and criticism, James Wood, noted contributor to the New Yorker, has written a master class on the connections between fiction and life. He argues that, of all the arts, fiction has a unique ability to describe the shape of our lives and to rescue the texture of those lives from death and historical oblivion. The act of reading is understood here as the most sacred and personal of activities, and there are brilliant discussions of individual works - among others, Chekhov's story "The Kiss," W.G. Sebald's The Emigrants, and Penelope Fitzgerald's The Blue Flower. Wood reveals his own intimate relationship with the written word: we see the development of a provincial boy growing up in a charged Christian environment, the secret joy of his childhood reading, the links he makes between reading and blasphemy, or between literature and music. The final section discusses fiction in the context of exile and homelessness. The Nearest Thing to LifeÊis not simply a brief, tightly argued book by a man commonly regarded as our finest living critic - it is also an exhilarating personal account that reflects on, and embodies, the fruitful conspiracy between reader and writer (and critic), and asks us to reconsider everything that is at stake when we read and write fiction.
Friedman has gathered together reproductions of paintings, drawings and sculpture, many from private collections, by a pantheon of great writers, including Hermann Hesse, Fyodor Dostoevsky and Joseph Conrad.
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times
