Poetry. Translated by Johannes Goransson. "In lyrical vision and hypnotic spells, this book THE ANGELGREEN SACRAMENT, creates its own mythology...with subtle variations, repetitions and negations, it generates ethereal rhythms and ecstatic resonances as the language dissolves in a frighteningly beautiful song."--from Swedish Radio's announcement of The Lyric Prize
Literary Nonfiction. Poetry, Frost is often quoted as having said, is what is lost in translation, and American poets and critics have long taken this as their cue to subordinate translation to other forms of literary activity and to disqualify translated texts. In TRANSGRESSIVE CIRCULATION, poet, translator, and publisher Johannes Göransson reverses this dynamic, holding that we should use translation to re-assess our entire aesthetic establishment. Rather than argue against the denigration and abjection of translation--and most foreign texts--this book investigates those dark zones of expulsion as grounds for new possibilities, not just for translation but for literature as a whole.
Literary Nonfiction. "This slim journal contains multitudes. It's a compulsively readable account of returning to a childhood home, a provocative meditation on artists such as Susan Sontag, Francesca Woodman, and Andrei Tarkovsky, and a radical reexamination of concepts like ruin porn, tourism, and translation. But mostly it's an urgent manifesto. 'Poetry is obscene, ' Göransson writes. 'But there are those who want to maintain the illusion that it is good for us.' This necessary book strips away the various illusions that have obscured poetry's truest values. Göransson concludes: 'This is written without hope.' But paradoxically, POETRY AGAINST ALL offers just that."--Jeff Jackson "Moralists who find themselves clutching their pearls about this book of noir perversions should read less literally and see that Göransson's POETRY AGAINST ALL--for all its anti-libidinous interrogations of pornography, the Holocaust, and cadavers--concerns some of the most relatably humanist emotions of all: grief, the meaning of home, and the protectiveness one has about one's children. Göransson imagines pornography as the body at the edge of otherness, at once alluring and perverse, which is not unlike the lens through which he conceives his own role as immigrant, the contaminant in our body politic, alive to the sheer horror of America but never quite able to go home himself."--Ken Chen
Eva Olsson is a survivor - of a repressive religious upbringing, World War II, the Holocaust, the deaths of many of her loved ones, bigotry and racism, and being ostracized because of her determination to live life on her own terms. She now dedicates her life to spreading a message of joy, hope and tolerance. Recent events in Kosovo, Rwanda, Bosnia and the Middle East prove the need for this message to be repeated.
There are over 18 million refugees in today's world. They have escaped conflict and human rights abuses. Television has brought the experiences of refugees into everyone's sitting room. And the 1990s have seen an increased number of refugees fleeing to Western Europe. "Refugees: we left because we had to" can be used in many areas of the school curriculum. The information and activities in the book enable students to develop concepts and skills demanded in the National Curriculum and by examination boards. "Refugees: we left because we had to" is of particular relevance to the teaching of English, history, geography, religious education, sociology and social studies, integrated humanities, modern studies, integrated humanities, modern studies and personal and social education.
POEM ADDRESSING CONSPIRACY THEORISTSYou're right to understand the underlying devious intentions of this poem. You are definitely on to something. You should really examine my other poems too (just google me) and notice the clues I have left behind. You might want to share what you find with others by starting a blog, informing the media, making videos, etc. I have said to my wife and others that I don't understand how few people notice the prophecy in my work. For reasons that are probably obvious to you, I don't want to directly address what I'm not openly addressing, except to say that, yes, I am addressing what you think I am. I know; it blows my mind too!
