Other books that might interest you

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  Old Fashioned Landowners -...

  Nikolai Gogol

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  Nikolai Vasilievich Gogol was born on 1st April 1809 to a father, descended from Ukrainian Cossacks and a mother with a military background in the Ukrainian town of Sorochyntsi, then part of the Russian Empire and rich in Cossack traditions and folklore.   
   
  His father wrote poetry and plays which the young Gogol helped stage at his uncle’s home theatre.  This helped ignite in him a love of literature and blossomed when he attended, what is now, the Nizhyn Gogol State University at the age of 12.  Here he participated in school theatre productions and refined his mastery of his native Ukrainian and also the Russian of his Imperial masters. 
   
  In 1828 he went to St Petersburg and unsuccessfully tried to begin a career as an actor after finding that with no money and no connections the civil service was barred to him. 
   
  Embezzling money from his mother he embarked on a trip to Germany. When the money ran out, he returned to St Petersburg but the experiences were used in a series of stories he contributed to periodicals.  These tales were steeped in his childhood memories of the Ukrainian landscape and peasantry enlivened with the supernatural of its folklore woven with realistic events of the day.  He wrote in Russian in a whimsical, colloquial style with a smattering of Ukrainian words and phrases that provided an authenticity.  Eight stories were published as ‘Evenings on a Farm near Dikanka’.  Seemingly all at once fame and fortune arrived. Gogol was hailed by his contemporaries, including Pushkin, as a pre-eminent writer of Russian literature.   
   
  His success continued with his brilliant plays ‘The Inspector General’ and the comedy ‘The Marriage for the Theatre’, both being highly acclaimed.   
   
  In 1834 he became Professor of Medieval History at the University of St. Petersburg but with little academic or teacher training, failed to adequately fulfil many of his duties and soon resigned this post.  With no obligations and using his earnings from his writing, which now included the impressionistic and immortal ‘Dead Souls’, Gogol travelled around Europe, spending the most time in Rome where he studied art, read Italian literature and developed a passion for opera.  
   
  In the 1840s Gogol became preoccupied with a need to purify his soul and embarked on a pilgrimage to Jerusalem. In tandem he fell under the influence of a strict and austere spiritual ascetic who persuaded him to observe strict fasts that, allied with his depression and deteriorating health, contributed to his death on 21st April 1852 at the age of only 43. 
   
  In ‘Old Fashioned Land Owners’ Gogol describes a peaceful setting and a peaceful couple who have grown old together.  But foreboding makes an entrance and life is now a series of cruel twists that breaks everything.

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  Cut-up Apologetic

  Jamie Sharpe

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  Up-and-coming poet Jamie Sharpe presents a finely tuned second collection
  
  Cut-up Apologetic, Sharpe’s second collection, explores aging in a world where youth is terrible and something we desperately want back. These are poems about failing to leave our mark while marks are left on us — about the collective insatiability of emptying surroundings in an attempt to fill ourselves.
  
  At the same time,  is naïve and playful even when examining fear expressed as discrimination or the ways restlessness transitions into an inertia spelling cultural death. Sharpe finds strange new horizons “extend(ing)/only backward, into memory.”

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  Evangeline

  Henry Wadsworth Longfellow

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  Evangeline is one of Longfellow’s most popular poems and was once a great favorite with the American people. For many years almost every school child studied this poem during the middle school years. Although the decline of the reputation of the once-idolized poet has also brought neglect to this classic, it is still a very touching and expertly written work of art. It is based upon the tragic expulsion of the French settlers from Acadia (located in the Canadian maritime provinces) during the French & Indian War (1754-1763). Many Acadians died as a result of their exile, and many families were separated, including the heroine of this poem and her betrothed. Although she is a fictional character, statues of her and other memorials exist in Nova Scotia and other places now inhabited by descendants of the Acadians, later frequently known as “Cajuns.” (Introduction by Leonard Wilson)

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  Work Song - Three Views of Frank...

  Jeffrey Hatcher, Eric Simonson

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  In Work Song, tensions between master architect Frank Lloyd Wright and his tempestuous relationships are explored in this uniquely prismatic view of one of the great architects of the modern era.  This engaging production includes a panel discussion with Wright biographer Harold Zellman.An L.A. Theatre Works full-cast performance featuring Jim Beaver, Amy Brenneman, Chris Butler, Matthew Patrick Davis, Sean Dougherty, Robert Foxworth, Charles Janasz, Kathryn Meisle, Kali Rocha and Raphael Sbarge.

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  Beautiful False Things - Poems

  Irving Feldman

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  This volume from the two-time National Book Award-finalist offers “splashes of beauty, yes–but also a fountain of shameless knowing and inspired telling” (Cynthia Ozick).   This tenth collection of Irving Feldman’s poems extends what readers and critics have long recognized to be a body of work singular in its extravagant wit, powerful storytelling, variety of voices and range of feeling—playful, tender, ardent, biting, enthralled. Here, among the major poems of Beautiful False Things: the stand-up comic Larry Sunrise of “Funny Bones’ duels with death in Florida; in “Oedipus Host,” Oedipus arrives from his millennia-long trek to host a TV talk show; and the plucky, feminist heroine of “Heavenly Muse” visits yet another barely worthy male poet. In the tragicomic title poem, “translation” comes to stand for the dilemmas of expression in a culture that sucks up language and spews it back.   The renowned poet J. D. McClatchy called Feldman “our best fabulist, Franz Kafka’s imagination combined with S. J. Perelman’s ear, and everywhere his own buoyant, driving line.” The poems collected here demonstrate why the Guggenheim Fellow and National Book Critics Circle Award-finalist is deserving of such high praise.

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  Are You Judging Me Yet? - Poetry...

  Kim Moore

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  Five 'lyric essays' exploring the dynamics of performing poetry as a female poet – confronting the implications of being a female on public display, with the connotations of sexual objectification, in a context that traditionally disregards the body. Kim states "With the strides and gains made through the #MeToo movement, I believe the time is right for a book like this to make an impact. As a female poet, I know there is a need for such a book to examine the intersection between writing, performing, feminism and sexism. I wish this book had been written when I first started working as a freelance writer and I've had many conversations with other female poets who have also confirmed my thinking – that female poets are navigating these things regularly, and yet nobody is really writing or talking about them."
  The book draws on her experiences of writing and performing the poems in her second collection All the Men I Never Married. It is a balance of memoir, academic treatise and poetry, though the author's emphasis is on writing in a popular way and making the subject accessible to a wide audience. To achieve this her models have been Maggie Nelson's Bluets, Claudia Rankine's Citizen and Sarah Ahmed's Living a Feminist Life. 
  The book's subjects include heckling at poetry readings and other interactions; problems with the 'male gaze' and what the 'female gaze' might look like in poetry; 'guilty for being a man': how guilt can be useful if it can bring about change; how writing poetry about sexism can shed add meaning to the term; the objectification of men and women, and 'bad faith' arguments.
  Are You Judging Me Yet?, by Kim Moore, is a remarkable collection of essays and poetry that explore, as the tagline suggests, everyday sexism. – neverintimate
  '…Moore's work becomes an even more vital tool in the work being done to challenge everyday sexism. Reading her work is not only a window into her own experiences, but may also act as a means of education, and that's something we all need to see more of.' – Wales Arts Review

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