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  Shoulder Tap

  Maurice Riordan

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  Throughout these poems, with their roaming sense of first-person, the speakers' minds are cavernous and echoic, primal and sophisticated, observant and raw, in and out of control of themselves. The effect is unpredictable and thrilling, at once a dark art and an illumination of unease and loss and wishfulness. The collection features disquieting songs of a mutable self alongside poignant elegies, interior journeys and subtle (and not so subtle) ripostes to the legacy of Trumpism - while elsewhere encounters with ghostly feet and tongues of fire consort with riffs on Baudelaire, Rilke and Laforgue. These poems twinkle with mischief and humour, making for a pungent and haunting read. Riordan - a poet whose strong, rippling influence is felt by all in his wake - affirms his reputation at the forefront of contemporary poetry.

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  Jane Eyre

  Charlotte Brontë, Christina Calvit

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  Orphaned Jane journeys from a harsh childhood to become the loving caregiver of a child at the mysterious manor of Mr. Rochester. Jane is drawn to her enigmatic employer, but as dark secrets emerge, she must choose between her newfound security and the uncertainty of a life lived for oneself. An L.A. Theatre Works full cast performance featuring: Emily Bergl as JaneJane Carr as Mrs. ReedAlexis Jacknow as Grace/Amy/DianaCerris Morgan-Moyer as Bertha/Adele/Blanche/HannahDarren Richardson as St. John/MasonAlan Shearman as Brocklehurst/Dr. Carter/Reverend Wood/PorterJeanne Syquia as Helen/MaryNick Toren as RochesterJoanne Whalley as Mrs. Fairfax/Lady Ingram Directed by Marsha Mason and recorded before a live audience.

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  The Poetry Of Sara Teasdale

  Sara Teasdale

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  Sara Trevor Teasdale was born on 8th August, 1884 in St Louis, Missouri.  A child of poor health she was 14 years old when she was well enough to begin school.  Her first poetry publication was in 1907 with her second book in 1911. She was courted by Vachel Lindsay, a great poet but one who thought he could not provide a suitable standard of living so Sara married Ernst Filsinger and the couple moved to New York City.   In 1917 she released the poetry collection Love Songs and the following year it won three awards: the Columbia University Poetry Society prize, the 1918 Pulitzer Prize for poetry and the annual prize of the Poetry Society of America. By 1929 Sara was deeply unhappy and divorced but remained in New York where she soon resumed her friendship with Vachel Lindsay, who was by this time married with children.   In 1931 Vachel Lindsay committed suicide. Two years later Sara too was dead - overdosing on sleeping pills. She is buried in the Bellefontaine Cemetery in St. Louis.

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  The Elements of San Joaquin - Poems

  Gary Soto

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  Expanded from the award-winning Chicano poet’s 1977 original, this poetry collection explores the hardships and joys of migrant workers in California. 
   
  A timely new edition of a pioneering work in Latino literature, National Book Award–nominee Gary Soto’s first collection (originally published in 1977) draws on California’s fertile San Joaquin Valley, the people, the place, and the hard agricultural work done there by immigrants. In these poems, joy and anger, violence and hope are placed in both the metaphorical and very real circumstances of the Valley. Rooted in personal experiences—of the poet as a young man, his friends, family, and neighbors—the poems are spare but expansive, with Soto’s voice as important as ever. This welcome new edition has been expanded with a crucial selection of complementary poems (some previously unpublished) and a new introduction by the author. 
   
  Praise for The Elements of San Joaquin 
   
  “A response to the charged, ideologically defiant voices from the seventies, The Elements of San Joaquin forever changed the course of Latino literature, redirecting us toward the mundane and ephemeral. The poet’s only commitment, Gary Soto seemed to suggest, is to life itself. His teacher and role model was Philip Levine, who encouraged him to see his own neighborhood, indeed his own backyard, as a kingdom. The result was a type of poetry that weathered inclement times in ways that scores of other instant “hits” couldn’t. It was new yet as old as the Bible and it still is. The word “classic” is overused these days. Not in this case.” —Ilan Stavans, Lewis-Sebring Professor in the Humanities, Latin American and Latino Culture at Amherst College, and general editor of The Norton Anthology of Latino Literature 
   
  “In the original The Elements of San Joaquin, Gary Soto defined the Chicano character as an underrepresented part of the American whole, the identity that would serve as foundation for my life’s work. My parents and grandparents had crossed borders, but Soto rooted me, us, here—in the daily poverty of mejicano vecindades—on all those rural “Braly Streets” of Fresno, Brawley, and Salinas. His elements of sun, wind, stars, and field shadowed my own destiny to bring justice there, to the people of the hoe and harvest.” —José Padilla, Executive Director of California Rural Legal Assistance

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  I Wandered Lonely as a Cloud

  William Wordsworth

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  This was the weekly poetry project for 14 May 2006.  Spring’s flowers come and go all too quickly, but Wordsworth’s classic poem reminds us that their blessings last.

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  Shelley: Selected Poems and Prose

  Percy Bysshe Shelley

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  The English Romantic Period in literature featured a towering group of excellent poets: Wordsworth, Coleridge, Byron, Shelley and Keats. If we add in forerunners Burns and Blake, we have perhaps an unmatchable collection of writers for any era. Of these, Percy Bysshe Shelley was one of the brightest and best, coupling a giant intellect with a highly emotional and impetuous nature. He was always a champion of liberty, but was largely ignored when he tried to promote political and social reform. He was wise enough, however, to realize that his efforts were ineffective, and he chose instead, not to attempt to reshape society, but to transform the individual, to inspire his readers to a greater love of beauty, of nature, and especially of each other. To this end, he poured forth a profusion of gorgeous verse overflowing with brilliant imagery, all aimed at uplifting the good and the beautiful, the free and the loving, while denouncing the social forces that tended to suppress them.Unfortunately, it was Shelley’s fate to be misunderstood by the people of his own time. He was vilified as an evil influence, a free thinker and free lover whose ideas should be abhorred. He pictured himself in his poetic tribute to Keats, “Adonais,” as an outcast or a martyr, a “phantom among men, companionless,” bearing a brand upon his brow like that of Cain or of Christ. His life was unorthodox, but his nature was highly sympathetic and filled with devotion to those who were ground down by life and the pressures of a callous society. Perhaps the greatest testimonial was paid to him in letters written by Lord Byron (who, incidentally, disagreed with his political ideas): “...he is, to my knowledge, the least selfish and the mildest of men--a man who has made more sacrifices of his fortune and feelings for others than any I ever heard of.” “Shelley...was, without exception, the best and least selfish man I ever knew. I never knew one who was not a beast in comparison.” (Introduction by Leonard Wilson)

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