Outros livros que poderiam interessá-lo

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  The Ballad of a Nun - A decadent...

  John Davidson

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  John Davidson was born at Barrhead, East Renfrewshire on 11th April 1857.  
  In 1862 his family moved to Greenock and there he began his education at Highlanders' Academy.  Davidson would now spend many years at school and the beginnings of a career in various industries before gaining employment in various schools. 
  By now literature was a large part of his activities and his first published work was ‘Bruce, A Chronicle Play’ in 1886. Four other plays quickly followed including the somewhat brilliant pantomimic ‘Scaramouch in Naxos’ (1889). 
  With his reputation gradually providing an income he was also able to explore his true medium; Verse.  ‘In a Music Hall and Other Poems’ (1891) together with ‘Fleet Street Eclogues’ (1893) were ample proof that he possessed a quite rare, genuine and distinctive poetic gift.   
  Davidson now turned further and further towards verse. In 1894 he published his most popular volume, ‘Ballads and Songs’ (1894), and this was followed by a further ‘Fleet Street Eclogues’ (Second Series) (1896) and by ‘New Ballads’ (1897) and ‘The Last Ballad’ (1899). 
  As the new century dawned Davidson was hard at work on a series of ‘Testaments’, in which he gave definite expression to his philosophy and were published over a seven year period; ‘The Testament of a Vivisector’ (1901), ‘The Testament of a Man Forbid’ (1901), ‘The Testament of an Empire Builder’ (1902), and ‘The Testament of John Davidson’ (1908).  
  However, on 23rd March 1909, with his finances in ruins, the onset of cancer and profound hopelessness and clinical depression he left his house for the last time.  His body was only found on September 18th by some local fishermen.

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  Hell I Love Everybody: The...

  James Tate

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  An essential collection of James Tate’s extraordinary poems that will captivate today’s readers, with a foreword by Terrance Hayes 
  Celebrating James Tate’s work as it transcends convention, time, and everything that tells us, “No, you can’t do that,” Hell, I Love Everybody gives us the poet at his best, his most intimate, hopeful, inventive, and brilliant. John Ashbery called Tate the “poet of possibilities,” and this collection records forays into possibilities for American poetry’s future. With a foreword by Terrance Hayes, it is sure to give readers new and old a lasting collection of favorites.

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  The Huntress and Her Muse

  Abby O'Keefe

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  This first collection of poems is a celebration of the human experience and the complex relationship between the body and mind. With themes of anxiety, gratitude, womanhood, motherhood, outer expectations, and internal dialogue, I hope you find words that make you feel less alone.

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  Princess Essex

  Anne Odeke

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  'Shall I tell you a secret? Anyone can be a queen, but a real queen wears the crown, she doesn't let the crown wear her.'
  It's 1908. Southend-on-Sea, Essex. Princess Dinubolu of Senegal is about to enter the beauty contest at the iconic Kursaal, Europe's largest entertainment complex. Meet Princess Essex.
  But how exactly did she get here? And is she all that she seems?
  Anne Odeke's play Princess Essex is a riotous, satirical comedy based on the amazing true story of the first woman of colour to enter a beauty pageant in the UK. An inspiring account of bravery, beauty and belonging, it was first performed at Shakespeare's Globe, London, in 2024, directed by Robin Belfield and starring the playwright as the Princess.

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  You'll Never Be Anyone Else

  Rachael Clyne

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  Rachael Clyne's You'll Never Be Anyone Else presents a direct and assured voice, demanding that we think carefully about what it takes to reconcile being different. She advises the reader to 'Stop drinking the poison / labelled "Hate me." / It's that simple. I didn't say easy.' Clyne also has an alter-ego "Girl Golem" reminiscent of a superhero but based on the mythical man made from clay and spells to protect Jewish people from persecution. Through this empowering persona, Clyne opens up an exploration of Jewish and lesbian identity. Surveying attitudes in the present day and in the past, these poems explore migrant heritage, sexual identity, domestic violence and ageing.
  The stories of this collection are often poignant, like the retired tailor in 'Mr Shopping Trolley', who takes to shearing newspapers, so that his scissor fingers remain busy. Or in 'Leaving Odesa', the speaker revisits the prison where – under Tsarist law – her grandmother (even as an infant) had to serve out the remainder of her father's sentence after he died.Clyne's imagery is razor sharp in its precision, as she deftly weaves different poetic forms and wildly versatile subject matter, even interspersing Yiddish phrases, as part of her own unique poetic idiolect. Take the hilarious poem, 'Jew-a-lingo (Code-switching for Jews 1970 edition)' which emphasizes Jewish humour as a staple survival strategy. You'll Never Be Anyone Else offers a unique story of survival and empowerment told in spite of experiences of violence and prejudice – this from a poet who has spent a lifetime learning self-acceptance and as a psychotherapist helping others to do similar.  Treating even dark subjects with playful wit and colourful imagery, Clyne is a distinctive new voice with a powerful message about self-acceptance.
  "Rich, cinematic and sensuous." – Joelle Taylor
  'With its impressive scope, ranging from the Holocaust, nuclear fallout, and immigration to domestic life and childhood, Rachael Clyne's Girl Golem thoughtfully explores our tactics for survival: in resistance, in the imagination, in mutual care. In these evocative, spirited poems, Clyne implicitly argues for faith in our own humanity and for the richness of difference.' - Carrie Etter
  'Rachael Clyne's poetry, full of physicality and dramatic openness, accumulates a series of tensions within her Sixties free spirited identity and Jewish heritage. Attentive to narrative angle and migrant experience, she allows characters to emerge over generations showing how they mould into a new cultural identity. In its quiet and carefully crafted ways, Girl Golem shows the sweep of history and the importance of a tolerant county that offers salvation to those persecuted abroad.' - David Caddy
  'Clyne's poems inhabit a shadowy and uncomfortable space where all is not as it seems – people become pieces of furniture and rooms have sinister personalities. A complex work of many layers – these thought provoking and deftly crafted poems are a playful and powerful examination of identity, sexuality, heritage and family dynamic. Clyne skilfully conveys a sense of disquiet and alienation, a sense of being other, both within the dysfunctions of the family, but also within the context of the wider world.' - Julia Webb
  Rachael Clyne is a psychotherapist from Glastonbury. Her prizewinning collection Singing at the Bone Tree (Indigo Dreams) concerns human beings' relationship with nature, and she is a climate activist. Her pamphlet Girl Golem (4word) concerns her migrant background and sense of otherness. A frequent reader at poetry events and festivals, she has been published in magazines like Shearsman, The Rialto, and The Interpreter's House. 

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  Side Notes from the Archivist -...

  Anastacia-Renee

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  The award-winning, genre-crossing writer demonstrates her power as a funkadelic and formidable feminist voice in this rich and beautiful collection of verse and image—a multi-part retrospective that traverses time, space, and reality to illuminate the expansiveness of Black femme lives. 
  Voted one of the Best Books of 2023 by the New York Public Library. 
  Side Notes from the Archivist is a preservation of Black culture viewed through a feminist lens. The Archivist leads readers through poems that epitomize youthful renditions of a Black girl coming of age in Philadelphia’s pre-funk ’80s; episodic adventures of “the Black Girl” whose life is depicted through the white gaze; and selections of verse evincing affection for self and testimony to the magnificence within Black femme culture at-large. 
  Every poem in Side Notes elevates and honestly illustrates the buoyancy of Blackness and the calamity of Black lives on earth. In her uniquely embracing and experimental style, Anastacia-Reneé documents these truths as celebrations of diverse subjects, from Solid Gold to halal hotdogs; as homages and reflections on iconic images, from Marsha P. Johnson to Aunt Jemima; and as critiques of systemic oppression forcing some to countdown their last heartbeat. 
  From internet “Fame” to the toxicity of the white gaze, Side Notes from the Archivist cements Anastacia-Reneé role as a leading light in the womanist movement—an artist whose work is in conversation with advocates of Black culture and thought such as Audre Lorde, Amiri Baraka, and Nikki Giovanni.

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