Otros libros que te pueden interesar

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  Dear Boys

  Michaela Kathleen

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  A feminist poetry collection.

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  For the Marriage of Faustus and...

  Hart Crane

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  Harold Hart Crane was born on the 21st July 1899 in Garrettsville, Ohio. 
  Crane was drawn to literature at an early age, becoming a voracious reader and pursuing self-education rather than attach himself to a more formal college education, although he did attend East High School in 1913.  His developing love of poetry was nurtured with the works of the English Romantics and the French Symbolists, as well as near contemporary American poets. 
  Much of his youth was spent shuttling between Cleveland and New York as his parents’ marriage descended into continuing conflict before they separated with Crane still in his teens.  Shortly after Crane attempted to enlist in the U S Military but was rejected for being a minor. 
  His first published poem also came in 1917 with ‘C33’ and its reference to the cell number that Oscar Wilde was incarcerated in. 
  Crane now centred more of his time in New York and immersed himself in the vibrant artistic scene of Greenwich Village.  Alongside this he dabbled in various jobs to support himself, including copywriting and work in a munitions factory, as he continued to develop his ambitions for a poetic career.   
  His early work was already being noticed for its lush and rich use of words and by the time ‘White Buildings’ was published in 1926 he was being critically acclaimed. 
  Despite this success his personal life was troubled.  It was both nourishing his work and fuelling complex patterns of despair as he sought to establish his identity.  In a time when homosexuality was openly condemned his openly gay attitude sat uneasily as he pursued relationships that were both intense and emotionally fraught. 
  His acclaimed work ‘The Bridge’ in 1930 was both ambitious and a foundation stone for new American poetry.  Against this his battles with depression and alcoholism were being lost. 
  Hart Crane died on the 27th April 1932 by jumping from the deck of a steamship into the Gulf of Mexico upon his return to the United States from Mexico.  He was 32.

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  As We Face the Sun

  Kit Withington

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  A stark and tender story about growing up, the pleasures of friendship, why we hold onto things and how we might start to let go.
  A group of classmates, determined to remember their lost friend, commit to throwing an annual party in her honour. It's what she would have wanted. And year after year, they stick to the tradition.
  Now they're in their twenties, and another party is about to start. The cake has arrived safely, the buffet is all set, and the aux cable is finally working – but something just doesn't feel right…
  Kit Withington's play As We Face the Sun was first performed at the Bush Theatre, London, in a production by the Bush Young Company.
  The Nick Hern Books Multiplay Drama series features large-cast plays specifically written to be performed by and appeal to young people. For more information, visit www.multiplaydrama.co.uk.

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  G K Chesterton: The Selected...

  G. K. Chesterton

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  'The men that walked in darkness / Had found the light before.'
  
  A vibrant collection of poems illustrating the wit, depth and imaginative range from one of the most distinctive voices of the twentieth century: G.K. Chesterton.
  
  Blending humour, paradox and profound spiritual insight, Chesterton's poems celebrate the ordinary, challenge modern cynicism and champion faith with an unrelenting joy. From rollicking ballads like 'The Rolling English Road' to meditative pieces such as 'The Ballad of the White Horse', this selection captures Chesterton's trademark use of playful rhythm, sharp intellect and deep moral conviction. It is a journey through verse that evokes wonder, defends tradition and sings with clarity and courage. This audiobook edition is beautifully read by David Rintoul.
  Gilbert Keith Chesterton (1874 – 1936) was an English novelist, philosopher, journalist and critic. A Christian apologist, he is famed for creating the fictional priest-detective Father Brown. His writing was also renowned for his sense of humour: known as 'the prince of paradox', Chesterton often turned common sayings upside down. Admired by several of his literary contemporaries, Chesterton's work is still widely read today.

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  How to be Dead in a Year of Snakes

  Chris Tse

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  The award-winning first book of poetry by Chris Tse – now available as an audiobook.
  Winner – Jessie Mackay Award for Best First Book of Poetry at the 2016 Ockham New Zealand Book Awards
  The world is full of murder
  
  and words are usually
  the first to go
  In 1905, white supremacist Lionel Terry murdered the Cantonese gold prospector Joe Kum Yung to draw attention to his crusade to rid New Zealand of Chinese and other East Asian immigrants.
  Chris Tse uses this story – and its reenactment for a documentary a hundred years later – to reflect on the experiences of Chinese migrants of the period, their wishes and hopes, their estrangement and alienation, their ghostly reverberation through a white-majority culture. Along the way we visit the gold fields of the south, a shipwreck in the Hokianga that left the spirits of 500 Chinese goldminers in an unmemorialised limbo for a hundred years and the streets of Newtown, Wellington, where Lionel Terry went out one night ' looking for a Chinaman' .
  Chris Tse' s flickering use of imagery, resonant language and flexible pronouns are particularly suited to the historic events he describes and the viewpoints he shifts through.  How to be Dead in a Year of Snakes  is a welcome poetic addition to New Zealand literature.

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  Wound from the Mouth of a Wound...

  torrin a. greathouse

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  A Minnesota Book Award Finalist in Poetry 
  A CLMP Firecracker Award Finalist in Poetry 
  “Some girls are not made,” torrin a. greathouse writes, “but spring from the dirt.” Guided by a devastatingly precise hand, Wound from the Mouth of a Wound—selected by Aimee Nezhukumatathil as the winner of the 2020 Ballard Spahr Prize for Poetry—challenges a canon that decides what shades of beauty deserve to live in a poem. greathouse celebrates “buckteeth & ulcer.” She odes the pulp of a bedsore. She argues that the vestigial is not devoid of meaning, and in kinetic and vigorous language, she honors bodies the world too often wants dead. 
  These poems ache, but they do not surrender. They bleed, but they spit the blood in our eyes. Their imagery pulses on the page, fractal and fluid, blooming in a medley of forms: broken essays, haibun born of erasure, a sonnet meant to be read in the mirror. greathouse’s poetry demands more of language and those who wield it. “I’m still learning not to let a stranger speak / me into a funeral.” 
  Concrete and evocative, Wound from the Mouth of a Wound is a testament to persistence, even when the body is not allowed to thrive. greathouse—elegant, vicious, “a one-girl armageddon” draped in crushed velvet—teaches us that fragility is not synonymous with flaw.

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