Publisher: Imagination Books
Dark Truths - A Poetry Book A collection of darkly tinged poems to touch the soul and spirit, focusing on love, life, guilt and every emotion inbetween.
A compelling, imagined dialogue with some of the most beloved Christian poets Step into a captivating poetic conversation that spans centuries. The Role of the Moon explores the timeless themes of faith, loss, transcendence, human struggle, and renewal, echoing John Donne, George Herbert, and other 17th-century metaphysical poets. In vivid dialogue with John Milton, William Shakespeare, Gerard Manley Hopkins, Emily Dickinson, Elizabeth Barrett Browning, and many others, D.S. Martin engages them in our modern world. A "new metaphysical" voice emerges, connecting the past to the present with wit, poignancy, and striking originality. Perfect for readers who enjoy poetry and literature as a spiritual pursuit, this collection invites you to explore the beauty and power of classic Christian poetry in a fresh and modern way.Show book
Michael Drayton was born in 1563 at Hartshill, near Nuneaton, Warwickshire, England. The facts of his early life remain unknown. Drayton first published, in 1590, a volume of spiritual poems; The Harmony of the Church. Ironically the Archbishop of Canterbury seized almost the entire edition and had it destroyed. In 1593 he published Idea: The Shepherd's Garland, 9 pastorals celebrating his own love-sorrows under the poetic name of Rowland. This was later expanded to a 64 sonnet cycle. With the publication of The Legend of Piers Gaveston, Matilda and Mortimeriados, later enlarged and re-published, in 1603, under the title of The Barons' Wars. His career began to gather interest and attention. In 1596, The Legend of Robert, Duke of Normandy, another historical poem was published, followed in 1597 by England's Heroical Epistles, a series of historical studies, in imitation of those of Ovid. Written in the heroic couplet, they contain some of his finest writing. Like other poets of his era, Drayton wrote for the theatre; but unlike Shakespeare, Jonson, or Samuel Daniel, he invested little of his art in the genre. Between 1597 and 1602, Drayton was a member of the stable of playwrights who worked for Philip Henslowe. Henslowe's Diary links Drayton's name with 23 plays from that period, and, for all but one unfinished work, in collaboration with others such as Thomas Dekker, Anthony Munday, and Henry Chettle. Only one play has survived; Part 1 of Sir John Oldcastle, which Drayton wrote with Munday, Robert Wilson, and Richard Hathwaye but little of Drayton can be seen in its pages. By this time, as a poet, Drayton was well received and admired at the Court of Elizabeth 1st. If he hoped to continue that admiration with the accession of James 1st he thought wrong. In 1603, he addressed a poem of compliment to James I, but it was ridiculed, and his services rudely rejected. In 1605 Drayton reprinted his most important works; the historical poems and the Idea. Also published was a fantastic satire called The Man in the Moon and, for the for the first time the famous Ballad of Agincourt. Since 1598 he had worked on Poly-Olbion, a work to celebrate all the points of topographical or antiquarian interest in Great Britain. Eighteen books in total, the first were published in 1614 and the last in 1622. In 1627 he published another of his miscellaneous volumes. In it Drayton printed The Battle of Agincourt (an historical poem but not to be confused with his ballad on the same subject), The Miseries of Queen Margaret, and the acclaimed Nimphidia, the Court of Faery, as well as several other important pieces. Drayton last published in 1630 with The Muses' Elizium. Michael Drayton died in London on December 23rd, 1631. He was buried in Westminster Abbey, in Poets' Corner. A monument was placed there with memorial lines attributed to Ben Jonson. This volume comes to you from Portable Poetry, a specialized imprint from Deadtree Publishing. Our range is large and growing and covers single poets, themes, and many compilations.Show book
'The smaller you are, the quicker your heart beats. But it doesn't matter what size your heart is, we all only get an average of about two billion beats over our lifetime. It's just a pump at the end of the day, right?' Seventeen-year-old Asha is a rebel, inspired by historical revolutionaries and unafraid of pointing out the hypocrisy around her – but less sure how to actually dismantle it. Her younger sister, Bettina, wide-eyed and naive, is just trying to get through the school day without having her pocket money nicked. With essays to write, homework to do, and bus journeys home, the two sisters meet every afternoon, outside the school gates, to tackle the injustice of the world. Sonali Bhattacharyya's play Two Billion Beats is an insightful, heartfelt coming-of-age story and a blazing account of inner-city, British-Asian teenage life. It was originally presented in the Inside/Outside season, livestreamed from the Orange Tree Theatre, Richmond, before receiving a production there in this full-length version in 2022, directed by Nimmo Ismail.Show book
The play is about the spiritual and emotional journey of Sophie, as she tries to find spiritual meaning and direction. Her friends try to guide her and be part of her journey.Show book
Maya Bernstein's debut volume presents poems rigorously composed and delicately honed. It reveals the sensitive spirit and sharp mind of a mature speaker exploring the gaping space between the infinitude of the divine and the finite nature of human existence. Authentic and honest, spanning the secular and the sacred, these poems challenge and speak truth to our fears and joys, navigating the complex intimacy and distance we experience as humans striving to connect to ourselves, one another, and to the forces that act upon us in the world.Show book
"religion's been cruel to people like usthe darkwood sluts the good time girlsbut god as my witnesssome of us we're just trying to wrangle our powerback from the species that took it" Jemima Foxtrot's Treasure is a shining work of alchemy and liberation which explores power dynamics, sex work, desire, and female friendship with a fresh and playful perspective. Foxtrot investigates shimmering sexualities, the economies of desire, the theft of childhood and pathways towards reclaiming it. Her language is lush: intimate, intricate, full of fertile earth's possibility. The poems of Treasure live up to its name: showing us where the gold is—the joy—how to feed it into the soil of our lives. "Treasure is an aptly chosen title for this collection, both as a noun (that quantity of precious ore dug from the stuff of experience) and as a verb (the imperative to seek out, sing, and cherish joy through the sharing of it). Foxtrot is a savvy, sometimes savage, sensualist; her poetic speakers alert to injustice, but alive to pleasure in every way that counts. These are superbly tactile poems, poems of being-in-the-body, and being-in-the-world; they are full of wit, vigour and feminist jouissance. These are also formally exciting poems, poems that showcase a beautifully bold and oddly tender lyric defiance." Fran Lock, Hyena, T.S. Eliot Prize ShortlistShow book
