Verlag: Classics HQ
"The Raven" is a narrative poem by the American writer and poet Edgar Allan Poe. It was published for the first time on January 29, 1845, in the New York Evening Mirror. Noted for its musicality, stylized language and supernatural atmosphere, it tells of the mysterious visit of a talking raven to a distraught lover, tracing his slow descent into madness.
'heartily recommended, and a really, really good book for dipping randomly into, as well as of excellent quality all round.' – Mab Jones, Buzz 'A big box of marvels, abuzz with distinctive voices and vivid tales. This is dazzling testament to the ability of Creative Writing groups to energise and inspire.' – Alan Bilton 'Down-to-earth at one moment, the next fantastical, humorous or heartfelt, nostalgic or raw, and yet hospitable, grounded in locality but with connections open to the wide world' – Philip Gross Some collections serve to mark particular events or milestones, whilst others contain work of the highest quality. This collection manages both of these things, with 75 pieces of poetry, creative non-fiction, and short fiction by local writers celebrating 75 years of creative writing in this fabulous city of the arts. Cardiff Writers' Circle was formed in 1947 and is joined here by other local writing groups, all lending their imaginations to a wide variety of styles, genres, and formats. Poignant, playful, satirical, and acutely observed, this anthology is a showcase for the fantastic talent that exists today in Cardiff, city of the dragon.Zum Buch
These are called ''' Poems from the Chinese"" and we have Mr. Waley's assurance that there are in existence Oriental originals. But if it be so (and, of course it is) then we have here a literary miracle. It is a platitude that translation of poetry is either bad verse or bad translation. But Mr. Waley, translating not merely from one language into another, but almost from one planet into another, has produced a body of living poetry, in which there is every reason to believe he re-creates, without distorting, the Chinese poets. This is an unparalleled feat. But as we are, with about six exceptions in the whole of Great Britain, incapable of comparing the English and the Chinese, we must address ourselves to these poems as though they had been written by an Englishman of the twentieth century, and judge them on that basis. It is a severe test to apply to translations, but Mr. Waley emerges from it serenely victorious. Indeed, serenity is the keynote of all this work—the serenity of assured mastery in a difficult medium but still more of outlook. The beauty with which these poems are. inlaid is fundamentally a wise beauty and the wisdom is as much in the shape of Mr. Waley's mind as in that of China. There is no need to hurry here. Wisdom goes at an even pace, and has time between her penetrations of the stars to observe the smallest things of life. Her leisurely glance sweeps over them with patient gold, and they settle, almost without a sigh, into decoration and into pattern. We have lost {and the Chinese have lost) the secret of their enamels of the great periods. But Mr. Waley has private access to them, and his poems, varnished with just that cool and even certainty of paint and texture, achieve one filial translation— the translation of colour into speech. -- Humbert Wolfe.
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"Sing, Goddess, of the ruinous wrath of Achilles..." Set in the tenth year of the siege of Troy, The Iliad focuses on the "Menin"—the soul-consuming anger—of the Greeks' greatest warrior, Achilles. When the high king Agamemnon dishonors him, Achilles withdraws from battle, leaving the Greek forces to face the devastating might of the Trojan prince, Hector. What follows is a visceral, blood-soaked drama that explores the high cost of pride and the crushing weight of fate. It is a world where the gods walk the earth, where men seek immortality through "Kleos" (eternal glory), and where even the greatest heroes must face their inevitable end. The Human and the Divine: The Iliad is a masterpiece of dual perspectives. On the ground, men struggle with the physical and emotional toll of war. Above, on Mount Olympus, the gods—from the vengeful Hera to the meddling Aphrodite—manipulate the conflict like a game of chess. This divine intervention raises the stakes from a mere tribal dispute to a cosmic tragedy. The Shield of Achilles: In one of the most famous passages in literature, Homer describes the forging of Achilles' new armor. The shield is a microcosm of the world, depicting scenes of peace, harvest, and justice alongside the horrors of war. It serves as a haunting reminder of the life and civilization that the heroes are fighting to preserve—or destroy. Experience the foundational story of Western culture. Purchase "The Iliad" today and witness the dawn of the hero.Zum Buch
A poetic collage of art in the modern world: from Rilkean elegies for an iPhone to a meditation on Melville's classic Jonathan Ball's fourth poetry book, the first in seven years, swirls chaos and confession together. At the book's heart is a question: Why create art? A series of poetic sequences torment themselves over this question, offering few answers and taking fewer prisoners. Loose sonnets that consider the artistic creations of Leatherface, monster-killer from The Texas Chain Saw Massacre, sit alongside Rilkean elegies for an iPhone. Surreal meditations on the collage work of Guy Maddin are followed by all of the lines from Melville's Moby-Dick that mention "salt." Politicians and painters jostle while absurdist humour crashes into stark admissions of vulnerability in the wake of having children. A startling diversity of styles and subjects feed into the maelstrom of The National Gallery, and its dark currents will draw you in to drown.Zum Buch
Finalist for the Four Quartets Prize, given by Poetry Society of America, 2023An iconoclastic ecopoet who has led the way for many young and emerging artists, Brenda Hillman continues to re-cast innovative poetic forms as instruments for tracking human and non-human experiences. At times the poet deploys short dialogues, meditations or trance techniques as means of rendering inner states; other times she uses narrative, documentary or scientific materials to record daily events during a time of pandemic, planetary crisis, political and racial turmoil. Hillman proposes that poetry offers courage even in times of existential peril; her work represents what is most necessary and fresh in American poetry. During an enchantment in the lifeDo you love a living person absolutely? Tell them now.In a half-unwieldy life you made, underthe hyaline sky, while the dead drank from zigzag pools nearby,if they saved you in your wild incapacities, in timing of the world's harmin a little pettiness in your own heart while others took your madrigals in shreds to a tribunal, when others said you should feel grateful to be minimally adequate for the world'striple exposure or some tired committee... The ones who love us, how do theybreak through our defenses? We're tired today. Come back later.Their baffled voices melting our wax wallswith a candle, the ones who understandwhat being is—the glowing, the broken,the wheels, the brave ones— they have their courage,you have yours,,,; when you meet the one you love,it is so rare. When you meetthe one who loves you, it is extremely rare.Zum Buch
WINNER OF THE 2024 PULITZER PRIZE IN POETRYFinalist for the 2023 National Book Award for PoetryWith Tripas, Brandon Som follows up his award-winning debut with a book of poems built out of a multicultural, multigenerational childhood home, in which he celebrates his Chicana grandmother, who worked nights on the assembly line at Motorola, and his Chinese American father and grandparents, who ran the family corner store. Enacting a cómo se dice poetics, a dialogic poem-making that inventively listens to heritage languages and transcribes family memory, Som participates in a practice of mem(oir), placing each poem's ear toward a confluence of history, labor, and languages, while also enacting a kind of "telephone" between cultures. Invested in the circuitry and circuitous routes of migration and labor, Som's lyricism weaves together the narratives of his transnational communities, bringing to light what is overshadowed in the reckless transit of global capitalism and imagining a world otherwise―one attuned to the echo in the hecho, the oracle in the órale.Zum Buch
