Altri libri che potrebbero interessarti

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  Female Poets of the Seventeeth...

  Anne Bradstreet

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  For much of history women have been seen rather than heard. Their thoughts, their views have lain too long in the shadows of our culture.  Whilst this traditional view has some merit it is not entirely accurate. 
  Here, gathered together in these volumes, we can, through their words, experience their lives; we can hear their voices, their thoughts, joys, loves and losses. 
  For the Female Poet there was always the confining hand of men to instruct that their time was perhaps spent more productively elsewhere.  These lines, these gilded verses often protest otherwise. 
  The contribution of women in these earlier centuries is immense and in this series we bring together poets who have created some of the most beautiful and expressive verses ever written.  And remember these words, these telling lines, have been written against the grain of society's male bias.  With their remembered words these female poets have given us a history that we can all now share. 
  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.

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  Voices of Poetry Volume 1

  J. R. R. Tolkien, Edith Sitwell,...

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  Hear rare recordings from some of the world's most-respected poets reading their own works: J.R.R. Tolkien, The Hoard; E.E. Cummings, Prose Jottings; Archibald Macleish, The Old Man to the Lizard; Ted Hughes, Six Young Men; May Swenson, Naked in Borneo; Marilyn Hacker, The Dark Twin; Kenneth Patchen, 23rd Street Runs into Heaven; Edith Sitwell, An Old Woman; Theodore Roethke, The Bat. 
  Recording obtained and published by Rick Sheridan. 
  ©2009 Rick Sheridan (P)2009 Rick Sheridan

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  The Moon That Turns You Back -...

  Hala Alyan

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  From the author of The Arsonists’ City and The Twenty-Ninth Year, a new collection of poetry that traces the fragmentation of memory, archive, and family–past, present, future–in the face of displacement and war.  
  A diaspora of memories runs through this poetry collection—a multiplicity of voices, bodies, and houses hold archival material for one another, tracing paths between Brooklyn, Beirut, and Jerusalem. Boundaries and borders blur between space and time and poetic form—small banal moments of daily life live within geopolitical brutalities and, vice versa, the desire for stability lives in familiarity with displacement. 
  These poems take stock of who and what can displace you from home and from your own body—and, conversely, the kind of resilience, tenacity, and love that can bring you back into yourself and into the context of past and future generations. Hala Alyan asks, What stops you from transforming into someone or something else? When you have lived a life in flux, how do you find rest?

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  An Orange A Syllable

  Gillian Sze

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  The latest book by Gillian Sze, author of the Pat Lowther Memorial Award–winning book Quiet Night Think
  		 
  This prosimetrical work is a meditation on motherhood, language, and art. The central speaker witnesses the earliest utterances of her child and launches into a poetic inquiry of words themselves, asking, How to measure one’s mouth by its words? The speaker seeks an answer amidst the language that surrounds her — words misspoken, mispronounced, remembered, unwritten — and, in doing so, struggles with signification and significance.
  		 
  Each prose poem in the five-part collection darts between the many meanings of “fit” — as in “a sudden burst of emotion” or “to be the right size and shape,” and the archaic “fytte” (a section of a poem). A text becomes an open mouth, a square day of a calendar, or a bare fragment of a narrative. The final section of the book is an intimate and ekphrastic engagement with the work of Danish painter Vilhelm Hammershøi. Drawn to Hammershøi’s paintings of the empty rooms of his apartment, the speaker recognizes a familiar space of art’s insistence.
  		 
  An Orange, A Syllable details a period of maternal and artistic transformation.

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  Lost Bodies: Poems between...

  Heng Siok Tian, Phan Ming Yen,...

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  Four writers. 
   
  Three travelling in Portugal. 
   
  One staying behind to care for his ailing mother. 
   
  One long-distance writing affair. 
   
  The passing of the mother together with memories of other losses and absences come together in Lost Bodies, a meditation on the transience of time and love and an invitation to get away—physically or spiritually—from worldly concerns to explore a different history, a different culture, a different light, laced with dreamy scents and the faint calls of fado.

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  Coda

  Steven Seidenberg

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  The nameless narrator of Steven Seidenberg's latest work, Coda, attempts to trace the origins of linguistic and perceptual differentiation—of experience through the cipher of the subject, broadly understood—by advancing the linguistic experiments of contemporary lyric and narrative forms, moving between extravagant prosody and obsessive disquisition to reconfigure the conceptual imperatives common to many throughlines in philosophy and theology. Continuing the focus on the structure of memory and the decadence of body he began in his book Anon, Seidenberg here describes the epistemological regress of desire, intention, knowledge, and discernment, coupling the language and concerns of authors as diverse as Spinoza, Kant, Hegel, and Wittgenstein with a raucous humor in the tradition of Rabelais, Beckett, Lispector, and Sterne. 
  An unnamed narrator, possibly afloat, adrift, possibly asleep, or dreaming, or already dead, or as good as, being an exile, or a condemned fool on a ship of fools, takes the opportunity of this voyage of sorts, to try and make sense of their life and mental state. Through a dizzying, meandering syntax, and farcical flourish, the adventure takes us through philosophical events with dogs, how to tell one’s tale, plead one’s case, how to walk through doors, lose one’s limbs, if not one’s mind, how to make a liveable self in the world, while puffing out smokes of language to fight off the existential crisis at play: “I am waiting for something to wait for”. It might take a little while to adjust to this spinning language feast, adapted from bygone literary models, from Rabelais to Sterne, but once you’re in, you will find yourself unable to put down the addictive, comical and strangely urgent twists and turns of Seidenberg’s latest proposition. —Caroline Bergvall, author of Drift, Alisoun Sings, and Meddle English

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