Otros libros que te pueden interesar

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  Boy Mother

  Caroline Bracken

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  Boy/Mother is a deeply moving exploration of a mother's relationship with her son who has a long-term mental illness. In innovative forms the poems evoke the day-to-day depredations of illness, psychiatric treatment and societal attitudes and yet the thread that runs through the collection is love. – Jane Clarke

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  The Color of My Quiet - A...

  Ahaan Duwarah, Hemanandini Deori

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  Experience the world in miniature with this collection of sixteen concise and evocative poems. Each piece offers a snapshot of life's quiet moments, exploring themes of nature, reflection, and the human condition with a gentle touch. Perfect for those seeking a brief respite or a moment of thoughtful contemplation, this book offers a unique blend of brevity and depth.

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  Symphonies - The first Southern...

  John Gould Fletcher

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  John Gould Fletcher was born in Little Rock, Arkansas on the 3rd of January 1886 to a socially prominent family.  
   
  He was educated at Phillips Academy, Andover before advancing to Harvard University, which he attended from 1903 to 1907, before dropping out after his father's death. 
   
  As a young man Fletcher spent many years in England where he became part of the influential Imagist group of poets together with Amy Lowell and Ezra Pound.   
   
  His first marriage came from a resumed relationship with the now married Florence Emily ‘Daisy’ Arbuthnot.  Her adultery with Fletcher was the grounds for her divorce.  They married on 5th July 1916 but later divorced.  
   
  Fletcher first published in 1912, with ‘The Dominant City’ to much praise and admiration and followed this with other well-regarded volumes such as ‘Irradiations: Sand and Spray’, and ‘Goblins and Pagodas’. 
   
  In the late 1920s and 1930s Fletcher became increasingly active with a group of Southern writers and poets known as the Southern Agrarians. They published the classic ‘I'll Take My Stand: The South and the Agrarian Tradition’. 
   
  Although he was highly regarded as a poet, he was not very prolific.  However, such was the undoubted quality that in 1939 he received the Pulitzer Prize for his work ‘Selected Poems’.  He was the first poet from the south to receive such an accolade.  Fletcher’s other passion and pursuit was as an authority on modern painting, a subject on which he also published. 
   
  A second marriage followed in 1936 to the children’s author, Charlie May Simon.  They built ‘Johnswood’, a residence on the bluffs of the Arkansas River and travelled frequently to New York for shots of modern culture and intellectual stimulation as well as to the American West and South for the climate after Fletcher developed chronic arthritis. 
   
  In 1937 he wrote his autobiography, ‘Life is My Song’. 
   
  His developing passion for his roots and background resulted in the writing of a history of his State and published in 1947; ‘Arkansas’. 
   
  By now Fletcher was suffering from bouts of depression and on 10th May 1950, he committed suicide by drowning himself in a pond near his home in Little Rock, Arkansas.  He was 64.

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  The Viewing Party

  Yong Shu Hoong

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  Singapore Literature Prize winner Yong Shu Hoong’s latest book features more than just poetry. There is also a ghostly tale at its core, complete with prose poems and micro fiction of exactly 100 words each, as well as annotated excerpts from an abandoned work. 
   
  In this viewing party, readers are invited to take a peek into the domain of death and cinema. You are part of a mob of dispassionate onlookers. Sometimes, you get to play the voyeuristic judge. 
   
  Winner of the 2014 Singapore Literature Prize for English Poetry 
   
  “There’s a warm easiness to Yong’s voice that’s balanced by a sharpness of insight. He cuts through the layers of familial and social habit to the unseen images and urges that give the mundane the sheen of the numinous. If the book is a viewing party, Yong is a genial and attentive host, inviting us in to absorbing scenes of everyday curiosity and surprise.” 
  -Jen Crawford, Assistant Professor and Coordinator of Creative Writing Programme at Nanyang Technological University, Singapore

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  Junk - A Play

  Ayad Akhtar

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  From the Pulitzer Prize-winning author of Disgraced, a fast-paced play that exposes the financial deal making behind the mergers and acquisitions boom of the 1980s. Set in 1985, Junk tells the story of Robert Merkin, resident genius of the upstart investment firm Sacker Lowell. Hailed as "America's Alchemist," his proclamation that "debt is an asset" has propelled him to a dizzying level of success. By orchestrating the takeover of a massive steel manufacturer, Merkin intends to do the "deal of the decade," the one that will rewrite all the rules. Working on his broadest canvas to date, Pulitzer Prize winner Ayad Akhtar chronicles the lives of men and women engaged in financial civil war: insatiable investors, threatened workers, killer lawyers, skeptical journalists, and ambitious federal prosecutors. Although it's set 40 years in the past, this is a play about the world we live in right now; a world in which money became the only thing of real value.

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  Touch to Affliction

  Nathalie Stephens

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  From the ruins of poetry, fiction and philosophy comes Touch To Affliction, a meditation on the notion of homeland, on patrie and the inhumanity that arises from it.
     
  This is a text obsessed with ruins: the ruins of genre, of language, of the city, of the body. The history of the twentieth century is a history of barbarism, and Stephens walks, like a fl̢neur, through its midst, experiencing through her own body the crumbled buildings, the dessicated cities, the eviscerated language and humanity of our time, calling out in passing to those before her who have contemplated atrocity: Martin Buber, Henryk Gorecki, Simone Weil. In the end, it considers what we are left with Рindeed, what is left of us Рas both participants in and heirs to the twentieth century.
     
  Insistently political but never polemical, Touch To Affliction, at the interstices of thought and theunnameable, is at once lament, accusation and elegy.
     
  Praise for Paper City:
     
  ‘Understanding is almost antithetical to the project Stephens seems to have assigned herself, that of unraveling or radically altering our sense of logic, of language, of narrative, of body, of desire, of words on paper. She wants the book to burn in our hands and, indeed, it does.’
     
  – NewPages

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