Publisher: BookRix
All my fealings I needed to express in my poem I want the world to say she can know what I think and want to share with him. I hope that in my collection of poems you will find interesting poems and I which you pleasant reading.
A call to Dreams. A vibrant, transcendent journey… These poems offer reflections, to reawaken the light within you, to open your heart. To let go of the past, finding new strength. To recall your dreams, reconnecting with nature, life, and love. To see new visions, to explore and discover new pathways to your true self. This book showcases the power of poetry and reminds you to keep your dreams alive.Show book
The Clergyman and poet, Robert Herrick was born in Cheapside, in London in 1591. An exact date is not known though he was baptized on August 24th, the seventh child of Nicholas Herrick, a wealthy goldsmith. Some controversy surrounds several chapters in his early years. The first are allusions that his father, in November 1592, two days after making a will, killed himself by jumping from the fourth-floor window of his house. However, the Queen's Almoner did not confiscate the Herrick estate for the crown as was the usual procedure with suicides, so an alternate narrative emerged that he fell accidentally which seems to have more credence. There is no record of Herrick attending school. Some claim a poem alludes to Westminster School, others merely that he meant Westminster, the area. Another school of thought claims he was educated at Merchant Taylor’s School. What is known is that in 1607 he was apprenticed to his uncle Sir William Herrick as a goldsmith. Herrick certainly seems to have been a keen and avid poet. The earliest work known to be written by him dates from 1610; 'A Country Life', and deals with the move from London to farm life in Leicestershire. After six years as an apprentice, when Herrick was 22 he matriculated at St John’s College, Cambridge before moving to Trinity College and graduating with his Bachelor of Arts in 1617, Master of Arts in 1620, and in 1623 he was ordained priest. By 1625 he was well known as a poet, mixing in literary circles in London such as that around Ben Jonson. An avowed admirer of Jonson he was also one of a group whom became known as ‘The Sons of Ben’ writing both in his style and about him. In 1629 he was presented by Charles I to the parishioners of Dean Prior, a remote parish of Devonshire. The best of his work was written in the peace and seclusion of country life; 'To Blossoms' and 'To Daffodils' are classical depictions of a devoted appreciation of nature. However, after he refused to subscribe to The Solemn League and Covenant, he was ejected from Devonshire in 1647 and moved to London where he published his religious poems Noble Numbers (1647), and Hesperides (1648). Herrick was distinguished as a lyric poet, and some of his love songs, for example, 'To Anthea' and 'Gather Ye Rose-buds' are considered exceptional. By 1660 he was reinstated at Dean Prior where he lived for the remainder of his life. He wrote no more poems after 1648 but over his life it is thought he wrote in the region of 2,500 poems in total, only a small portion of which were ever published. He died in October 1674, at the age of 83 in circumstances unknown. He was buried on October 15th, 1674 in an unmarked grave in the churchyard at Dean Prior. 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
Marguerite Radclyffe-Hall was born on August 12th, 1880 to wealthy parents who separated while she was still an infant. Her parents thereafter paid little attention to her. Hall was educated privately, and then at King’s College London. Later she travelled to Europe, settling in Dresden, Germany. With the death of her paternal grandfather she inherited a large estate and was then able to live as she pleased. In Germany, Hall met Mabel Batten and fell in love despite the twenty-three year age difference. Batten gave Hall the nickname ‘John’ by which she was henceforward known in every circumstance throughout her life except in her work as an author. In 1915, Hall met and, in 1917 moved in with sculptor Una Troubridge, with whom she would remain for the rest of her life. Hall wrote poetry all throughout her twenties and thirties. She had published Dedicated to Arthur Sullivan as early as 1894, and five further volumes of collected works were released before she stopped writing poetry and published her first novel, The Forge, in 1924. That same year also saw publication of The Unlit Lamp, the first work for which Hall was known as simply Radclyffe Hall. The Well of Loneliness, the most important novel of Hall’s career, was published in 1928 to immediate sensation and controversy. It is Hall’s most direct artistic expression of her own personal sexual orientation. After the controversy of The Well of Loneliness, Hall would publish only two more novels and a collection of short stories. After years spent travelling in Italy and France and a series of long lasting affairs with other women (of which Troubridge was apparently aware), Hall retired with Troubridge to Rye, in East Sussex. Here, suffering from tuberculosis, she also underwent eye surgery and thereafter had difficulty reading and writing. On October 7, 1943, Radclyffe Hall died from colon cancer at the age of sixty-three. She is buried in Highgate Cemetery in London. 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
This anthology presents the set selection of solo and duologue scenes for Learners entering LAMDA Graded Examinations in Performance: Acting from Grade 1 to Grade 5. The 100 speeches and scenes in this collection include excerpts from published plays and adapted novels, as well as new, original material written specifically for this anthology. There are monologues for solo performance and duologue scenes for two performers, all carefully curated to offer a broad range of material written by a variety of acclaimed playwrights, from Euripides, Shakespeare and Ibsen to Caryl Churchill, Chinonyerem Odimba and Jack Thorne. Also included is a foreword by actor and LAMDA graduate Ruth Wilson. For Learners taking LAMDA Examinations, this anthology offers a wide choice of characters and worlds to explore. There is material for younger candidates who are just entering the world of performance, as well as material for older, more experienced actors. For the general reader, this anthology is an ideal starting point for discovering the work of contemporary playwrights, as well as reconnecting with celebrated writers of the past.Show book
![[squelch procedures] - cover](https://globalbookclub.s3.amazonaws.com/resources/4702004/squelch_procedures/cover.jpg)
In [SQUELCH PROCEDURES], MLA Chernoff contemplates the ways that trauma, poverty, and strict gender norms rupture the concept of childhood. The tension of multiple meanings in the word “squelch” acts as a guide to Chernoff’s unique voice, which uses language to swaddle intrusive thoughts and mimic defense mechanisms such as avoidance, depersonalization, and derealization. [SQUELCH PROCEDURES] is an ambitious attempt to show how healing and regression are often indistinguishable, while the past is always predisposed to happen more than once: first as tragedy, then as farce.Show book
The human body is the primary instrument of war, yet those waging war often confront soldiers' bodies in a detached or merely intellectual way. In The Tenderness of Silent Minds, Martha C. Nussbaum, a leading thinker on emotion, morality, and justice, conducts a pioneering study of Benjamin Britten's musical representations of the tender male body amidst the brutality of war, and their ability to transform consciousness by evoking potent, non-personal emotions. Offering a reading of Britten's views about the value and beauty of the body that situates these in the context of his thirty-nine year partnership with his lover, the singer Peter Pears, and also surveying pacifist themes in works written both before and after War Requiem, Nussbaum presents a compelling framework for critically assessing Britten's oeuvre. Nussbaum engages with a remarkably wide range of Britten's works, examining his treatment of aggression and its roots in his collaborations with the poet W. H. Auden, offering readings of the value placed on the body in early partnerships with Britten's beloved and singer Peter Pears, and surveying pacifist themes in Britten's earlier works. The analysis throughout is enriched with perspectives from Britten's personal letters and thoughtful study of the social and political backdrop of fear and homophobic disgust in mid-twentieth century Britain.Show book
