Poet and author James Whitcomb Riley was born on October 7th 1849 in Greenfield, Indiana. Better known as the “Hoosier Poet” for his work with regional dialects, and also as the “Children’s Poet” Riley was born into an influential and well off family. However his education was spotty but he was surrounded by creativity which was to stand him in good stead later in life. His early career was a series of low paid temporary jobs. After stints as a journalist and billboard proprietor he had the resources to dedicate more of his efforts to writing. Riley was prone to drink which was to affect his health and later his career but after a slow start and a lot of submissions he began to gain traction first in newspapers and then with the publication of his dialect poems ‘Boone County Poems’ he came to national recognition. This propelled him to long term contracts to perform on speaking circuits. These were very successful but over the years his star waned. In 1888 he was too drunk to perform and the ensuing publicity made everything seem very bleak for a while. However he overcame that and managed to re-negotiate his contracts so that he received his rightful share of the income and his wealth thereafter increased very quickly. A bachelor, Riley seems to have his writings as his only outlet, and although in his public performances he was well received, his publications were becoming seen as banal and repetitive and sales of these later works began to fall away. Eventually after his last tour in 1895 he retired to spend his final years in Indianapolis writing patriotic poetry. Now in poor health, weakened by years of heavy drinking, Riley, the Hoosier Poet died on July 23, 1916 of a stroke. In a final, unusual tribute, Riley lay in state for a day in the Indiana Statehouse, where thousands came to pay their respects. Not since Lincoln had a public personage received such a send-off. He is buried at Crown Hill Cemetery in Indianapolis. Here we present Green Fields and Running Brooks.
Contains an introduction; a description & biography of the primary editor & poet, William Wilfred Campbell, & secondary collaborator, poet Archibald Lampman & the 2 primary critics who sustained Canadian poetry during the 20th century, E. K. Brown & Douglas Bush & the bridge between generations, poet Duncan Campbell Scott. David Staines has continued that tradition. The Canadian government & academy adopted that role more recently. The 251 poems are read in entirely, with a light commentary at the end. Wilfred Campbell focuses on the English Canadian tradition since French Canadians had their own history & influences, though Montreal & Quebec loom large in many poems. Women poets are not specifically recognized though authoring 40% of the poems. The poetry is distinctly Canadian with a sense of immense space, early pioneering, complex relationship with Britain, (with almost no mention of the US), the forests, Native Americans & the northern aspects of the country. Not academic nor focused on that community. Intended for poetry readers worldwide. A poet name index is provided . The collection includes every major English Canadian poet of the period, from Sangster & Lampman to Robert Service. The Editors introduced the reader to the widest assortment of Canadian poets. Many poets have but a single entry. A perfect introduction to English Canadian poetry for all of the above reasons.
“[A] violent, surrealist romp” from the Tony Award–winning playwright of Hurlyburly and Visiting Edna (The Brown Daily Herald). David Rabe explores the struggle between hope and anguish in the human spirit in this story of two small-time jewel thieves united in a strangely unsettling friendship and the constant fight to prove to themselves and others how tough they are. But when their frantic scheming suddenly begins to betray them in mysterious ways, they find themselves trapped into a kidnapping and a murder over which they seem to have no control. Or do they? David Rabe’s language creates and recreates reality in constantly surprising ways, magically dramatizing the danger of the power of illusion—and the illusion of power—with force and insight. “A potluck smorgasbord of surrealism, dream soliloquies, science fiction, noir potboiler and fairy tales, with the ghosts of such other writers as David Mamet, Harold Pinter, Sam Shepard and even novelist Thomas Pynchon hovering nearby . . . boasts ample proof of a top-notch writer at work.” —Chicago Tribune “A fast-paced, visceral work with a manic, anarchic energy . . . a chaotic examination of power and powerlessness in a frightening, irrational universe.” —The Brown Daily Herald “[A] surrealist, hilarious, mind-fuck of a play . . . a wild, high-energy ride through plot and action.” —LAist Praise for David Rabe “Few contemporary dramatists have dealt with violence, physical and psychological, more impressively than Rabe.” —Kirkus Reviews “A remarkable storyteller.” —Chicago Tribune “Rabe’s mastery of dialogue is the equal of Pinter and Mamet put together.” —The Boston Globe.
Scene 1. Shallow and his cousin Slender believe themselves wronged by Falstaff and his followers.
Page invites them to his house to “drink down all unkindness.” Sir Hugh Evans and Shallow
encourage Slender to woo Page’s daughter Anne.
Scene 2. Sir Hugh sends Slender’s servant Simple to Mistress Quickly, housekeeper to the French
doctor, Caius, with a letter asking her to intercede with Anne on Slender’s behalf.
Scene 3. Poverty-stricken, Falstaff plans to seduce Mistresses Ford and Page, the “Merry Wives,” in
order to gain access to their husbands’ purses. Having been dismissed by Falstaff, Nym and Pistol
decide to reveal his scheme to Ford and Page.
Scene 4. Mistress Quickly promises Simple that she will help Slender to woo Anne. When Caius
returns home, she hides Simple, but he is soon discovered. The doctor, who also loves Anne, rants
furiously against Sir Hugh. Later, Quickly encourages Fenton, another of Anne’s suitors, though she
privately believes the girl is not interested in him.
“In these surreal lyrics, romantic love is a repository for emotions sweet, bitter, and blazing. Brandel’s language— rich with visual and tactile imagery—delivers us into a world where domestic objects transform into amorous talismans.” —Kiki Petrosino, author of Hymn for the Black Terrific and Witch Wife
Brandel’s formally structured lyrics, as carefully arranged as a chest packed with tissue paper and clove oranges, lure and invite the reader with beauty and craft, then hiss and coil and buzz with needled wit and blade flashes of human insight. These are poems Emily Dickinson would have delighted in and sent daringly to friends. This is a collection where six lines and twelve words in a poem about a teakettle sear and brand so hot, the reader finds relief in the white space on the page. Domestic objects are both weapons of war and charms of love, often simultaneously, and the cycle of poems circling around each presented object — kettle, snapshot, penknife, coins, silence, book, and skeleton key — work both as a dance and the creeping threat of a predator pack.
A Wife Is a Hope Chest demonstrates brilliant facility with form and capacious understanding of the capabilities of plain-language verse. This is a poet’s poetry collection, even as it is a volume that invites any reader to become infected with its unforgettable imagery, pointed humor, and dark charm.
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