Outros livros que poderiam interessá-lo

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  Red Corner - a poetic collection

  Dawn Web

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  Through spoken word and musical compositions, Red Corner underpins the interconnectedness of key themes: identity, sexual health, neurodiversity, queer and political issues, sexism, racism, illness, suicide, perseverance, and navigating intergenerational trauma. Be transported by Dawn's raw and vulnerable tone: a visceral and transformative experience. Accompanied by musician and songwriter Salwa. 
  “The early chapters are spare, confessional, and often emotionally messy...strange, uncanny, and disorienting. In the first half of the collection, Web typically favours economical, lyric poetry reminiscent of Phyllis Webb’s Naked Poems, but often plays with the rhythmic and declarative registers of slam poetry, sections of dialogue that call to mind screenwriting, and prose poems. This formal elasticity builds towards the sixth chapter, Vortex, a personal essay that chronicles the poet’s journey through mental illness, sexual assault, and sexual identity. The voice in this chapter and the following—Backwards, a socially-minded section reminiscent of Karen Solie’s politically charged poetry—is confident, even strident; the path to that self-assurance has been traced in the earlier chapters, which reveal Web’s ambivalence, in terms of diagnosis, embodiment, illness, and treatment. In the final chapters, Web returns to an intimate and confessional voice that opens towards a greater sense of connectivity, community, and acceptance. RED CORNER is more than a collection—it’s a carefully mapped journey that acknowledges the difficult and essential nature of self-acceptance... Web’s first book is a great read—it’s complex, thoughtful, and engaging. The breadth and the depth of the writing in RED CORNER promises that it won’t be the last from this ambitious, brave, and introspective young writer.” 
  —Becca Babcock, Author with Nimbus Publishing, Actor/Filmmaker, Writing Instructor and Assistant Dean of FASS at Dalhousie University

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  Tamerlane

  Edgar Allan Poe

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  Tamerlane is part of Edgar Allan Poe's debut collection, showcasing his early poetic style, heavily influenced by Romantic poets like Lord Byron. The title poem, "Tamerlane," is a dramatic monologue by the historical conqueror, reflecting on his life of war and conquest.

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  Top 10 Poets – The U S The -...

  Wallace Stevens, Edna St....

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  The language of Poetry is an art that most of us attempt at some point in our lives.  Although its commonplace exposure has been somewhat marginalised in today’s often fast-paced lives we all recognise good verse that can empathise with our thoughts or open us up to experience new things in new ways, to better understand and to enjoy the many strands of our lives. 
  But finding a starting point can be overwhelming, even off-putting, so in this series we offer up our Top 10 classic poets, who brim with talent and verse, on a range of subjects and themes that we can all enjoy. 
  The United States may be far younger than many nations on Earth, yet its tumultuous history has reaped a harvest of poets and poetry of very fine calibre.  In this volume we explore the verse of the Mid-Atlantic.

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  Dear Leader

  Damian Rogers

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  I'm ill-equipped   for this. I sit     by a fake fireplace
     
  that frames a real flame.   I've been crossed     by two crows today.
     
  'Multi-vectored, Rogers's poems hum with life and tension, their speaker poised as mother, seer, reporter and daughter. They speak of loss and cold realities (misplaced charms of luck, a tour of an assisted-living facility, coins thrown into Niagara Falls). They also interweave dreams and visions: “O Lion, I am / an old handmaiden; I will not lay the pretty baby in the lap / of the imposter.�* Simple but evocative, at once strange and plain, Rogers's poems of address ricochet off the familiar “Dear Reader�* or Dickinson's “Dear Master�* ... Rogers's poems provide instructions for what to leave, what to take and what to fight. They act as selvage between the vast mother-ocean — the mem of memory — and the fabric we make of the uncertain in-between.’
     
  — Hoa Nguyen, The Boston Review
     
  ‘How can we live with the kind of pain that worsens each day? Dear Leader explains through bold endurance, enumerated blessings and the artistic imagination. By pasting stark truths over, or under, images of strange, compelling beauty, Rogers creates a collage, a simulation of the human heart underassault, bleeding but unbroken. Part Orpheus, part pop-heroine who can “paint the daytime black,�* all, an original act of aesthetic violence and pure, dauntless, love.’
     
  — Lynn Crosbie
     
  ’In Dear Leader, Damian Rogers re-invents the same-old poetic lyric to offers us one-of-a-kind insights on childbirth and party bars, rolling blackouts and old rock standards. Here, what looks at first like familiar language always reveals itself to be a rare mineral. And that’s the magic: this is a poetry that refuses to be staged or to succumb to cliché or mannerism, insisting on celebration and condemnation, caution and cosmic vibrations. “Say you’re a poet,�* Rogers advises us, tongue-in-cheek, “Maybe you mean / Hi, I have a lot of feelings.�* Striking that balance between one-liners and mourning is no small feat.‘
     
  —Trillium Award Jury Citation
     
  Praise for Paper Radio:
     
  ‘Paper Radio jumped out at me and I can’t say why, but that’s what you want poetry to do, and I never want to say why. Because it’s real and talking to me. Because it’s bloody and horrifying beauty. It’s the Clash and Buckminster Fuller, Auden and Bowie.’
     
  — Bob Holman

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  One Language

  Anastasia Taylor-Lind

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  One Language is a remarkable debut collection. From the perspective of a female photojournalist, these concise but complex and insightful poems draw on first-hand experience of war to explore how damage is generated and perpetuated. The book's title expresses the contradiction between the lingua franca of photography and the equally universal language of violence. One Language comes to an understanding of personal history and global conflict in poetry that is as immediate and evocative as the most urgent of dispatches.

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  In on the Great Joke

  Laura Broadbent

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  In a blend of essayistic poetics, Broadbent wields alchemy, translation and necromancy to bring readers In on the Great Joke.
     
  What do you get when you cross Lao Tzu and an application for a university teaching application? What do you get when you give W. G. Sebald and Clarice Lispector the ability to speak from the afterlife? What happens if a girl is stopped at a red light for an entire year? In on the Great Joke is a palace of hybridity, where film structure informs poetry, poetry alters the essay, and the essay recalibrates the joke. Broadbent has lent her ear to the dead, the living, the voiceless, to give us the punchline of what it means to be intellectually alive.
     
  ‘Then there’s Laura Broadbent. She is, as are her poems, full of sultry verve and invective. Watch out. Her lines are dizzying and always on point.’
     
  – Michael Nardone, Hobo Magazine
     
  Praise for Oh There You Are I Can't See You Is It Raining?:
     
  ‘Oh There You Are... succeeds because it is accessible. Intellectually rigorous and evasive, it also makes itself emotionally available.’
     
  – Justin F. Ridgeway, Broken Pencil

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