Otros libros que te pueden interesar

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  Divine Madness - A Dark Poetry...

  Rena Aliston

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  I am divine, 
  sitting upon my throne, 
  time’s pedestal, 
  waiting – baiting. 
  My venomous tales 
  tear at life’s seams, 
  desecrating freedom. 
  Your illusions awaken. 
  Your eyes grace my design. 
  I am madness. 
  Journey into the shadows of the soul, where darkness and light intertwine in a dance of raw emotion and profound revelation. Divine Madness: A Dark Poetry Collection beckons you into the depths of the human psyche, inviting you to explore the turbulent landscapes of the mind and embrace the haunting allure of poetic madness.

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  Ode - The Age of Dryden' is a...

  John Dryden

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  John Dryden was born on August 9th, 1631 in the village rectory of Aldwincle near Thrapston in Northamptonshire. As a boy Dryden lived in the nearby village of Titchmarsh, Northamptonshire. In 1644 he was sent to Westminster School as a King's Scholar.  
  Dryden obtained his BA in 1654, graduating top of the list for Trinity College, Cambridge that year.  
  Returning to London during The Protectorate, Dryden now obtained work with Cromwell's Secretary of State, John Thurloe. 
   At Cromwell's funeral on 23 November 1658 Dryden was in the company of the Puritan poets John Milton and Andrew Marvell.  The setting was to be a sea change in English history. From Republic to Monarchy and from one set of lauded poets to what would soon become the Age of Dryden. 
  The start began later that year when Dryden published the first of his great poems, Heroic Stanzas (1658), a eulogy on Cromwell's death.  
  With the Restoration of the Monarchy in 1660 Dryden celebrated in verse with Astraea Redux, an authentic royalist panegyric. 
   With the re-opening of the theatres after the Puritan ban, Dryden began to also write plays. His first play, The Wild Gallant, appeared in 1663 but was not successful. From 1668 on he was contracted to produce three plays a year for the King's Company, in which he became a shareholder. During the 1660s and '70s, theatrical writing was his main source of income.  
  In 1667, he published Annus Mirabilis, a lengthy historical poem which described the English defeat of the Dutch naval fleet and the Great Fire of London in 1666. It established him as the pre-eminent poet of his generation, and was crucial in his attaining the posts of Poet Laureate (1668) and then historiographer royal (1670). 
  This was truly the Age of Dryden, he was the foremost English Literary figure in Poetry, Plays, translations and other forms. 
  In 1694 he began work on what would be his most ambitious and defining work as translator, The Works of Virgil (1697), which was published by subscription. It was a national event.  
  John Dryden died on May 12th, 1700, and was initially buried in St. Anne's cemetery in Soho, before being exhumed and reburied in Westminster Abbey ten days later.

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  Giant

  Mark Rosenblatt

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  'I wanted to put you bang in the picture. Apprise you of the difficulties. Because, in case you hadn't noticed, he's a human fucking boobytrap. And now, guess what, surprise surprise, boom!'
  A world-famous children's author under threat. A battle of wills in the wake of scandal. And a chance to make amends…
  It's the summer of 1983, The Witches is about to hit the shelves and Roald Dahl is making last-minute edits. But the outcry at his recent, explicitly antisemitic article won't die down. Across a single afternoon at his family home, and rocked by an unexpectedly explosive confrontation, Dahl is forced to choose: make a public apology or risk his name and reputation.
  Inspired by real events, Mark Rosenblatt's debut play Giant offers a nuanced portrait of a fiendishly charismatic icon – and explores with dark humour the difference between considered opinion and dangerous rhetoric.
  The play was first performed to great acclaim at the Royal Court Theatre, London, in 2024, directed by Nicholas Hytner with a cast including John Lithgow as Dahl. It transferred to the West End the following year, and won the Olivier and Critics' Circle Awards for Best New Play.

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  A Doll's House

  Henrik Ibsen

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  A door slams, and the echoes never fade. Henrik Ibsen's A Doll's House (1879) is a play that doesn't shout—it lingers, unsettling and undeniable. Beneath the surface of a seemingly ordinary household lies a quiet storm, gathering strength with every polite exchange, every carefully placed smile.
  Nora Helmer is a wife, a mother, a woman adored. Her home is warm, her life is comfortable, her husband sings her praises. But when a long-kept secret begins to unravel, so does the delicate balance of her world. What happens when the roles we play no longer fit? When the words we speak don't match the voices inside us?
  Ibsen doesn't lecture, doesn't plead—he simply opens a door and lets us look inside. What we see is up to us. Is it a tale of liberation or betrayal? A tragedy or a beginning? More than a century later, the questions still stand, just as urgent, just as sharp.
  With A Doll's House, Ibsen didn't just write a play. He set a stage for countless conversations, forcing audiences to lean in, to question, to wonder. And when the final moment comes, when the door closes behind Nora, it isn't just her world that shifts. It's ours, too.

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  Please make me pretty I don't...

  Tawanda Mulalu

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  The debut collection of an exciting new voice in poetry 
   
   
   
  Please make me pretty, I don't want to die explores tactility, sound, sensuality, and intimacy. Set across the four seasons of a year, these fresh and original poems by Tawanda Mulalu combine an inviting confessional voice and offbeat imagery, and offer an appealing mixture of seriousness and humor. 
   
   
   
  The speaker of these poems probes romantic and interracial intimacy, the strangeness and difficulty of his experiences as a diasporic Black African in White America, his time working as a teacher's assistant in a third-grade classroom, and his ambivalent admiration for canonical poets who have influenced him, especially Sylvia Plath. Juxtaposing traditional forms such as sonnets and elegies with less orthodox interjections, such as prose-poem "prayers" and other meditations, the collection presents a poetic world both familiar and jarring—one in which history, the body, and poetry can collide in a single surprising turn of image: "The stars also suffer. Immense and dead, their gasses burn / distant like castanets of antebellum teeth. My open window / a synecdoche of country."

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  MINSTREL BOY: Picasso of Song...

  Chris Gregory

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  MINSTREL BOY: Picasso of Song Part 2 
  This book is about is one of the major cultural figures of the modern age, combining a reverence for the traditions of many forms of American music with a distinctly postmodern sensibility. It is no exaggeration to state that he has revolutionised the art of poetic songwriting. He is a recipient of the Nobel Prize for Literature, the Pulitzer Prize and numerous other awards, as well as being arguably the most influential single artist in the history of rock music.  
  This book is the second volume of Chris Gregory’s Picasso of Song, a highly comprehensive ‘trilogy in reverse’ which takes ‘deep dives’ into all of the songs, while exploring the many ways in which he has used live performance to expand and deepen the effects of his art. Following on from the acclaimed Determined to Stand which covered his later years, Minstrel Boy focuses on the many artistic and personal metamorphoses he went through between 1967 and 1990 - what might be called his ‘years of struggle’. Dylan could easily have rested on the laurels of his early fame but he refused to be categorised or ‘boxed in’ by the intense personal pressures that were placed on him. Instead, he continued his restless quest to find new ways to present his songs to fans and followers, knowing that they would hang onto every word he said or sang.

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