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  The Poetry of Khalil Gibran -...

  Kahlil Gibran

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  Gibran Khalil Gibran was born on 6th January 1883 in the village of Bsharri, Beirut Vilayet, then part of the Ottoman Empire 
  His mother took him and his siblings to the United States in 1895 where he was enrolled into a Boston school and his creative talents soon noted.  He was sent home to be schooled at the Collège de la Sagesse in Beirut but returned to Boston following the death of his youngest sister in 1902.  Within a year his mother had also died. 
  In 1904, Gibran's drawings were displayed for the first time and, a year later, his first book, in Arabic, was published in New York City.  With financial help from a benefactress he studied art in Paris from 1908 and here his path crossed with dissident Syrian exiles.  Over the years he would meet many more like-minded exiles who were exploring ways to overthrow the yoke of the Ottoman Empire.   
  By 1911 he had settled in New York working on his drawings and paintings which were now being regularly exhibited. His writing was also attracting much attention and gaining an audience.   
  His first book in English, ‘The Madman’ became an international phenomenon.  Whilst his writing has overshadowed his visual works there is no doubt that a copy of ‘The Mad Man’ is never far from any bookshelf.  This and other works have ensured his stature as an artist is world-wide and that it continues into these more modern times.  Gibran was regarded as a literary rebel and a leading figure of the Arabic literary Renaissance and made influential contributions to Western poetry, stories and thought. 
  Khalil Gibran died on 10th April 1931 in New York City from cirrhosis and incipient tuberculosis in one lung.  He was 48.   
  Gibran was one of a number of Arab intellectuals and writers who lived in the United States at the beginning of the twentieth century and who had a great influence on the development of modern Arabic literature through the exploration of Western literary movements.  The group was presided over by Gibran himself and was baptized Arrabitah, or “The League.”  Its influence is acknowledged as fundamental. 
  In this volume of poetry Gibran is able to capture and demonstrate and enlighten much of the human condition and the wonder of the world around him.

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  A Whistling of Birds

  Isobel Dixon

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  Elizabeth Bishop's hawkweed, John Berryman's hummingbirds, Ted Hughes's burnt fox – the birds, beasts and flowers of Isobel Dixon's new collection are at times kin to D.H. Lawrence, whose essay 'Whistling of Birds' lends this book its name, though each poem here is its own vivid testament to the natural world, and our often troubled and troubling place in it. Lyrical, vigorous, inventive, A Whistling of Birds is at times in conversation with Lawrence's iconic collection, Birds, Beasts and Flowers, but also ranges widely through the worlds of other writers and makers – from the Venerable Bede to Emily Dickinson, Georgia O'Keeffe to Glenn Gould, and a wealth of other connections closely examined and delicately drawn. With its resonant elegies and notes of celebration, this is a collection that flexes, hums and brims with energy, yet surely draws you in to its quiet, reflective heart.

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  Before You Say Anything

  Carys D. Coburn

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  Imagine no one loves you and you have to leave home with nothing. Where would you go? Would you feel free? Are you free at all if your 'choices' hurt? 
  A play that questions how everyone can be safe at the same time, Before You Say Anything is a time-travelling set of interweaving stories exploring injustice, freedom and bravery.
  Created by Carys D. Coburn with MALAPROP Theatre, it was first staged at the 2020 Dublin Fringe Festival.
  MALAPROP Theatre is an award-winning collective of Irish theatremakers, who seek to challenge, delight and speak to the world we live in (even when imagining different ones).

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  Modern Poetry - Poems

  Diane Seuss

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  Diane Seuss's signature voice—audacious in its honesty, virtuosic in its artistry, outsider in its attitude—has become one of the most original in contemporary poetry. Her latest collection takes its title, Modern Poetry, from the first textbook Seuss encountered as a child and the first poetry course she took in college, as an enrapt but ill-equipped student, one who felt poetry was beyond her reach. Many of the poems make use of the forms and terms of musical and poetic craft—ballad, fugue, aria, refrain, coda—and contend with the works of writers overrepresented in textbooks and anthologies and those too often underrepresented. Seuss provides a moving account of her picaresque years and their uncertainties, and in the process, she enters the realm between Modernism and Romanticism, between romance and objectivity, with Keats as ghost, lover, and interlocutor. 
   
   
   
  In poems of rangy curiosity, sharp humor, and illuminating self-scrutiny, Modern Poetry investigates our time's deep isolation and divisiveness and asks: What can poetry be now? Do poems still have the capacity to mean? "It seems wrong / to curl now within the confines / of a poem," Seuss writes. "You can't hide / from what you made / inside what you made." What she finds there, finally, is a surprising but unmistakable love.

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  I Married an Ex-Wise Guy

  Selia Sunshine

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  The book is written in a series of memory lane vignettes depicting memories of Selia’s life with an ex-wise guy. The book starts at the end of the story and through the vignettes of the ups and downs of living with him and how a person’s past can follow them wherever they go. The story ends where it started. The love story between the couple who met late in life is dramatic and quite heated. The depiction of how hospice helped Selia through her husband’s dying process was a dramatic life-learning situation.

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  Octopus Mind

  Rachel Carney

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  Octopus Mind plays with an array of rich and original metaphors to explore the intricacies of neurodiversity, perception and the human mind. These poems articulate the desire to understand and be understood by oneself and others in a complex world. They observe the nuances of creativity, art, relationships, and self-expression through the lens of neurodiversity, reflecting on the poet's experience of being diagnosed with dyspraxia as an adult. They delve into the challenges of neurodiversity, but also reveal its gifts.
  Poems respond to visual artists like Gwen John, whose paintings break new ground for women representing their own visions of themselves. Other poems suggest that this can be a struggle however, as Pablo Picasso paints not a woman but his own despair in 'Blue Nude', while Elizabeth Siddal reflects on her own image, fetishized by the Pre-Raphaelite painters, and Henri Rousseau's painting becomes an outlet for self-deception and frustration. 
  Some of the most stunning poems in this collection perform a kind of magic or sleight of hand, as dyspraxia is explored through unique and remarkable metaphors, including a series of artefacts in a museum, a walk along the seashore, and a swaying tree. The 'Octopus Mind' evokes the possibilities of what it means to be human, through obsession, self-deception, realisation, and acceptance.
  The speaker in Octopus Mind is endearingly humble and we journey with them beyond self-criticism to reclaiming the self. In 'Growing', the narrator declares 'I will grow // into myself, climbing, steady, / grip by grip, leaf by leaf'. In 'Understood' the narrator describes the complex process of re-imagining one's place in the world, armed with new knowledge: 'Slowly, we adjust / our own soft ignorance / unroll our prejudice / in gentle waves.' 
  "A poet of multiple uncanny self-portraits, of the 'octopus mind', who explores the gaps between mind and body, and body and world, with deft, diverse diagnoses."Damian Walford Davies
  "Extraordinary poems of self-encounter, of divergence, of bruised bodies out of balance with themselves, laid bare – and of new-found identities, and joyous release." Richard Marggraf Turley 
  "Rachel Carney's debut collection delights in its curiosity and surrealism. This is a collection that 'swims out into deep ocean currents' to explore the workings of the mind and the impacts of this on the self." Katherine Stansfield

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