Outros livros que poderiam interessá-lo

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  Born in the USA - Exploring...

  Wallace Stevens, Edith Wharton,...

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  Poetry. A form of words that seems so elegantly simple in one verse and so cleverly complex in another.  Each poet has a particular style, an individual and unique way with words and yet each of us seems to recognise the path and destination of where the verses lead, even if sometimes the full comprehension may be a little beyond us. 
   
  Through the centuries every culture has produced verse to symbolize and to describe everything from everyday life, natural wonders, the human condition and even in its more hubristic moments, the crushing triumph of an enemy. 
   
  In the volumes of this series we take a look through the prism of individual regions of the United States through the centuries and decades. 
   
  The United States may be many things: the world’s policeman, a bully, a shameless purveyor of mass market culture but it also, in its better moments, a standard bearer for truth, transparency, equality and the more positive qualities of democracy. 
   
  Little wonder that’s its poets are rightly acknowledged as wonders of their art.  Leading lights in the fight against slavery and for equality, even if the rest of the Nation is finding it problematic to catch up.   
   
  In this volume we have collected verse from poets born in the prosaically named Mid-Atlantic region.  Within its boundaries, which have never been authoritatively agreed, are New York, New Jersey, Delaware, Maryland, and Virginia.  Therefore it is easy to wax lyrical on what, and how, our esteemed poets including Walt Whitman, Frances W Harper, Edith Wharton, Willa Cather, William Carlos Williams and Herman Melville have penned in their gloried verse on the societies and lands before and around them.

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  There Are Still Woods

  Hila Ratzabi

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  There Are Still Woods is a radiant appraisal of life at the precipice of climate crisis and a haunting elegy for all we stand to lose. Through alternating lenses, from the speculative to the spiritual, from motherhood to science to mythology, Hila Ratzabi looks out at our wounded but vibrant planet and the animal experience of living on it. These poems bear witness to the force and fragility of the natural world and grapple with the complexities of being a human in that landscape: being implicated, vulnerable, humbled, dazzled. These poems are ways of framing and enduring loss, personal and collective and cultural, real and potential and anticipated. They impart a heightened appreciation for the solid and fleeting beauty that surrounds us. Here is an ode to the earth, a vision of its end, a celebration of its endurance, an aching and eloquent plea for intercession on its behalf. Ratzabi’s first collection is a howl, a prayer, a premonition, a reawakening, and an urgent call to action.

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  The Ballad Of The White Horse -...

  Gilbert Keith Chesterton

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  "The Last Great Epic Poem in the English Language"- Dale Ahlquist"The ending is absurd. The brilliant smash and glitter of the words and phrases (when they come off, and are not mere loud colours) cannot disguise the fact that G. K. C. knew nothing whatever about the 'North', heathen or Christian."- JRR TolkienThe tale of King Alfred, the Christian king who in 878AD battled a Viking invasion that had conquered the rest of England and burnt some cakes. He then became the last holdout of resistance against the invaders and forced the conversion of the Danish king Guthrum to Christianity after the battle of Ethandun. Chesterton says "This ballad needs no historical notes, for the simple reason that it does not profess to be historical. All of it that is not frankly fictitious, as in any prose romance about the past, is meant to emphasize tradition rather than history. That is the use of tradition: it telescopes history."Named after the chalk horses carved into English hills (and partly set at Uffington), it begins with an exhortation to true Christianity in the face of despair and defeat, and ends with a prediction of more barbarian invasions. It focuses on the nature of faith in times of despair, and on the true strength of local kings in the face of empires."... you and all the kind of ChristAre ignorant and brave,And you have wars you hardly winAnd souls you hardly save...."In some far century, sad and slow,I have a vision, and I knowThe heathen shall return...."They shall come mild as monkish clerks,With many a scroll and pen;And backward shall ye turn and gaze,Desiring one of Alfred's days,When pagans still were men."

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  Otherland

  Chris Bush

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  'Jo and Harry are changing.
  Harry is changing more than most, undeniably.
  And change is beautiful. Necessary. Terrifying.'
  Break-ups aren't just about who gets the CD collection. As Jo and Harry begin to untangle themselves from each other, new worlds start to open up – worlds filled with new partners, new identities, new possibilities…
  What kind of women do they want to be, and do they have the courage, or the permission, to get there?
  Chris Bush's play Otherland is a bold and beautiful exploration of what it means to be true to yourself in the face of unstoppable change. It premiered at the Almeida Theatre, London, in 2025, directed by Ann Yee.
  Otherland was a finalist for the 2025 Susan Smith Blackburn Prize.
  'A writer of great wit and empathy'The Times
  'One of our most prolific and arresting writers'Evening Standard

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  George Bernard Shaw: Arms And...

  George Bernard Shaw

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  Arms and the Man is a satirical drama play written by George Bernard Shaw published in 1898.  It has become one of the most popular of his plays. Like his other works, Arms and the Man questions conventional values and uses war and love as his satirical targets. He delightfully pops the bubble of the 'brave soldier' always wishing to charge into battle and shows (I think) how people stay the same whether in uniform or not and are not magically changed into different people. A cautious soldier can be just as admirable as a reckless one.

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  The Kingdom of Surfaces - Poems

  Sally Wen Mao

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  In The Kingdom of Surfaces, award-winning poet Sally Wen Mao examines art and history—especially the provenance of objects such as porcelain, silk, and pearls—to frame an important conversation on beauty, empire, commodification, and violence. In lyric poems and wide-ranging sequences, Mao interrogates gendered expressions such as the contemporary “leftover women,” which denotes unmarried women, and the historical “castle-toppler,” a term used to describe a concubine whose beauty ruins an emperor and his empire. These poems also explore the permeability of object and subject through the history of Chinese women in America, labor practices around the silk loom, and the ongoing violence against Asian people during the COVID-19 pandemic. 
   
  At its heart, The Kingdom of Surfaces imagines the poet wandering into a Western fantasy, which covets, imitates, and appropriates Chinese aesthetics via Chinamania and the nineteenth-century Aesthetic Movement, while perpetuating state violence upon actual lives. The title poem is a speculative recasting of Through the Looking-Glass, set in a surreal topsy-turvy version of the eponymous China-themed 2015 Metropolitan Museum of Art Gala. The Kingdom of Surfaces is a brilliantly conceived call for those who recognize the horrors of American exceptionalism to topple the empire that values capital over lives and power over liberation.

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