Dikter

"Rish Daraz-e Aqel Kotah" in Persian, literally translated as "The Long Beard of Short Wisdom" by Haseeb Ahrari is a collection of 48 poems in Persian that offer a satirical and critical look at the complexities of religious belief and societal norms. Ahrari, influenced by his religious and scholarly family background in Afghanistan and personal experiences with faith and doubt, challenges conventional views and invites readers to have a fresh look into the relationship between religion, society, and individual beliefs.In this collection, Ahrari addresses the issue of religious misinterpretation and extremism. He uses poetry to critique how traditional beliefs are often distorted by radical groups, impacting both individuals and society. His verses unveil the hypocrisy and ignorance hidden under religious dogma, through vivid and sometimes ironic poetry.Ahrari skillfully uses the elements of humor and satire to critique and challenge societal and religious malpractices. His poetry combines poignant reflections with sharp observations, exposing absurdities and injustices in society. This book showcases Ahrari's poetic talent and bravery in tackling sensitive issues with seriousness and humor, offering a unique perspective on the role of art and satire in societal change. The book invites readers on a journey of self-reflection and intellectual exploration, making it essential for those interested in understanding the dynamics of faith, society, and the human condition.

The poems in this collection of Fred Gerhard's work range considerably: from Victorian rooms to the Pennsylvania and New England landscapes he knows intimately; from the psychology of inner experience to the dance of interpersonal relationships; from the noise of the trains that run through all of our lives (and occasionally crash into walls) to the quiet of the "dark grape taste of twilight." Likewise, Gerhard's diverse poetic techniques run the gamut from lucid and conversational free verse to skillful and musical rhyme. Throughout, he crafts memorable lines and indelible images, giving (as he puts it in his tribute to Edgar Allan Poe) "consonant to forlorn sound"-and to the sound of joy.

Ayesha Montgomery is back at it with a book full of inspirational poems and heartfelt sentiments that are bound to put a smile on your face. Love Is My Shelter details the wonder in finding solace and optimism in the little things. As the author seeks to put the pieces of the puzzle together after the unexpected death of a family member a number of crazy events occur. The reader is taken on a ride through the perils of mourning, family dysfunction, heartbreak, love and happiness.

The Great Physician: Medicinal Poetry for the Anthropocene is Dr. Mines' first major collection of poems. Poetry, she says, helps make possible "the spaciousness needed to match our inner experience to the outer catastrophe that is accelerating before our eyes. It helps us to understand." These poems are inner experiences through which she, and indirectly the reader, find a way to understand planetary experience, personal and generational cause and effect, and hopefully, the courage and energy to change organically-from war, intolerance, fear, ennui.In her autobiographical poetry and prose, Dr. Mines shares how her personal and professional background shaped her insights into a fusion of trauma recovery and climate activism. In her global activism through her Climate Change & Consciousness nonprofit, Dr. Mines focuses on humanity's forward moving direction where inner and outer climates meet. In that place of mystery is our connection with the natural world and the living systems waiting to communicate with us, to give us what data cannot record.In more than a dozen books that reflect her three decades of research as a neuroscientist and embryologist. She has investigated shock and trauma as a survivor, a professional, a clinical researcher, and a healthcare provider. Her work has resulted in her nonprofit, The TARA Approach, which provides practical means for the systemic change she promotes as a Regenerative Health paradigm. Her training and healing modality is used by individuals internationally and by professional counselors and organizations such as addiction clinics, abuse centers, and refugee charities.

New poems from 100 of the world's brightest contemporary poets, all about a common subject: the Louvre--exploring the many pleasures, provocations, and surprises that the museum and its collection inspire. Of the world's great museums, the Louvre is the most encompassing, a sumptuous collection that includes not only some of the most celebrated works of art of all time, but fascinating, perplexing, splendid, and beautiful objects of all kinds, all housed in a building, itself monumental, that was once the seat of the kings of France. In the grand corridors and multiplying backrooms of the Louvre, the history of the world and the history of art and the history of how we look and think about art and its place in our lives challenge and delight us at every corner. Few other public spaces are at once so haunted and so alive. A unique collaboration between New York Review Books and the Louvre Museum, At the Louvre presents a hundred poems, newly commissioned exclusively for this volume, by a hundred of the world's most vibrant poets. They write about works from the museum's collection. They write about the museum and its history. They write what they see and feel, and together they take us on a tour of the museum and its galleries like no other, one that is an irresistible feast for the ear and mind and eye. Some of the poets in At the Louvre: Simon Armitage; Barbara Chase-Riboud; Hélène Dorion; Jon Fosse; Fanny Howe; Kenneth Goldsmith; Lisette Lombé; Tedi López Mills; Precious Okoyomon; Charles Pennequin; Blandine Rinkel; Yomi Şode; Krisztina Tóth; Jan Wagner; Elizabeth Willis.

These are, as best as can be reconstructed, the poems written by David Davis during the largest part of his life. Presented in roughly chronological order, beginning when he was just a boy and going through his early seventies, they include the good and the bad and everything in between. Basically, they amount to a form of autobiography, with a lot of the facts left out. Many present his decidedly dry sense of humor and his odd way of looking at life; others are cries from the wilderness. Deceptively simple and clear, there is often a turn of phrase or line that gives you a kick in one part of the intellect or another.

Llewellyn McKernan's The Manifesto and Its Blue Ball is a collection of earlier poems(that show the writer feeling and figuring in insightful ways toward a poetic maturity), aswell as more recent poems filled with what Jerome Bruner believes is the central characteristicof creativity-"effective surprise." In "The Manifesto" and the other title poem, "The Blue Ball,"we enjoy the unusual angles the poet takes on her remarkable subjects, and elsewhere we aretreated to surprise and delight not only in the deep meanings and metaphors, but in the deliciousmusic of the poet's language: "Undress the mystery/of summer, savor the fall's skill-killing frost, winter's/grid against the sky" ("Don't Be Down-Right"). These poems are Llewellyn McKernan and we treasure them.-Richard Hague, Author of Studied Days: Poems Early & Late in AppalachiaIn Llewellyn McKernan's The Manifesto and Its Blue Ball, a light, often rhymed, sometimes childlike whimsy veils a series, at times unsettling, but finally affirming view of poetry and nature. In "Here's the Situation," "dawn and noon" and "frog and loon" release their rhymes only to reveal the unique poem that's grounded in its "own/unearthly/unrehearsed howl." In "I Believe," "it's always winter in the Land of Faith," but the poet takes the snow there andmakes it into a "snowman the children love." In "A Real Thing," "a bright green willow/reflected in a pond in summer/is lucid and lovely-But don't try to touch it." Yes, beauty isfragile but powerful. And so is The Manifesto and Its Blue Ball. -Richard Spilman, Author of In The Night SpeakingThis is the poetry of a fully realized artist, driven by faithfulness to her craft and devotion tothe crucial but difficult journey of dwelling in the beautifully stressed shapes of humanexperience or the treacherous and lovely terrain of the imagined places of the mind and heart-both being ultimately a passageway to the life-line of the poem itself, "The Blue Ball," pursued and celebrated in "the duo of space and time/present to our presence," "from which it borrows only what/it turns and returns" to the ready reader's heart. I will keep this smart and lovely collection close always.-George Eklund, Author of The Island Blade

"How could I stand to be so dim where the light couldn't reach me" asks the speaker in one of the opening poems of Jennifer Kelley's debut, Coming to Love My Darkest Places. With a fine-bone intellect and a crystalline voice, the poems in Kelley's collection interrogate this question more deeply with each page. Like the bouts of epilepsy described in the first section of the book, Kelley's work arises out of affliction-the feelings of being overtaken, stricken, possessed, in this case by addiction, mental disorder, and the reverberations of abuse. But the alchemy of the poems is to transform suffering into tenderness, loss into vision, grief into acceptance. At center, the book explores timeless questions of suffering, redemption, and the divine. "We cannot claim the infinite," Kelley writes. And this is the essence of these poems: Divinity is not something one acquires. Rather, the infinite is found in everyday wonder, the overlooked images, the contour of an interior life, accessed in these poems by the poet's honesty, humility, and stunning powers of observation. -Kim Young"In these stutter-stop times" Jennifer reaches into landscapes of belief and love and creation. She explicates our duplicities and our evasions. With honesty and with a poet's pungence. She not only reveals who she is, she reveals who we all are. I travel with her. It is a comfort. -Ann BuxieWith these poems, Jennifer Kelley masterfully addresses the struggle of who she is and what it has taken for her to be here. "I want to shrink / and grow at the same time. / And I couldn't be a noose, not with Jesus watching." Coming to Love My Darkest Places is a poetic journey of what acceptance is and the struggle to claim an identity that is outside of what is okay. "An atmosphere/ of hope and wish / of bait and switch / of swing and miss." Kelley lets us in on this journey of what it takes to negotiate, survive and grow in this world where everyone is supposed to be the same. "Ancient and full of dreams, we talk only about the weather." In this tome, the poet claims and reclaims her voice. These poems are strong, sometimes funny, well written, and vulnerable. Kelley's work is both beautiful and stark. The poems in Coming to Love My Darkest Places tell us they are here with us in this world. In this realm of poetry. They struggle towards joy.-Phil Taggart

To read the poems in Gregg Friedberg's WHAT'S WRONG is to discover a voiceunlike any other in its dizzying ability to address serious matters-love, desire, loss, belief and radical un-belief, to name a few-surprisingly, with joyous invention and indefatigable wit. The supreme ironist who isthe speaker of these poems consoles his tormented soul handily with verbalwizardry. Grief, he says, is "a mediocrity" so he dresses it up and makesa party of it all. His is a dark vision, to be sure, but in that darknessthere is no dearth of colorful illumination to pick up our spirits.-PegBoyers, executive editor of Salmagundi, author of The Album, To ForgetVenice, Honey with Tobacco, and Hard BreadRarely has formality of language achieved such intimacy-in these linkedpoems-the questing speaker, in reaching towards the other, begins toknow himself. "Can I infallibly distinguish the artificial from thenatural?" Indeed! Yet nothing surpasses the beauty of the language, itsmusic, its dance on the page, its lush sensuality.-Lee Gould, editor of La Presa

A literary hike through Ohio's oldest national park An anthology celebrating the biodiversity and staggering beauty of Cuyahoga Valley National Park, Light Enters the Grove collects 81 poems, each of which reflects its author's unique connection to a living organism found within the park--ranging from white-tailed deer to brown bats and from Japanese honeysuckle to bloodroot. Additionally, each poem is paired with an artistic depiction of the poem's subject that reinforces the rich relationship between artists and the natural world. Editors Charles Malone, Carrie George, and Jason Harris provide a stirring introduction to this emotional journey through the park. Renowned writers featured in the volume include Kari Gunter-Seymour, poet laureate of Ohio, and Deborah Fleming, whose book Resurrection of the Wild won the 2020 PEN/Diamonstein-Spielvogel Award for the Art of the Essay. This collection invites readers to look further into their own experiences and memories of the park, to reflect on their relationships to its species, and to recognize the importance of preserving the lives and habitats of our nonhuman neighbors.

Winner of the 2023 Stan and Tom Wick Poetry Prize Opium and Ambergris is the haunting debut collection by poet Colin Dekeersgieter, whose lyric poems scrutinize a family's history with addiction, death, and mental illness. Reeling from the loss of his brother to a heroin overdose, Dekeersgieter grieves while doing his best to keep his suicidal mother alive and raise his family. As a result, these poems shift between historical retellings and urgent examinations of love. In the title poem, "opium" is associated with death and "ambergris"--a substance formed in sperm whales' digestive tracts and valued by many cultures for over one thousand years--is associated with love. As family history, death, trauma, and duty become entwined with the acts of living, suffering, growing, and writing, these metaphorical categories become essentially interchangeable. Opium comes from the beautiful poppy; ambergris is an ingredient still used in high-end perfumes to help the fragrance last longer, yet it is extracted from dead whales. Thus, "opium" and "ambergris" come to represent the possible coexistence of love and loss. With many poems written in emergency departments, behavioral wards, and intensive care units, Dekeersgieter does not just honestly chronicle a family crisis but seeks to survive through poetry.

More than 150 poems exploring the intersections of ecological awareness, social justice, and poetic expression

MARGARET'S inspiration from God continues since it started in March 2015. This 2nd book covers poems from 2015 till 2023 not published in her First book. She is thankful to be of use to/by God to pen encouraging words from Scriptures to those who are disheartened by life's challenges. This 2nd Book of Inspired Poems to Inspire is again, solely dependent on God's inspiration mostly in the wee hours of the morning between 4 to 5am. There is no pre-thought of what to write. She just wrote down what flashed across her mind. Her style of writing seemed to mature as she had gotten over the death of her husband and just quoted from Scriptures and expound the verse according to her understanding lately. Included in Book 2 are some personal addiction(as in "Bail Me Out!" she asked God for deliverance candidly. She is enriched by the constant companion of the Holy Spirit to guide and encourage her. She just wish that those who are inflicted with life's sorrows to embrace the power of God's love to help them be overcomers, and live life in abundance. She hopes that this Book 2 will touch hearts as the Book 1 did. Margaret has considered this writing of poems as her calling, so enjoy and digest and be happy in the LORD!

A primer for those with no previous knowledge of Chinese, this book introduces readers to the fundamentals of classical Chinese poetry through twenty-nine ways of understanding a single poem. "Seeing Off a Friend," by the great Tang poet Li Bai (701-762) has long been praised for its vividness, subtlety, and poignancy. Anthologizing twenty-nine translations of the poem, Timothy Billings not only introduces the poem's richness and depth but also the nuanced art of translating Chinese poetry into European languages. A famous exemplar of "seeing off poetry," which was common in an empire whose literati were continually on the move, Li's poem has continued to fascinate readers far removed from its moment of composition, from the Victorians, to Ezra Pound, to contemporary translators from around the world. In talking us through these linguistic crossings, Billings unpacks the intricacies of the lüshi or "regulated verse poem," a form as pivotal to Chinese literature as the sonnet is to European tradition. This book promises to transform its readers, step-by-step, into adept interpreters of one of the most significant verse forms in Chinese literary history. Billings's engaging teaching style, backed by a lightly worn but deep scholarly engagement with Chinese poetry, makes this work an indispensable guide for anyone interested in poetry, translation, or the cultural heritage of China.

In Unfinished Spirit, Rowena Kennedy-Epstein brings to light the extraordinary archive of Muriel Rukeyser's (1913-1980) unpublished and incomplete literary works, revealing the ways in which misogyny influences the kinds of texts we read and value. Despite her status today as an influential poet, much of Rukeyser's critical and feminist writing remained unfinished, suppressed by the sexism of editors, political censure, the withdrawal of funding and publishing contracts, as well the conditions of single motherhood and economic precarity.From Savage Coast, her novel of the Spanish Civil War (which Kennedy-Epstein recovered, edited, and published to great acclaim in 2013) to her photo-text collaboration with Berenice Abbott, essays on women writers, radio scripts, and biographies, Unfinished Spirit traces the creation, reception, and rejection of Rukeyser's most ambitious texts-works that continued the radical, avant-garde project of modernism and challenged an increasingly hegemonic Cold War culture. Bound together by Rukeyser's radical vision of artistic creation and political engagement, these incomplete texts open a space to theorize the politics of the unfinished for understanding women's artistic production, reasserting the importance of the archive as a primary site of feminist criticism.

Winner of the Sillerman First Book Prize for African Poets The poems in Leaked Footages carry urgent subjects, ranging from death to disappearance to grief to memory. Not only do the poems fulfill the tradition of witnessing often manifested in contemporary poets such as Garous Abdolmalekian and Ilya Kaminsky, but they extend that tradition by the medium through which they witness: the technical and the technological. Here, the camera, the closed-circuit TV, cinematographic techniques, and the cyborg are trusted for truth-telling. Reality is represented in footage seen through the eyes of multifaceted speakers. In Abu Bakr Sadiq's exploration of northern Nigeria in speculative poetry, the lyrical meets the chronicle. In this fusion of Afrofuturism with experimental poetic techniques, the reader witnesses a country ravaged by terrorism and the consequences of war, as well as the effects of these on those who survive. While the tone is grave with concern and conscience, the poems do not take the easy route of sentiment. Instead, attention is paid to structure--from the erasure poems that are informed by the theme of disappearance to the contrapuntal poems that are influenced by the testaments of leaving.

Skies are ever changing. People are too.Days may follow us through phases, but tomorrow will always begin again. Beneath the Blue is a pastoral journey of selfhood, youth, and bittersweet love.

A JOURNEY TO FORGIVENESS AND SELF LOVE The Beauty in Broken is a deeply personal and touching collection of poems that illuminate the uniquely beautiful journey of healing after the loss of love. This compilation offers a sparkling glimpse into the intricate pathway toward self-love and the complex nature of healing. The poems within these pages capture the poignant moment of releasing past pain and the realization that you have the power to provide yourself with everything you might have once sought from someone else. Through patience and time, you embark on a journey of evolution, learning to reflect on your past experiences with an abundance of love. This collection is not just a series of poems; it's a guide to finding beauty and strength in the process of mending a broken heart.

William Butler Yeats was born in 1865 in Ireland, and his childhood and adolescence were spent in Ireland and England. His lifelong concerns are evident in his earliest poetry: history, mythology, and the occult; soon he also took up politics and drama, and he helped found the Abbey Theatre in Dublin. In 1922, he became a senator of the Irish Free State, and he won the Nobel Prize in 1923. The following poems represent his best work through 1921.The S4N Pocket Poems Series presents classic long poems and books of poetry as they were originally presented, free of interpretation and notes, and in an attractive size that can be carried and read anywhere.

"To disrupt the relationship of predator and prey, to reshape one's relation to power, is to renovate the lived and living world," Elizabeth Willis writes in her visionary work that delves deep into the ancient enchantments and disciplinary displays of the circus. Liontaming in America investigates the utopian aspirations fleetingly enacted in the polyamorous life of a nineteenth-century Mormon community, interweaving archival and personal threads with the histories of domestic labor, extraction economies, and the performance of family in theater, film, and everyday life.Lines reverberate between worldliness and devotion, between Peter Pan and Close Encounters, between Paul Robeson and Maude Adams, between leaps of faith and passionate alliances, between everyday tragedy and imaginative social possibility. As Willis writes in her afterword to the book, "The repeated unmaking and remaking of America, as a concept and as an ongoing textual project, is not impossible. It is happening all the time."

A collection of poetry: Volume 1 & Volume 2 detailing 2019-2021.The very first collection in the series of Red Journal Poetry books!

Tipton Poetry Journal, located in the heartland of the Midwest, publishes quality poetry from Indiana and around the world.Statistics: This issue features 33 poets from the United States (20 unique states), and 2 poets from Italy and Ukraine.Our Featured Poem this issue is "Nouns" written by Philip C. Kolin. His poem, which also receives an award of $25, can be found on page 6. The featured poem was chosen by the Board of Directors of Brick Street Poetry, Inc., the Indiana non-profit organization who publishes Tipton Poetry Journal.Barry Harris reviews The Light Most Glad of All by Ken Meisel Barry Harris reviews Salt of the Earth by Patrick T. ReardonMatthew Brennan reviews The Ascension of Sandy's Drive-In by Rodney TorresonCover Photo: Summer Gold by Brendan Crowley.

This book is not merely a of book of English Poems but in fact SMILE is a captivating collection of poetry that delves deep into the intricacies of love, the tapestry of life experiences, and the beauty of nature as well. DR NADEEM IQBAL's words seem painting vivid portraits of human emotions, from the euphoria of love's first bloom to the melancholy of heartbreak. Through introspective but easy to understand verses, He explores the complexities of relationships, the resilience of the human soul, and the profound connections between individuals and the natural world.Each poem has a delicate balance and relation between language and emotion, inviting readers to reflect on their own journeys through love, life's challenges, and the timeless wonders of nature.Poet explores the myriad emotions associated with love - from the ecstasy of newfound affection to the anguish of heartbreak. Each poem reflects the author's intimate observations and personal reflections, inviting readers to journey through the complexities of human relationships. With lyrical qualities and heartfelt sincerity from poet`s Whispers of the Heart to poems to a Smile on your face this book would be a timeless companion for one who is seeking solace, inspiration, and a deeper understanding of the human experience.

"The Book of Poems: Verses of the Heart" (Third Edition) by Greyvalley is a heartfelt anthology that traverses the complex landscapes of love, loss, resilience, and the quest for self-discovery. Through its verses, the book delves into the deep-seated emotions and experiences that define the human condition, offering readers a mirror to their own souls. The poems, rich in imagery and emotion, invite readers on a journey through the myriad facets of life, echoing the universal longing for connection, understanding, and the indomitable spirit of overcoming adversities.

Yet another collectionof words arrangedin a peculiar wayto try to reflectwhat sleeps within

Es obvio: todo esto va de la muerte. De la muerte pequeña, la propia y, asimismo (veremos luego) la de los otros, esos seres que se nos van yendo: abuelos, padres, amigos... seres vivos que se nos adelantan en el morir. Y va, sí (lo iremos viendo también), de la muerte como símbolo o abstracción, o sentido o sinsentido (oh, paradoja) de la vida. O lo que es lo mismo, de una realidad fenomenal (como perteneciente o relativo al fenómeno) que, en su caso, evoluciona hacia una realidad trascendente y, por tanto, a una actitud existencial distinta. Es lo que se observa ya desde el primer poema: CUELGA LA MUERTE /tan blanca /como un ramo de azucenas congeladas. Envueltos en la frialdad (porque es frialdad lo que se siente) de ese ramo de azucenas, pensamos en que, como dijo otro poeta[1]: Todos vamos a morir/ ¿sabemos algo más? Convicción, no por obvia menos sobrecogedora, que nos introduce en el mundo de una de las poetas más inquietantes del paisaje literario actual. Y lo hacemos esta vez a través de una obra generosa en cuanto a extensión, porque en realidad se trata de la unión de cuatro tiempos poéticos independientes: Nadie va a venir ahora salvo la muerte, Un gorjeo de piedra para el pájaro ciego, Dónde pondrá la muerte su mirada y Te mueres, se mueren, nos morimos. Momentos o secciones, como he dicho, sobre un mismo asunto, pero cuyas motivaciones o pérdidas son diversas: la del padre de la poeta, la de su abuela y, la más general, de poetas mujeres con las que la autora se identifica. Porque Odalys es una poeta que, como casi todos, si no todos, los poetas y escritores auténticos, tiene un obsesivo creativo que lleva hasta el límite, sin que ello conspire contra la riqueza de la expresión ni de lo expresado. ABEL GERMAN

Step into the office of acclaimed poet Nathan Nicolau, the place where he ruminates on various topics in between reading emails and grading papers: politics, Buddhism, jazz, and his love for Frank O'Hara. This eclectic collection presents its themes in the edgy, loose, yet playfully poetic style that Nicolau is known for.

Allo Specchio (Confessioni d'Amore) è una silloge di sessantasei composizioni poetiche, molte delle quali precedute da una nota in prosa a mo' di esergo o di introduzione. L'opera ripercorre le tappe affettive di una vita e appare come un diario interiore che testimonia il nascere, l'evolversi, il declinare e infine lo spegnersi di un percorso sentimentale, passando attraverso eventi, emozioni e stati d'animo via via nuovi e contrastanti ma sempre legati e dipendenti dallo svolgersi negli anni dell'esperienza amorosa l'autrice. Il suo valore principale consiste nell'aver celebrato l'amore senza reticenze e inibizioni, svelandone tutti gli aspetti, da quelli più esaltanti a quelli più dolorosi e nell'aver quindi edificato una cattedrale al sentimento umano più ineluttabile, terribile e meraviglioso.Luciano Domenighini Poeta, traduttore e critico letterario.