Dikter

Poems about joy - this was the open call to "female poets from every background" about a year ago. The anthology has bore its fruits, with contributions from familiar and brand new voices. From tender poems to noisy and funny ones, you'll get to taste a range of poetry in this volume - combined with the imaginative artwork of Myths n Tits - to... -- Cyngor Llyfrau Cymru

No Depression in Heaven asks how we respond to bad times. Is it better to look backward to a seemingly better past, longing for a way to make things great again? Or is it best to stare into the abyss of the future, gambling that entry into heaven will finally provide release from a weary life? Rejecting both of these dangerous horizons and choosing instead to remain resolutely in present uncertainty, No Depression in Heaven addresses our latter-day anxiety through poetic improvisation, using the text as a space of play and experimentation. Drawing inspiration from a variety of sources, both musical and poetic - and taking its title from a famous Carter Family song - it asks what it means to hold onto something toxic because of the comforts it affords, to daydream about days long past rather than gripping the reins of the present.Written amid country music's ascent in popularity, No Depression in Heaven consists of ten "tracks" that each take up a rhythm, only to bend it out of shape. This is a book that pulls on its boots, tilts its hat, and brushes the dust off its Nudie suit before tipping language out of key.

a novel uv pomes threding thru each othr th main charaktrs langwage n all uv us hedding off in all direksyuns ths book asks is langwage lost wev had creativ langwage almost 7 thousand yeers we still dont undr stand each othr veree well dew we want 2 thru th mysteree loves n rapturs speek

In The Book of Z, Rahat Kurd turns to classical Persian and Urdu poets whose work responds passionately to mystical possibilities - above all, longing for divine union - found within scriptural language. Zulaykha, the mytho-poetic figure known as "the wife of the Aziz" in the Qur'an or "the wife of Potiphar" in the Bible, was championed by early Sufi poets, most likely those writing in Persian, who felt moved to give her a name. For a thousand years, Zulaykha has been as much celebrated as a lover in Muslim folk tradition and Persian and Mughal miniature painting, as the wife of Potiphar was cast as temptress in misogynistic cautionary tales and canonical Western art. Kurd writes in the vividly imagined voice of a Zulaykha who considers her Abrahamic lineage from its estranged and fragmented reality, asking what consolation human desire and divine longing might offer our shared present tense.

In this significant contribution to aesthetic philosophy from one of the foremost writers on American poetry, Charles Altieri champions the neglected, non-cognitive, aspects of our encounters with works of art.Carefully argued with exemplary readings of poems, paintings and fiction, Imaginative Experience in the Arts outlines a new impetus for criticism and liberal education grounded in the way art stimulates our powers of imagination and enriches our experience of the world.In contrast to literary critics and philosophers who argue for the importance of aesthetic experience by subordinating it to knowledge and practical concerns, Altieri defends a view of subjective imaginative experience as important in itself, and already socially oriented. To do so, he proposes a distinction between "experience of" and "experience as," discriminating between cognitive practices and no less valuable practices involving enhanced attention; in turn, he provides a model for criticism of the kinds of description and responsiveness appropriate for aesthetic experience understood as such. Chapters test Altieri's concepts about the nature of aesthetic experience against readings of canonical poems, novels and paintings, by Langston Hughes, Giorgione, Cézanne, Silvia Plath, Emily Dickinson, Baudelaire, Virginia Woolf, William Carlos Williams and Mina Loy. Two appendices cover the limitations of AI poetry, and review other important arguments for the powers of imagination.

Li Qingzhao is justly celebrated for her place in Chinese literary history. She was a poet with a wry, unsentimental style and a rich sense of melody. He ci - lyrics that were originally set to music - are glorious in their depth and genius, spare and arresting on the line. They evoke with rare immediacy the haunting beauty of country life during the Song dynasty; the unseen, restive labour of the poet; and Li Qingzhao's bracing take on what it means to create art as a woman in the shadow of exile, war, imprisonment, and an unwelcoming literary establishment. In Wendy Chen's splendid new translation, each poem is as sharp and fresh as the edge of a new spring leaf. These richly textured bolts of melody are masterpieces of verse, as resonant and bracing today as they were in the eleventh century; and they underscore Li Qingzhao status as a necessary and iconic literary figure.

A collection of of poetry by one author

These are short stories presented in poetic form. The cadence of poetry lends air and space to a story and heightens anticipation. There is war, loss, love and redemption in this work.Accompanying these poems are some gritty short stories with twists as unexpected as a Twilight Zone episode. They are at times stark and unforgiving.

Ogden Nash was the master of humorous poetry. His clever use of language and puns made many of us smile and see each day in a brighter light. While not all of his poetry was light-hearted - he could be somber and address disturbing topics - his writing was mostly joyful and witty. We still quote many of his beloved lines, like 'Candy is dandy but liquor is quicker.'This book contains a collection of his largely humorous poems, filled with frequent puns. Occasionally, you may come across a more serious selection that might make you pause and ponder. We hope some of these phrases resonate with you and perhaps stick in your mind for future use. Enjoy the poetry!

Have you ever wondered why?It is my pleasure to share this debut collection of poetry. Words are escapes. Each poem is powerful. Brave. My own creation. A work of delight. Rich. Playful. Sometimes fragile. Erotic love alive to the world. Dizzying. Tangled. Some written as a young girl. Some homeless. Some in love. Institutionalized. I write you with the love of life. With confidence. The sparkle and glitter of poetry. A rare wine. A fortune. An expose of lifeblood. And a passionate love affair. I leave these poems in your hands. Here is my poetry in motion. This is why.

The TV shows images of heads without bodies and babies wandering the streets all night... Just before sunrise, his blind eyes shine brighter than the sky, illuminated only by memory... The sudden, enveloping embrace of darkness is creamy in its softness, making you marvel at the world's perfection... Daring children to be young, sharing lunch with someone I once loved... Trust betrayed, messages relayed, bets hedged... Gracie lost herself again; her daughter found her in the basement with the photos... A bird twitters away the summers in a movie's belfry... Shriveled worse than a museum fetus drowning in formaldehyde... Pray the boy will learn to read before he learns to kill... The pizza guy slips a homeless man a few quarters... Moonlight bike rides along the river, conversations with the cat... If I touch the sky, how will I know... A glimpse of heaven through the kitchen window... Because no one can speak the sacred word, and no one knows more than they should...What the "#x@+" is he 'saying'? ... Read on!

'Zion' is an imaginary place of peace, happiness, and victory. It has been my life's ambition and pursuit. It has been a dream. An unattainable dream. Since Adam bit the poison apple in the Garden of Eden, mankind has been under a curse - to work at the sweat of his brow for his bread. This causes all of humanity to moan in existential pain. We long for meaning and for love.Originally, 'Zion' was the hill in Jerusalem upon which Solomon built his temple. Zion since then, has come to mean the holy city. Zion is the party, should there ever be one after the defeat of evil in the apocalypse. To me, it is something to hope for, to strive for. However, as life's problems obstruct the attainment of such a state, we begin to sink into complacency and misery. There's poverty, heartbreak, and people who want to put you in a cage. After all that - you die.Zion and Me is divided into three parts. 'Haphazard Lines' is mostly Biblical as I had recently converted to Christianity, and includes some speculation on the divine. 'This Lovely Day' is more secular and reflects again on life's melancholia among other lessons to be learned. Finally, 'Love Poems' is self-explanatory and concerns various concepts related to love like longing and sadness. Zion and Me is an attempt to explain the ambiguity that goes with the necessity of discovering life's secrets and to gain insight and wisdom.

Cet ouvrage analyse les relations entre écriture et tradition à partir d'une réflexion sur la notion de figure tutélaire conçue comme modèle d'écriture et incarnation d'un héritage littéraire. Dans le prolongement de la tradition de l'imitatio, la figure tutélaire est envisagée au sens de "maître" ou de guide qui acquiert une fonction exemplaire dans le processus de création. Les contributions étudient les diverses modélisations des "Phares" (Baudelaire) dans la poésie et la prose de langue allemande aux 20e et 21e siècles. Le point de départ de la réflexion est l'ouvrage de Harold Bloom The anxiety of influence, qui considère les rapports entre l'écrivain et ses modèles comme une impitoyable 'psychomachie'. Si le concept d'Einfluss-Angst s'applique à la quête d'originalité de la modernité classique, on constate après 1945 l'élaboration de nouvelles formes d'interauctorialité et d'intertextualité. La notion d'Einfluss-Angst fait place à celle d'Einfluss-Lust propre aux écritures postmodernes.