Dikter

An uplifting collection of poetry about happiness with an introduction by writer, broadcaster and parish priest, The Reverend Richard Coles.

Romanesco Roads is a poetic social history of a pre-internet world, reflecting an enduring, seriocomic Roman spirit.

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