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Rich treasury of verse from the 19th and 20th centuries includes works by Edgar Allan Poe, Robert Frost, Walt Whitman, Langston Hughes, Emily Dickinson, T. S. Eliot, other notables.
Prozac has side effects, drinking gives you hangovers, therapy's expensive. For quick and effective relief -- or at least some literary comfort -- from everyday and exceptional problems, try a poem. Over the ages, people have turned to poets as ambassadors of the emotions, because they give voice and definition to our troubles, and by so doing, ease them. No matter how bad things get, poets have been there, too, and they can help you get over the rough spots. This is the first poetry anthology designed expressly for the self-help generation. The poems listed include classics by Emily Dickinson, Lord Byron, Ogden Nash, and Lucretius, to name just a few, along with newer works by such current practitioners as Seamus Heaney and Wendy Cope. This book has a cure or consolation for nearly every affliction, ancient or modern. And no side effects-except pleasure.
A fine collection of one hundred and one poems compiled by Gordon S McCulloch covering a wide range of topics such as love, romance, relationships, religion, prayers, the meaning of life, death and our relationship with God.Some have been written in a manner that will provoke your innermost emotions, while others dig into the amusing side of life.All have been composed under the auspices of the Muse.
DIVExamines the "golden age" of the culture of the Ottoman empire in the 16th century, exploring sexuality, gender and literary society, as well as the demographics, economics, politics, society of love and other cultural productions of the Ottoman/div
For this companion to her New York Times best-selling collection A Family of Poems, Caroline Kennedy has hand-selected more than a hundred of her favorite poems that lend themselves to memorization. Some are joyful. Some are sad. Some are funny and lighthearted. Many offer layers of meaning that reveal themselves only after the poem has been studied so closely as to be learned by heart. In issuing the challenge to memorize great poetry, Caroline Kennedy invites us to a deeply enriching experience. For as she reminds us, “If we learn poems by heart, not only do we have their wisdom to draw on, we also gain confidence, knowledge and understanding that no one can take away.” Illustrated with gorgeous, original watercolor paintings by award-winning artist Jon J Muth , this is truly a book for all ages, and one that families will share again and again. Caroline’s thoughtful introductions shed light on the many ways we can appreciate poetry, and the special tradition of memorizing and reciting poetry that she celebrates within her own family.
It has often been said that love, both sacred and profane, is the only true subject of the lyric poem. Nothing better justifies this claim than the splendid poems in this volume, which range from the writings of ancient China to those of modern-day America and represent, at its most piercing, a universal experience of the human soul. Includes poems by John Donne, Christina Rossetti, W. H. Auden, Edna St. Vincent Millay, Robert Graves, e. e. cummings, Dorothy Parker, William Shakespeare, Sappho, Bhartrhari, Anna Akhmatova, and W. B. Yeats, among many others.
“Listen, are you breathing just a little, and calling it a life?” —Mary Oliver This luminous anthology brings together great poets from around the world whose work transcends culture and time. Their words reach past the outer divisions to the universal currents of love and revelation that move and inspire us all. These poems urge us to wake up and love. They also call on us to relinquish our grip on ideas and opinions that confine us and, instead, to risk moving forward into the life that is truly ours. In his selection, Roger Housden has placed strong emphasis on contemporary voices such as the American poet laureate Billy Collins and the Nobel Prize–winners Czeslaw Milosz and Seamus Heaney, but the collection also includes some timeless echoes of the past in the form of work by masters such as Goethe, Wordsworth, and Emily Dickinson. The tens of thousands of readers of Roger Housden’s “Ten Poems” series will welcome this beautiful harvest of poems that both open the mind and heal the heart.
Love poetry in the Spanish Golden Age redefines the lyric poetry that is located at the centre of Imperial Spanish culture's own self-image and self-definition. This work engages with a broader evaluation of early modern poetics that foregrounds the processes rather than the products of thinking. The locus of the study is the Imperial 'home' space, where love poetry meets early modern empire at the inception of a very conflicted national consciousness, and where the vernacular language, Castilian, emerges in the encounter as a strategic site of national and imperial identity. The political is, therefore, a pervasive presence, teased out where relevant in recognition of the poet's sensitivity to the ideologies within which writing comes into being. But the primary commitment of the book is to lyric poetry, and to poets, individually and intheir dynamic interconnectedness. Moving beyond a re-evaluation of critical responses to four major poets of the period (Garcilaso de la Vega, Herrera, Góngora and Quevedo), this study disengages respectfully with the substantialbody of biographical research that continues to impact upon our understanding of the genre, and renegotiates the Foucauldian concept of the 'epistemic break', often associated with the anti-mimetic impulses of the Baroque. This more flexible model accommodates the multiperspectivism that interrogated Imperial ideology even in the earliest sixteenth-century poetry, and allows for the exploration of new horizons in interpretation. Isabel Torres isProfessor of Spanish Golden Age Literature and Head of Spanish and Portuguese Studies at Queen's University, Belfast.
Tracing the solitude of the American self, the difference between idolatrous and companionate affection, and the dream of an "America of love," Eric Murphy Selinger shows how such concerns can shape a poet's most intimate decisions about genre and form. His lucid, elegant prose illuminates not only well-known love poets, including Emily Dickinson and William Carlos Williams, but also more unexpected figures, notably Wallace Stevens and Mina Loy. Like the poets he discusses, Selinger refuses to view love reductively. Rather, he takes the impulse to debunk love as part of his subject, whether it crops up in Puritan theology or contemporary literary theory. As he details Whitman's courtship of his readers, weighs the restorations of romance in H. D. and Ezra Pound, and demonstrates the bonds between poets as disparate as Robert Creeley and Robert Lowell, Selinger establishes love poetry as an essential American genre.
How W. H. Auden’s emigration to the United States changed the course of postwar American poetry W. H. Auden's emigration from England to the United States in 1939 marked more than a turning point in his own life and work—it changed the course of American poetry itself. The Age of Auden takes, for the first time, the full measure of Auden's influence on American poetry. Combining a broad survey of Auden's midcentury U.S. cultural presence with an account of his dramatic impact on a wide range of younger American poets—from Allen Ginsberg to Sylvia Plath—the book offers a new history of postwar American poetry. For Auden, facing private crisis and global catastrophe, moving to the United States became, in the famous words of his first American poem, a new "way of happening." But his redefinition of his work had a significance that was felt far beyond the pages of his own books. Aidan Wasley shows how Auden's signal role in the work and lives of an entire younger generation of American poets challenges conventional literary histories that place Auden outside the American poetic tradition. In making his case, Wasley pays special attention to three of Auden's most distinguished American inheritors, presenting major new readings of James Merrill, John Ashbery, and Adrienne Rich. The result is a persuasive and compelling demonstration of a novel claim: In order to understand modern American poetry, we need to understand Auden's central place within it.