Download Free Alison White Poems Book in PDF and EPUB Free Download. You can read online Alison White Poems and write the review.

Poetry. "An oblique conversation with Degas reigns throughout this collection of oddly heartbreaking pieces. Against the backdrop of his paintings and sketches, we find ourselves in an intimate world, coherent but uncanny, where private memory becomes inseparable from the culture we hold in common, and all of it just barely cracked open, riven by interstices through which we glimpse the vivid but unsayable. White has given us a truly exceptional first collection, deeply musical and intricately haunting" Cole Swensen."
Alison White first studies drama at Dartington College of Arts, but soon found that poetry offered her a more natural form of creative expression. Alison draws her inspiration from the people, places and everyday experiences that surround here. She currently lives by the sea in Bacton, Norfolk,
"A powerful meditation on grief and the radiating effects of violence against women. "Because it is easier to miss a stranger / with your mother's name," Allison Benis White instead writes about five women named Wendy as a way into the complex grief that still lingers after the death of a sixth Wendy, the author's long-absent mother. A series of epistolary poems addressed to Wendy O. Williams becomes an occasion for the speaker to eulogize as well as reflect on the singer's life and eventual suicide: "What kind of love is death, I'm asking?" In the section devoted to Wendy Torrance, the fictional wife from The Shining who was bludgeoned to death by her husband, the speaker muses on the inadequacy of language to resolve or even contain grief in the wake of trauma: "A book is a coffin. Hoarsely. A white sheet draped over the cage of screaming." Ultimately, The Wendys is a book of silences and space in which tenderness and violence exist in exquisite tension. "If to speak is to die," Benis White writes in "Ignis Fatuus," "I will whisper.""--
A series of letters on the death of the speaker's father that investigate loss and language's limits and ability to transcend our temporal lives
Library of Small Catastrophes, Alison Rollins’ ambitious debut collection, interrogates the body and nation as storehouses of countless tragedies. Drawing from Jorge Luis Borges’ fascination with the library, Rollins uses the concept of the archive to offer a lyric history of the ways in which we process loss. “Memory is about the future, not the past,” she writes, and rather than shying away from the anger, anxiety, and mourning of her narrators, Rollins’ poetry seeks to challenge the status quo, engaging in a diverse, boundary-defying dialogue with an ever-present reminder of the ways race, sexuality, spirituality, violence, and American culture collide.
AS HEARD ON BBC RADIO 4'A searingly honest depiction of raising a disabled child . . . Intimate, sometimes heartbreaking and often funny, this letter of love is essential reading.' Mail on Sunday'It's so good - a beautiful piece of writing that really did have me gripped from the first page. What an achievement.' Cathy Rentenbrink, bestselling author of The Last Act of Love'Heartbreaking . . . beautifully written . . . in equal measure, admirable, uplifting, terrifying.' Louise Doughty, ObserverThis is a memoir about hope - hope in others, hope in systems, and hope for the future.I've never quite known where to begin when someone asks me what I've been up to. I've never quite known how to explain what our daily life is like. I wanted to write how it is in order to give others a greater understanding of disability and caring. And to be totally honest, I wanted to write something that would make people consider being Louis's friend.So here is me introducing you: Louis, this is your story. Readers, this is my son.
Small Porcelain Head examines grief and coping mechanisms for loss in the aftermath of suicide
In Persephone in America, Alison Townsend deftly weaves autobiography with myth in this reinvention of the tale of Demeter and Persephone as seen from the modern woman’s perspective. Fraught with emotional honesty, this captivating collection of lyrical and narrative poems chronicles the struggles of the figurative Persephone in three parts—the abduction, descent to the underworld, and return. Townsend turns a shrewd eye to her own experiences, as well as to the lives of other women, to offer an unflinching yet deeply compassionate exploration of such themes as girlhood and the vulnerability of the motherless; the demons of depression, addiction, and abuse; as well as passion, aging, and celebration of the natural world. Although the poems traverse dark emotional territory at times, the picture that emerges ultimately is one of revelation and wisdom. Persephone in America is above all a journey of the soul, following the narrator as she explores what it means to be a woman in America, at times descending into darkness, only to emerge into redemption and realize “time’s sweet and invincible secret—that everything repeats—and we watch it.” Townsend’s candid portrait of female loss and discovery seeks to illuminate the truths inherent in myth, and the awakenings that hide in our darkest moments. Persephone, Pretending (Madison, Wisconsin) When the news says that the girl who had been missing almost four days, only to be found in a marshy area at the edge of our medium-sized city, was faking it all along, I wondered what made her do it. I'd seen her face—bright smile, dark eyes— on a flier masking-taped to a pillar at the airport the week before, felt the involuntary frisson of the curious, then only fear at the thought of a girl abducted in this place once voted "America's most livable city." She must have wanted something she couldn't name, that good girl with good grades who looks like so many girls in my own classes, but who keeps changing her story. It happened here; no, it happened there; no, I really just wanted to be alone. Then she turns her face away, tired of telling her tale, not sure what to make up next or where invention will take her. “Fictitious victimization disorder,” Time magazine claims, but I wonder what else, imagining her in the marsh, cold, unrepentant, powerless, her mind gone muddy with lack of sleep, no way out of this lie she almost believes, or the lies ahead, nothing but memory of the rope, duct tape, cough medicine, and knife she bought at the PDQ with her own cash, wanting to be taken by someone so badly, she takes us, she does it to herself.
One hundred fifty poems by seventy-five poets offer an inclusive collage of voices--protest poems of the Chicano farmworkers' movement, campfire cowboy songs, sacred Native American songs, and works by Willa Cather, Langston Hughes, Adrienne Rich, and other canonical figures--from a land where cultural collision is part of the rugged landscape.
"So compelling it gave me goosebumps from the very first pages." —ISABEL ALLENDE A family saga: four generations of mixed–race African American, Native American, and Irish women experience intergenerational trauma as well as the healing brought by nature and music, leading to triumphant resilience. Mostly White begins in 1890 when Emma, a mixed–race Native American and African American girl, is beaten by nuns and confined in a closet for speaking her language at an Indian Residential school in Maine. From there, a tale that spans four generations of women unfolds. Emma's descendants suffer the effects of trauma, poverty, and abuse while fighting to form their own identities and honor the call of their ancestors. ALISON HART studied theater at New York University and later found her voice as a writer. She identifies herself as a mixed–race African American, Passamaquoddy Native American, Irish, Scottish, and English woman of color. Her poetry collection Temp Words was published by Cosmo Press in 2015, and her poems appear in Red Indian Road West: Native American Poetry from California (Scarlet Tanager Books, 2016) and elsewhere. Hart lives in Alameda, California.