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This fascinating drama, staged to acclaim in London and New York, has in its cast of characters Lord Byron, Percy Bysshe Shelley, Mary Shelley and Claire Goodwin. The play is about radicalism artistic, political and more. Taking place in Italy, it concerns the characters' various ideas about radical politics and free love. Along the way, a number of serious questions are raised, not the least of which is why fervent radicals seem so often to be done in by their reprehensible characters. At the end of the play Byron attends the cremation of Shelley on the beach at Viareggio and delivers a stunning ovation over the pyre: "Burn him. Burn us all. A great big bloody beautiful fire."
Shortlisted for the Booker Prize and an international bestseller: a brilliant meditation on truth, power, and (in)sanity. A BBC Radio 4 Book Club pick The year is 1869. A brutal triple murder in a remote community in the Scottish Highlands leads to the arrest of a young man by the name of Roderick Macrae. A memoir written by the accused makes it clear that he is guilty, but it falls to the country’s finest legal and psychiatric minds to uncover what drove him to commit such merciless acts of violence. Was he insane? Only the persuasive powers of his advocate stand between Macrae and the gallows. Graeme Macrae Burnet tells an irresistible and original story about the provisional nature of truth, even when the facts seem clear. His Bloody Project is a mesmerising literary thriller set in an unforgiving landscape where the exercise of power is arbitrary.
Siamanto (1875-1915), one of the most important Armenian poets of the twentieth-century, was among the Armenian intellectuals executed by the Turkish government at the onset of the genocide during the first decade of the century. Available for the first time in English translation, his Bloody News from My Friend depicts the atrocities committed by the Ottoman Turkish government against its Armenian population. The cycle of twelve poems bears the imprint of genocide in a language that is raw and blunt; it often eschews metaphor and symbol for more stark representation. Siamanto confronts pain, destruction, sadism, and torture as few modern poets have. Peter Balakian's critical introduction places Siamanto's poems in literary and historical context. The translation by Balakian and Nevart Yaghlian allows readers to hear Siamanto's startling and arresting voice in a fresh, vernacular language.
As if she discovered a small army of silenced women captive in her pen, Megan Falley releases them in the spilled ink that is her most brilliant collection of poems, After the Witch Hunt. Demanding "if you really love a writer, bury her in all your awful and watch as she scrawls her way out," her book does exactly that. An incessant digging, a journey in building escape routes, armed with both humor and a brazen darkness, each poem in this book of bloodletting is another swing of the pick and axe in this young woman's labor, insistent upon light.
Nicole Homer's first full-length poetry collection, Pecking Order, is an unflinching look at how race and gender politics play out in the domestic sphere. Homer challenges the notion of family by forcing the reader to examine how race, race performance, and colorism impact motherhood immediately and from generation to generation. In a world where race and color often determine treatment, the home should be sanctuary, but often is not. Homer's poems question the construction of racial identity and how familial love can both challenge and bolster that construction. Her poems range from the intimate details of motherhood to the universal experiences of parenting; the dynamics of multiracial families to parenting black children; and the ingrained social hierarchy which places the black mother at the bottom. Homer forces us to reckon with the truth that no one–not even the mother–is unbiased.
This is a dynamic collection of poems. The poems bounce effortlessly from clever similes to ancient mythological references to intriguing characters, but these devices are never deployed simply for their own sake, they are each used to the benefit of the poem, to the benefit of the reader.
Favorite Daughter is a poetry collection trying to uproot America from inside the body, and find where China is buried underneath. Divided into four parts, Daughter explores ideas like navigating hybridity, localism, and harmony in ways that disturb commonly-held notions about broad terms like "belonging" and "cultural struggle." A compilation of immigration stories, Chinese radio segments, Google translate entries, and dictionary remixes, Huang immerses herself in everything she is uncertain of.
Derrick Brown's fourth and final collection of poetry and short stories is a unrelenting machine of honesty that has been called his finest collection of new work. Strange Light takes us back to the docks, to a violent drama class and boring prom, an undersea conversation with Jacques Cousteau, and into his famous romantic bursts of verse. The epic poem, Strange Light, anchors this collection as one of the most inventive and potent collections of modern American poetry. About.com called his 2009 collection Scandalabra, one of the best books of the year. Everything hilarious and stirring is illuminated. The power of Strange Light is waiting.
This book is a powerful examination of life in America for Filipino Americans and people of Asian descent. Bayani doesn't preach, but he comes across as an energetic pastor, thoughtful, graceful and ready. This arsenal of work he has been sitting on for the past decade is funny, political, well crafted verses that shines a light on what it means to be an American, an artist, A Filipino.
In The Year of No Mistakes, Aptowicz goes cross country and tackles themes like love, lust, heartache and ambition in poems set in cities across the United States. While the backbone of the book is the slow break-up of her decade-long relationship, the heart remains Aptowicz falling in love with Americana. Sharply observant and unflinchingly truthful, her poems may be funny or heartbreaking, spare or lush, bright or dark, but they are always honest and engaging working class poems. Written during the fellowship year of her National Endowment for the Arts grant, poems from this collection have already been published in over four dozen literary journals and have been performed in venues across the country.