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For many readers, John Keats's achievement is to have attainted a supreme poetic maturity at so young an age. Canonical poems of resignation and acceptance such as 'To Autumn' are traditionally seen as examples par excellence of this maturity. In this highly innovative study, however, Marggraf Turley examines how, for Keats, an insistence on 'boyishness' in the midst of apparent mature imagery is the very essence of his political contestation of the literary establishment.
The playground at Saint Thomas Moore School in Houston has become a terrifying place. When Sister Agnes hears young Will's fiery funeral sermon for a dead bird, she must comfort a group of fearful students. At the forceful insistence of his teachers, Will Powers reluctantly stops his explosive sermon. Will's teacher thinks that his parents, and particularly his father, seem very troubled. The parents won't return Sister Agnes's phone calls about similar events involving Will. School psychologist Sister Andrea Albright turns for help to a trusted psychiatrist friend, Dr. Tom Tolman. The ensuing therapy is seen from Will's perspective and the "helpful" adults around him. Those who would aid the boy instead reveal perspectives on psychotherapy's ability to thwart the evil of malignant self-absorption. And along the path of Will's therapy, Sister Andrea and her friend Tom find genuine love and romance. A Boyish God is a troubling novel with deep insights. Says the author, "I was jolted to my core when I learned that a college friend's son died at the Rev. Jim Jones's side at Jonestown. Two books and over thirty years later, I am still searching for answers...especially about terror prevention." Peter Alan Olsson is a retired psychiatrist/psychoanalyst. His four published nonfiction books are Malignant Pied Pipers of Our Time: From the Rev. Jim Jones to Osama Bin Laden; The Cult of Osama: Psychoanalyzing Bin Laden and His Magnetism for Muslim Youths; If I Knew Then What I Know Now: Advice to a Young Psychotherapist; and Poems Behind a Psychiatrist's Couch.
Following a busy evening playing pirates, Darryl M. Jean and his friends were exhausted. They lay on the grass looking at the blue sky and the moving clouds. After a long moment observing the scenery, they discussed what they wanted to be when they grew up. The quietest of the boys, when pressed by his friends on what he wanted to be when he grew up, he simply replied that he wanted to be a vampire. The boys were amazed. Never had they thought of that. Prince mentioned a vampire was spotted at the graveyard, and he planned to meet him there. The children quickly gave way to their imagination. They formed a vampire club and all agreed to accompany Prince for the initiation. The children woke up in the middle of the night to meet the vampire, but when they were spotted in the streets and later at the graveyard, the whole town was set in terror.
The poems in Boyish reveal a reconciliation of southern and queer identities, following the poet from a Louisiana Baptist upbringing into transgender liberation. With a sense of rebellion and the revival of the hollered voice, this is an urgent narrative propelled by the necessity of upheaval, imagining what happens when we break through barriers of systemic violence and communal oppression to reconsider what could be. Boyish looks back at the status quo in order to move beyond, into a dream of a nonbinary utopia. A reckoning, this collection brings the reader along for revolution--a deep belief in possibility. Each page builds tension that then shatters, bringing us into the interior of a story. Brody Parrish Craig invites us to carve out a space and to find ourselves carried over the gravel along the creek. Moving through the subconscious and embodied desire, these poems are rich with formal play, twisting language in dense sonnets. Landscapes of the city's dystopia meet the queer pastoral, where conservation often means knowing what must be burned down.