Download Free Cordite Book in PDF and EPUB Free Download. You can read online Cordite and write the review.

Poetry. Women's Studies. "I once wrote to a poetry advice column because I was afraid of my emotions and the havoc they wreaked on me. I called them 'a huge problem' but Diana Hamilton comforted me and wrote: 'Feeling pleasure is a legitimate way of developing as a person-writer!' We got a kitten and I tried to write poems for her. Or some other (many) times I had a thought and realised I shouldn't say it out loud only to find myself speaking it. When these turned to poems. Could there be a poet in the sense of a hare or another graceful creature or perhaps bitter and less warm-blooded..."--Elena Gomez
San Diego was a powder keg waiting to explode. Cutter Grogan was the spark to light it. Alejandra 'Aleja' Gutierrez died in San Diego. An accident, the police said. Murdered, her mother insisted. Cutter figures she is mistaken. He'll visit the city however, meet the investigating officers and get back to Jenna Gutierrez. In San Diego, he finds there is a Russian bratva waiting for him. The Sheriff wants him out of town. Unidentifiable people are tailing him. And that's not to mention the thugs who attacked him in New York soon after his meeting with Jenna. Everyone seems to be out to kill him and his luck is running out. Will he survive long enough to know why everyone wants him dead? Set at the relentless pace readers have come to love, Cutter Grogan is back and better than ever. 'If you like Gregg Hurwitz, David Baldacci and Lee Child, you'll love Ty Patterson'
Poetry. Literary Nonfiction. Asian & Asian American Studies. Middle Eastern Studies. Women's Studies. "As I discovered in putting this collection together, the central impulse in my poetry is duality--what it means to be both body and spirit, alone and together, certain and unsure, permanent and still so temporary. I have spent much time trying to reconcile these opposing states within myself, ultimately, and very personally, so that I can live with some degree of honour. I hope THAT SIGHT exposes the humanness of this endeavour, grappling with the limits of either / or to arrive, momentarily, at the broader expanses of also / and."--Marjon Mossammaparast
Poetry. Literary Nonfiction. Women's Studies. "Calenture. The first time I heard the word, I saw her diving. From the cliffs of Kuttawa, her long arc into the lake they flooded a town to create. A fever so verdant it calls you by name. The water was vaguely green-edged that summer. Some algal bloom, which never hindered my sister. I never jumped. Not then. Years later, the fever came for me, blind in her wake. It called me by her name. "Poe said 'the death of a beautiful woman is, unquestionably, the most poetical topic in the world.' I don't want it to be true, but here we are. Every elegy needs an author. And then, an autopsy. "In the decade after she died, my poetry became diagnostic, archaic, hysteric, mesmeric. This book is ossuary to a constellation of deaths, some sudden, all strange. It is also a catalogue of medical and mercurial oddities, curiosities that call forth the exquisite corpse hard at work beneath our living flesh. The echolalic duet between what is lost and what is left behind. The phantom limb. The wandering womb. The book bound in skin. The face that ghosts itself. The fever dream that ends in drowning. The writhing grace of speaking in tongues. The Holy Ghost, that only permissible husband in the unkempt dance of our girlhood. Home: our pale host to long winters and shared delusions, borne of boredom and endless grooming. The countless ways in which we coaxed our bodies into clothes and, later, coffins. "This is what I know, now. It is never banal to watch someone unfurl. "Come in, won't you? The grass is fine."--Lindsay Tuggle
'My poems are visual representations of reading. I imagine the context of the linguistic event, and within that make one gesture. To work through an idea may take many separate gestures, producing something like variations.' -- Alex Selenitsch Widely exhibited artist, architect and concrete poet Alex Selenitsch explores the graphic potential of language in striking sequences of concrete poetry. 'Selenitsch's cross-disciplinary practice blurs the boundaries between poetry, visual art and design. His compositions focus our attention on our habitual mode of looking and reading; they invite us to look, hear and conceive our designed world afresh.' -- D J Huppatz
Russ Farran has a plush mansion and millions stashed away in the bank, all garnered from his 1950s Los Angeles aeronautics empire. But that empire is teetering on the brink of bankruptcy, due to a series of persistent labor strikes that seem to be provoked by agitators. Then he encounters an old friend, a private investigator, lying next to his desk with a neat, blue-rimmed hole in his head. The cops and the feds both think that Farran did it. The industrialist finds that that his millions won't help him, and he's forced into hiding. Only his sister and his murdered friend's beautiful widow still have faith in his pleas of innocence. But before he can help anyone else, he first has to help himself by identifying just who his real enemy is--the ruthless, scheming mastermind who's systematically framed him, and who wants to take over his business... A great period suspense thriller!
We see the bloodshed, the hatred, the greed, the ruthless brutality in the world, and then we look to see who is making or letting this madness happen. We find that male excesses, not male needs - certainly not women's and children's needs - drive the world.
Poetry. Indigenous Australian Poetry. When Teena McCarthy told me she had constructed this book from poems, lines, phrases and images that she had written on odd-sized pieces of paper and had gathered them until they formed a manuscript, I immediately thought of Emily Dickinson, who also wrote many of her poems on the backs of envelopes and scraps that had been used as shopping lists. The connection is not far-fetched: McCarthy connects startling images to form intense visions that vibrate with arresting music. The poems in BUSH MARY work on multiple levels 'Äì woven from history, life experience and metaphor are visionary chords made of words. Images appear gradually, sometimes over several pages, like photographic prints forming in developing chemicals. I want to use the word--mystical' here--harsh and beautiful, these poems ache with reality and seem to bring poetry back to life again. This book reads as if written by a poet working before the last century of modernism; albeit aware of that era, it comes from the pre-dawn of poetry before it became clogged with the 'Äòanxiety of influence' and experimental verse. Maybe the poems trace mystic notes. McCarthy's visions and dreams--abstract stories--bristle with a technique and meaning that became a triumph. It's the confidence of a poet who has nailed it, then shaped her season in hell into an instrument that sings. It is poetry created from transformed traumas, and importantly, effortless praise, for both survivors and old ghosts that flash behind the present moment or line from the past. As we read, yesterday, today and tomorrow mix, and a generous spirit is revealed that doesn't grow bitter even after every rotten deal has been broken and served up to the poet and her people. There's only the poem, only the new life to be written and lived out, only the song that strikes into your soul, reinventing love and compassion by its flashing words and naked statements. In the fifth century, Saint Augustine said, A virgin conceives, yet remains a virgin: a virgin is heavy with child; a virgin brings forth her child, yet she is always a virgin. McCarthy, almost 2000 years later, replies, We can no longer escape / into the truth of Bush Mary, / we're non-virgin, / used by carnal. / She is every body. / Bush Mary blood'. Then, like Eurydice, 'ÄòShe has no voice. McCarthy creates that voice in profoundly visual poems, and answers the colonising First Fleet and its following Christians: She is a single mother / with a bush / She is the fucking Holy Ghost. Robert Adamson
Poetry. Crawford tills the ecological value of mnemonic and affective archives where an early subjective attachment to the natural overcomes exploitative human-nature relationships. KOEL creates a third mindscape that explores cohabitant intimacies across species within the warm and dewy contexts of childhood memory, adolescent desire, and the adult effort to survive without harming other creatures."