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Music may be the universal language that needs no words the language where all language ends, as Rilke put it but that has not stopped poets from ancient times to the present from trying to represent it in verse.Here are Rumi and Shakespeare, Elizabet
This book shows how Ancient Christians both used curses and criticized them in ancient Mediterranean religion and society.
Spells of Solemn Songs is a collection of poems that raises strident voices of confrontation against the bastardisation of the space on political, economic, religious and foreign fronts as well as condemns without fear the lacklustre attitudes of some apathetic figures. It further redirects minds to some ideal African ethos and humane values that engender communal and social well-being and oneness. Carved in a language so mellifluous and so unreservedly resolute, its matchless rhythimic cadence enhances easy reading, flow and comprehension while critically challenging the readers’ perception of the world around.
The Lost Words by composer James Burton takes its inspiration and text from the award-winning 'cultural phenomenon' and book of the same name by Robert Macfarlane and Jackie Morris: a book that was, in turn, a creative response to the removal of everyday nature words like acorn, newt and otter from a new edition of a widely used children's dictionary. Both the book and Burton's 32-minute work, which is written in 12 short movements for upper-voice choir in up to 3 voice parts (with either orchestral or piano accompaniment), celebrates each lost word with a beautiful poem or 'spell', magically brought to life in Burton's music. At its heart, the work delivers a powerful message about the need to close the gap between childhood and the natural world. Burton's piece was co-commissioned by the Hallé Concerts Society for the Hallé Children's Choir and the Boston Symphony Orchestra. The piano accompaniment version was premiered at the Tanglewood Festival in 2019 by the Boston Symphony Children's Choir, of which Burton is founder and director. The Hallé Children's Choir will premiere the orchestral version of the full work in Manchester, UK, post-pandemic. Vocal Score Co-commission by Boston Symphony and Hallé Concerts Society for their respective Children's Choirs. Two versions - with orchestral or with piano accompaniment. The vocal score is the same for both versions. James Burton is a composer but also a conductor. He is conductor of the Tanglewood Festival Chorus and choral director of the Boston Symphony. The book The Lost Words, exquisitely designed, has won multiple awards and is an international best-seller. The vocal score includes Jackie Morris's beautiful imagery in its cover design.
Available for the first time in paperback, The Collected Poems of Frank O'Hara reflects the poet's growth as an artist from the earliest dazzling, experimental verses that he began writing in the late 1940s to the years before his accidental death at forty, when his poems became increasingly individual and reflective.
The News from Poems examines a subgenre of recent American poetry that closely engages with contemporary political and social issues. This “engaged” poetry features a range of aesthetics and focuses on public topics from climate change, to the aftermath of recent wars in Afghanistan and Iraq, to the increasing corporatization of U.S. culture. The News from Poems brings together newly commissioned essays by eminent poets and scholars of poetry and serves as a companion volume to an earlier anthology of engaged poetry compiled by the editors. Essays by Bob Perelman, Steven Gould Axelrod, Tony Hoagland, Eleanor Wilner, and others reveal how recent poetry has redefined our ideas of politics, authorship, identity, and poetics. The volume showcases the diversity of contemporary American poetry, discussing mainstream and experimental poets, including some whose work has sparked significant controversy. These and other poets of our time, the volume suggests, are engaged not only with public events and topics but also with new ways of imagining subjectivity, otherness, and poetry itself.
When ruthless Michael McCarthy evicts the Cronins, tenants in the estate that is to become his son's, old Mag Cronin calls down the power of darkness on Michael and his descendants. At first the curse is laughed off, but in the next generation the McCarthys suffer a terrible toll of lives lost and blighted. Only handsome, young Michael, his father's pride and joy, seems to lead a charmed life, prospering as a barrister in Dublin with his wife and daughters. But slowly the workings of the curse are felt in a further generation. Molly, his first and favourite daughter, follows her foolishly trusting heart and marries a brutal soldier. Beautiful and gifted Francoise turns to a harsh, unrewarding career. Nell, born to be a wife and mother, loses her chance of happiness in the cruellest way possible. When a fourth child, Rory, is born unexpectedly, it is his fate to either carry the curse into another generation - or to break it.
Considered by many to be the greatest Irish song poet of her generation, Máire Bhuí Ní Laeire (Yellow Mary O’Leary; 1774–1848) was an illiterate woman unconnected to elite literary and philosophical circles who powerfully engaged the politics of her own society through song. As an oral arts practitioner, Máire Bhuí composed songs whose ecstatic, radical vision stirred her community to revolt and helped to shape nineteenth-century Irish anti-colonial thought. This provocative and richly theorized study explores the re-creative, liminal aspect of song, treating it as a performative social process that cuts to the very root of identity and thought formation, thus re-imagining the history of ideas in society.