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Affordable e-book of volume honored as one of Library Journal's "Poetry Books of the Year."
A profoundly moving childhood memoir by one of the most widely acclaimed Black American writers of her generation Captured with astonishing beauty, through the eyes of a child, Soldier paints the battleground of June Jordan’s youth as the gifted daughter of Jamaican immigrants, struggling under the humiliations of racism, sexism, and poverty in 1940s New York. “There was a war on against colored people, against poor people,” Jordan writes, and she watches her mother turn inward in her suffering, her father lashing out, often violently, against his own daughter. She learns to harden herself, to be a “soldier,” while preserving a deep capacity for love and wonder. Poignantly exploring the nature of memory, imagination, and familial as well as social responsibility, Jordan re-creates the vivid world in which her identity as a social and artistic revolutionary was forged.
“Forty years of tireless activism coupled with and fueled by flawless art.” —Toni Morrison Some of Us Did Not Die brings together the seminal essays of June Jordan, the widely acclaimed Black American writer known for her fierce commitment to human rights and political activism. Spanning the length of her extraordinary career, and including her last writings, the essays in this collection reveal Jordan as an incisive analyst of injustice, democracy, and literature. Willing to venture into the most painful contradictions of culture and politics, Jordan comes back with lyrical honesty, wit, and wide-ranging intelligence that resonates sharply to this day.
In trailblazing poet, essayist, teacher and activist June Jordan's poems, love is a vision of revolutionary solidarity, crossing borders both emotional and literal with an outstretched hand. Haruko traces the faltering arc of a passionate love affair with another woman while Love Poems encompasses relationships with men and women, political resistance, the need for self-care in a demanding, uncaring world and apocalyptic visions of the eruption of Mount Vesuvius that destroyed Pompeii and Herculaneum. A contemporary of Alice Walker, Toni Morrison and Audre Lorde, June Jordan's spectacular poetry remains profoundly politically potent, lyrically inventive and breathtakingly romantic. First published in 1994, Haruko/ Love poems is a vitally important modern classic.
Finalist for the 1988 Pulitzer Prize for Poetry A landmark collection by National Book Award-winning poet Lucille Clifton, Good Woman: Poems and a Memoir 1969-1980 includes the four poetry collections that launched Clifton’s career—Good Times, Good News About the Earth, An Ordinary Woman, and Two-Headed Woman—as well as her haunting prose memoir, Generations. In honor of the 30th anniversary of Lucille Clifton's Pulitzer Prize-nominated poetry collection and memoir, Good Woman is now available for the first time as a deluxe eBook edition. Enhanced with previously unpublished photographs from the Lucille Clifton Estate and a special foreword by Aracelis Girmay, this eBook is a must-have for longtime Clifton fans and newcomers alike.
Dorothy Arzner was the exception in Hollywood film history—the one woman who succeeded as a director, in a career that spanned three decades. In Part One, Dorothy Arzner's film career—her work as a film editor to her directorial debut, to her departure from Hollywood in 1943—is documented, with particular attention to Arzner's roles as "star-maker" and "woman's director." In Part Two, Mayne analyzes a number of Arzner's films and discusses how feminist preoccupations shape them, from the women's communities central to Dance, Girl, Dance and The Wild Party to critiques of the heterosexual couple in Christopher Strong and Craig's Wife. Part Three treats Arzner's lesbianism and the role that desire between women played in her career, her life, and her films.
Echoes of Desire variously invokes and interrogates a number of historicist and feminist premises about Tudor and Stuart literature by examining the connections between the anti-Petrarchan tradition and mainstream Petrarchan poetry. It also addresses some of the broader implications of contemporary critical methodologies. Heather Dubrow offers an alternative to the two predominant models used in previous treatments of Petrarchism: the all-powerful poet and silenced mistress on the one hand and the poet as subservient patron on the other.
The definitive introduction to the work of 'the bravest of us . . . the universal poet' (Alice Walker) For the poet and activist June Jordan, neither poetry nor activism could easily be disentangled from the other. Her storied career came to chronicle a living, breathing history of the struggles that defined the USA in the latter half of the twentieth century; and her poetry, accordingly, put its dazzling stylistic range to use in exploring issues of gender, race, immigration, representation and much else besides. Here, above all, are sinuous, lashing and passionate lines, virtuosic in their musicality and always bearing the stamp of Jordan's irrepressible personality. Here are poems of suffusing light and profound anger: poems moved as much by political animus as by a deep love for the observation of human life in all its foibles, eccentricities, strengths and weaknesses. With a foreword by Pulitzer Prize winner Jericho Brown, The Essential June Jordan allows new readers to discover - and old fans to rediscover - the vital work of this endlessly surprising poet who, in the words of Adrienne Rich, believed that 'genuine, up-from-the-bottom revolution must include art, laughter, sensual pleasure, and the widest possible human referentiality.'
Toni Morrison affirms Jordan's work as "tireless activism coupled with and fueled by flawless art.
Pulitzer Prize winner Sylvia Plath’s complete poetic works, edited and introduced by Ted Hughes. By the time of her death on 11, February 1963, Sylvia Plath had written a large bulk of poetry. To my knowledge, she never scrapped any of her poetic efforts. With one or two exceptions, she brought every piece she worked on to some final form acceptable to her, rejecting at most the odd verse, or a false head or a false tail. Her attitude to her verse was artisan-like: if she couldn’t get a table out of the material, she was quite happy to get a chair, or even a toy. The end product for her was not so much a successful poem, as something that had temporarily exhausted her ingenuity. So this book contains not merely what verse she saved, but—after 1956—all she wrote. — Ted Hughes, from the Introduction