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Follow Author and Storyteller Robin Moore back to his boyhood home in the mountains of Central Pennsylvania, where he and his grandfather spent their days on the thickly-forested woods, exploring the beauty and mystery of the natural world.From the Introduction: The first really valuable thing I lost in the woods was a Barlow pocket knife. It was a knife my grandfather had given me for my eighth birthday. As he handed it to me, he said, "I guess you're old enough to have this now." But I wasn't. I had the knife less than a week before I lost it. I'll never know for sure how it got lost. One moment I had it, then it was gone. As soon as I knew the knife was missing, I wondered if I really was old enough to have such a fine possession. Fighting back tears of frustration, I remember hunting for that knife, going down on my hands and knees and searching through the leaves in the woods near our house. But I never found it. It's probably still laying out there somewhere, its bone handle dulled by the weather, its blade rusted the color of leaves in Autumn. Since then, I have lost many things in the woods: hats and gloves, wrist watches, flashlights and compasses. But probably the thing I miss the most is the loss of the woods themselves. When I was a boy, growing up in the mountains of Central Pennsylvania, I lived right across the road from my grandfather's house, just outside the town of Roopsburg. In those days, the woods and fields of the Appalachian foothills were still free and wild. And my grandfather and I spent as much time as we could out and away from civilization, roaming through the wild world. But nowadays, many of the places where I dreamed and played aren't wild anymore. They have been chopped up into neat yards with large houses, surrounded by wooden fences enclosing plastic swing sets. Even worse, some of our favorite places have been taken by highways and parking lots and shopping malls. The wildness of those places has been lost, at least for the next hundred years or so, until the woods comes back to reclaim them. But, as every storyteller knows, nothing is really lost as long as it lingers in the imagination. So come along with me now, and I'll take you back to some of my favorite wild spots and tell you a little about the sad and wonderful things that happened there...Author Biography: Robin Moore is an award-winning author and storyteller who has written more than a dozen books about the History and Folklore of the Pennsylvania Mountains, where his family has lived for more than 200 years. He has given more than 5,000 programs and workshops at schools. libraries, museums and festivals and has told stories to more than a million people. He served as a combat soldier in Vietnam, earned a Journalism Degree from Pennsylvania State University and worked as a newspaper reporter and magazine editor before beginning his career as a children's book author and traveling storyteller in 1981. He was named Storyteller of the Year and Author of the Year by the Pennsylvania School Librarians Association. He holds a Master's Degree in Oral Traditions and is Program Coordinator for the Writing and Oral Traditions Program at The Graduate Institute. In addition to being published by HarperCollins, Random House and Simon & Schuster, he is owner of Groundhog Press, a small independent publishing house which produces books and recordings celebrating the oral tradition.
This collection of essays is the first to address this often obscured dimension of modern and contemporary poetry: the secular Jewish dimension. Editors Daniel Morris and Stephen Paul Miller asked their contributors to address what constitutes radical poetry written by Jews defined as "secular," and whether or not there is a Jewish component or dimension to radical and modernist poetic practice in general. These poets and critics address these questions by exploring the legacy of those poets who preceded and influenced them--Stein, Zukofsky, Reznikoff, Oppen, and Ginsberg, among others.
"Wallace Stevens and the Pennsylvania Keystone represents the definitive work on origins as they appear in Stevens's poetry. Author Thomas Francis Lombardi, a poet himself, traces Stevens's originary influences - place, family, tradition, the feminine, ethnic heritage, and religious roots - against the cosmopolitan influences of Cambridge and New York and demonstrates the extent to which Stevens's formative and early adult years shaped his entire life and influenced the grand sweep of his poetry." "That influence spread itself across Stevens's entire canon, from the early verse through Harmonium, Ideas of Order, Parts of a World, Notes toward a Supreme Fiction, Transport to Summer, The Auroras of Autumn, The Rock, and finally Opus Posthumous. Though Lombardi acknowledges the importance of the global presence in Stevens's poetry, he argues that the hallmark of the poet's vision is the presence of his Pennsylvania provincialism and the increasing significance he attached to his roots as he grew older." "Stevens's life epitomized a personal and irresistible rite of passage toward origins, a universal odyssey that sensitive people undertake over the course of their lives - the ethnocentric pull toward the native experience. That attraction to his native soil would inform much of the content of his poetry. To this end, he wished to be one with his ancestors for the reason of experiencing a sense of identity with the provincial past, not in spite of, but because of it. Without an adequate understanding of this relationship, no in-depth comprehension of Stevens's poetry seems possible."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Around the time Elizabeth Gilbert turned thirty, she went through an early-onslaught of midlife crisis. She had everything an educated, ambitious American woman was supposed to want - a husband, a house, a successful career. But instead of feeling happy and fulfilled, she was consumed with panic, grief, and confusion. She went through a divorce, a crushing depression, another failed love, and the eradication of everything she ever thought she was supposed to be. To recover from all this, Gilbert took a radical step. In order to give herself the time and space to find out who she really was and what she really wanted, she got rid of her belongings, quit her job, and undertook a yearlong journey around the world - all alone. EAT, PRAY, LOVE is the absorbing chronicle of that year. In Rome, she studied the art of pleasure; India was for the art of devotion; in Bali, she studied the art of balance between worldly enjoyment and divine transcendence.