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Poetry. LGBT Studies. Amy King's poems seem to encompass all that we think of as the 'natural' world, i.e., sex, sun, love, rotting, hatching, dreaming, especially in the wonderful long poem 'This Opera of Peace.' She brings these abstractions to brilliant, jagged life, emerging into rather than out of the busyness of living: 'Let the walls bear up the angle of the floor, / Let the mice be tragic for all that is caged, / Let time's contagion mar us / until spoken people lie as particles of wind'.--John Ashbery 'Rarely have the nude and the cooked been so neatly joined' as in Amy King's I WANT TO MAKE YOU SAFE. If 'us, ' 'herons, ' and 'dust' rhyme, then these poems rhyme. If that makes you feel safe, it shouldn't. Amy King's poems are exuberant, strange, and a bit grotesque. They're spring-loaded and ready for trouble. Categories collapse. These are the new 'thunderstorms with Barbie roots.'--Rae Armantrout Vulnerability, fragility, and anxiety are all flushed out into the open here and addressed with such strong sound and rhythm that we recognize a resilient, defiant strength within them. King puts relentless pressure on forces seemingly beyond our reach and, in bringing them closer, exposes their own vulnerable centers. This is a poetry equally committed to language as a tool with social obligations and language as an art material obligated to reveal its own beauty. King's language does both magnificently.--Cole Swensen I love Amy King's smile in photos of Amy King, Amy King's exuberance and looping, bashing panache (flamboyant manner, reckless courage) in the poems of Amy King, I'm going to say Amy King every chance I get in this blurb to make you think 'I gotta read me some Amy King, ' especially if you're 'looking for anything/that will pull the cork, boil the blood/of displeasure, ' as only the poems of Amy King can in the world in which Amy King is King (and Queen).--Bob Hicok The first poem I read by Amy King was 'Men By The Lips of Women' and it struck me with a force I had previously felt on encountering masterworks by Lorca and Dylan Thomas. I won't live long enough to see if her poetry will continue to equal the magnificence of theirs, but the fact that she achieved it once (at least) proves to me it could.--Bill Knott
This book's goal is to determine the significance of visual culture in the production of contemporary poetry and to sound out the insights poetry might generate into contemporary visual culture. Its main hypothesis is that poetry holds considerable potential for (post-)digital language, image, and media criticism. The visual dimensions of recent poetry encompass, for instance, kinetic writing in digital poetry, visual elements in social media poems, and (spoken and written) text-image interactions in poetry films as well as in book poetry. The articles examine these medial correlations and their political implications by asking how visual culture is applied, exposed, and debated in poetry. This volume brings together contributions by authors from various countries working in disciplines such as literary, media, and film studies, linguistics, cultural and visual culture studies, and in poetic practice. It covers poetry in English, German, Norwegian, Polish, Ukrainian, Russian, Serbian, and also multilingual works. The book thus aims to promote international exchange between poetry researchers and stimulate further investigation into current relations between poetry and visuality from additional research perspectives and languages.
In the first full-length study of Wallace Stevens's word-play, Eleanor Cook focuses on Stevens's skillful play with grammar, etymology, allusion, and other elements of poetry, and suggests ways in which this play offers a method of approaching his work. At the same time, this book is a general study of Stevens's poetry, moving from his earliest to his latest work, and includes close readings of three of his remarkable long poems--Esthetique du Mal, Notes toward a Supreme Fiction, and An Ordinary Evening in New Haven. The chronological arrangement enables readers to follow Stevens's increasing skill and changing thought in three areas of his "poetry of the earth": the poetry of place, the poetry of eros, and the poetry of belief. Poetry, Word-Play, and Word-War in Wallace Stevens shows how, in setting words at play and in conflict, Stevens could upset the usual relations of rhetoric, grammar, and dialectic, and thus the book contributes to the current debate about logical and a-logical uses of language. Cook also places Stevens within the larger context of Western literature, hearing how he speaks to Milton, Keats, and Wordsworth; to such American forebears as Whitman, Emerson, and Dickinson; and to T. S. Eliot, his contemporary. Originally published in 1988. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Sacred Enigmas assesses the religious and intellectual significance of the Hebrew Bible both as a document of its time and as an important step in the development of thought. It presents the major aspects of biblical religion through detailed literary analyses of key texts, presented in English translation to make them accessible to the general reader as well as scholars.
This book is devoted to the veiled message transmitted in the works of famous authors over a period of centuries. Esoteric literature is the massive body of Western and other writings containing a philosophical "contraband"-ever the same under a deceptive variety of surfaces or veils. In the words of Marcel Proust, "the great writers have never done but one work." Alfred de Vigny- a nineteenth century poet, novelist and playwright- belongs to the literary brotherhood involved in the transmission of the concealed message. Rabelais, Voltiare, Anatole France, Ibsen and Proust are only a few of his fellow-smugglers. English and American literatures have their share of such writers. So does the literary heritage of other European nations and of Latin America. This book contains a glossary of major key-words of the verbal "algebra" used by esoteric writers. Sensitive readers are encouraged to read the biography and the glossary first and the poetry of Vigny next. This will enable some of them to discover by and for themselves the full beauty and depth of the texts. Extraordinary findings await the esoteric readers of the literary production of Vigny. There are hints of the greatness of Atlantis. There is a vast panorama of Time and Space. There are suggestions of a startling view of the inner structure of planet Earth, a view that is also reflected in the various utopias of classical authors. Last but not least, there is the generally unsuspected, radiant reality of the works and the life of Vigny. Please visit: www.degn.org/Bonhomme
Poetry written in English is uniquely powerful and suggestive in its capacity to surprise, unsettle, shock, console, and move. The Cambridge History of English Poetry offers sparklingly fresh and dynamic readings of an extraordinary range of poets and poems from Beowulf to Alice Oswald. An international team of experts explores how poets in England, Scotland, Wales and Ireland use language and to what effect, examining questions of form, tone, and voice; they comment, too, on how formal choices are inflected by the poet's time and place. The Cambridge History of English Poetry is the most comprehensive and authoritative history of the field from early medieval times to the present. It traces patterns of continuity, transformation, transition, and development. Covering a remarkable array of poets and poems, and featuring an extensive bibliography, the scope and depth of this major work of reference make it required reading for anyone interested in poetry.