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Her ascent to the top of the literary world is well known. Now you can enjoy the great works of this formidable writer in The Poetry of Gwendolyn MacEwen, Volume Two: The Later Years. Readers will gain a solid understanding of MacEwen's works, as these poems represent her strongest poetic voice, developed from years of writing. Her unique voice is both playful and melancholy, all the while being a daring addition to her genre. This book is a great introduction to the works of MacEwen.
Her poetry is both groundbreaking and unforgettable. Now you can enjoy the powerful first works of this poet in The Poetry of Gwendolyn MacEwen, Volume One: The Early Years. These poems show the beginnings of a poetic style that inspired other poets and amazed readers for years. Her poetic voice is in turns playful, melancholy and daring; this is a must-read for all fans of MacEwen and poetry lovers that want an introduction to this important writer.
Margaret Atwood presents a selection of poetry by Gwendolyn MacEwen, who first met Atwood in a Toronto coffee shop. MacEwen's poetry is by turns playful, extravagant, melancholy, daring and profound. Her work takes its inspiration from subjects as hard-hitting as the Hiroshima bombing and as humble as the peanut butter sandwich. It springs from a deep involvement with self and world.
The T.E. Lawrence Poems is Gwendolyn MacEwen's most integrated, complete and respected work. It is now recognized as her signature poetic achievement."In 1962, I was staying in a hotel in Tiberias, Israel; the tall, white-haired proprietor invited me downstairs one evening and served me syrupy tea and a plate of fruit. He showed me a series of old sepiatone photographs which lined the walls - photographs of blurred riders on camels riding to the left into some uncharted desert just beyond the door. Some of them were signed.'It's Lawrence isn't it?' I asked, walking up to one.'Yes, ' said my host, offering me a huge section of an orange. 'I rode with him once a long time ago. I see you always carry a pen and paper to write things down. I thought you'd be interested; I thought you'd like to know.'These poems were written some twenty years later."
The Insomniac Library is proud to reissue Gwendolyn MacEwen's second novel, more than thirty years after its original appearance in 1971. The novel bears important resemblances to MacEwen's earlier Julian the Magician. Writing to poet Al Purdy, MacEwen confessed she wanted her second novel to be ''bulky, readable, and not overly mysterious.'' Unlike in Julian, however, here MacEwen sets out to write a deeply serious novel that also functions as entertaining historical fiction. The novel's hero is Akhenaton, Pharaoh of Egypt's Eighteenth Dynasty, who was the first ruler to introduce the idea of monotheism. As Rosemary Sullivan remarks in her biography of MacEwen, he was, like Julian, ''one more human being filled with the god-lust.'' Akhenaton's single-mindedness in his quest for his own brand of reason is a powerfully paradoxical distillation of the artistic temperament: originality, fertility and beauty set against death and despair and an inability to love.
"MacEwen described what she set out to achieve as a "sort of powerful poetic mad half-abandoned prose somewhere between [Kenneth] Patchen and Virginia Woolf." Set in a medieval past that has distinctly modern overtones, the novel is about Julian, a young man who believes he is Christ. Wandering the countryside in a horse-drawn wagon, Julian learns "to suspend logic like a whale on a thread." He becomes a master of alchemy, performing "miracles" like curing the mad and changing water into wine. When his rapt audiences begin to lose faith, Julian must pay with his life. MacEwen skillfully implies a relationship between alchemy, miracles and belief, and the art forms she is engaged in herself, poetry and prose. What is the price the writer-magician must pay to engender belief in her audience? Is something true merely because we believe it? With an afterword by the author's sister."--Jacket
Elements of history and the poems explore the many complexities of a lifetime defined by hardship and intense emotion that was influenced by the invasion of Poland, World War II, refuge, displacement, and loss.
Using delicate prose and intense imagery, this translation explores the relationship and struggle of the human body and its inner being. Completely paralyzed by Lou Gehrig’s disease, Magali is imprisoned in her own body, able to communicate only by blinking her eyes. Feeling mentally free but physically trapped, she reflects on her past and regards her present physical existence as a prison. A relationship formed between Magali and her doctor gives one of them the hope to live and the other the grace to die.
Written with the verve of the uninhibited artist but with a clarity of thought and expression more akin to the scientist or scholar, these poems investigate the emotional and philosophical struggles of contemporary life. Often sparked by the horrors depicted in today's news, the poems combine surrealist images with spare and lyrical language to grapple with an increasingly absurd world. The most ambitious piece in the collection is a radical, post-9/11 translation of the Anglo-Saxon elegy The Wanderer, and other poems include "Don Quixote, You Sure Can Take One Helluva Beating," "Film Version of My Hatred," "Never Held a Gun," and "The Romantic Impulse Hits the Schoolyard."