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Sanjeev writes beautifully concise poetry; he has an exceptional talent for framing observations that are both wise and insightful, and he does so sparingly, as though words are too precious to waste... truly, the poetry is a delight. - Dr. Alan Corkish (writer, editor, and reviewer) Hesitancies is Sanjeev Sethi's fifth book of poems. He is in fine form: he broadens his gaze, looks deeper at himself and his settings. The timbre of a lived life follows his poetic trail. To read him is to recap a glimpse of the hand one is dealt with. His poems throb with edged sequences flirting with the savories of nuance playing footsie with the palette of possibilities. His inflection is irenic. Sethi sutures the lesions with the fine thread of inventiveness. Hesitancies will hasp you to its interiority, urging you to seek oneness with its rhythms and residues. About the Author: Sanjeev Sethi is published in over thirty countries. His poems have found a home in more than 350 journals, anthologies, and online literary venues. Some credits: North Dakota Quarterly, Talking Writing, The Big Windows Review, Litbreak, The Recusant, The Sunday Tribune, M58 Poetry, Postcolonial Text, Indian Literature, and elsewhere. He has authored four books of poetry. Suddenly for Someone (1988, Atma Ram & Sons, Delhi), Nine Summers Later (1997, Har-Anand, New Delhi), This Summer and That Summer (2015, Bloomsbury, New Delhi), and Bleb (2021, Hybriddreich, Scotland). Sethi is the joint-winner of Full Fat Collection Competition-Deux organized by The Hedgehog Poetry Press UK. He is in the top 10 of the erbacce prize 2021. He lives in Mumbai.
Published in memory of Ivy L. McClelland, a pioneer-scholar of Spain’s eighteenth century, this volume of original essays contains, besides an Introduction to her career and internationally influential writings, three previously unpublished essays by McClelland and nine studies by other scholars, all of which are focused on elucidating the Enlightenment and its characteristic manifestations in the Hispanic world. Among the Enlightenment writers and artists, works and genres, themes and issues discussed, are: Nicolás Moratín and epic poetry, Lillo’s The London Merchant and English and French influences on eighteenth-century Spanish drama, José Marchena and literary historiography, oppositions and misunderstandings within Spanish society as reflected in El sí de las niñas, Goya and the visual arts, Quintana’s Pelayo and historical tragedy, Enlightenment discourse, the Periodical Press, theatre as propaganda, the ideology and politics of Empire, the roots of revolt in late viceregal Quito, women’s experience of Enlightenment in Spain, social and cultural difference in colonial Peru, ideological debate and uncertainty during the Age of Reason, eighteenth-century Spain on the nineteenth-century stage, and public opinion in Spain on the eve of the French, and European, Revolution. First published as a Special Issue of the Bulletin of Spanish Studies (LXXXVI [November–December 2009], Nos 7–8), this book will be of value and stimulus to all scholars concerned to investigate and interpret the culture, theatre, ideology, society and politics of the Enlightenment in Spain, Europe and Spanish America.
Poems Seven: New and Complete Poetry, the winner of the National Book Award, presents the life work of a giant of American letters, tracks a forty-year career of honest, tough artistry, and shows a man at nearly 80 years of age and still at the height of his poetic power. Dugan’s new poems continue his career-long concerns with renewed vigor: the poet’s insistence that art is a grounded practice threatened by pretension, the wry wit, the jibes at the academic and sententious, and the arresting observations on the quotidian battles of life. All the while he peppers his poems with humorous images of the grim and daunting topics of existential emptiness.
100 of the most moving and inspiring poems of the last 200 years from around the world, a collection that will comfort and enthrall anyone trapped by grief or loneliness, selected by the award-winning, best-selling, and beloved author of How to Read a Poem Implicit in poetry is the idea that we are enriched by heartbreaks, by the recognition and understanding of suffering--not just our own suffering but also the pain of others. We are not so much diminished as enlarged by grief, by our refusal to vanish, or to let others vanish, without leaving a record. And poets are people who are determined to leave a trace in words, to transform oceanic depths of feeling into art that speaks to others. In 100 Poems to Break Your Heart, poet and advocate Edward Hirsch selects 100 poems, from the nineteenth century to the present, and illuminates them, unpacking context and references to help the reader fully experience the range of emotion and wisdom within these poems. For anyone trying to process grief, loneliness, or fear, this collection of poetry will be your guide in trying times.
Ten Poems to Set You Free inspires you to claim the life that is truly yours. In today’s world it is deceptively easy to lose sight of our direction and the things that matter and give us joy. How quickly the days can slip by, the years all gone, and we, at the end of our lives, mourning the life we dreamed of but never lived. These ten poems, and Roger Housden’s reflections on them, urge us to stand once and for all, and now, in the heart of our own life. This volume brings together the voices of Thomas Merton, David Whyte, the Basque poet Miguel de Unamuno, Anna Swir from Poland, Stanley Kunitz, the Greek poet C. P. Cavafy, and Jane Hirshfield, as well as three of Housden’s favorites, Rumi, Mary Oliver, and Naomi Shihab Nye. His luminous essays on the poems show us how to integrate the poets’ truth into our own lives. Roger Housden’s love of poetry and life leaps from every page—so much so that his readers feel they have found a guide and mentor through the extraordinary Ten Poems series. He has opened the eyes and hearts of many, not just to the power of poetry, but to the truth and beauty of the life of the soul. What more can one ask?
Broad-ranging and pluralistically investigative, the essays in Thinking with the Poem document Rachel Blau DuPlessis’s authorial interventions as a poet, scholar, and cultural critic steeped in the linguistic and political frames of her time. The writers included in this volume engage root-level questions at the heart of DuPlessis’s praxis as posed by her in a recent essay: “What is a poem, what is a poet, what is an oeuvre, what is the ‘poetic’?” Inventive and noncanonical, these essays offer substantive responses to these and other questions, providing new routes of inquiry into the poetry and poetics of this preeminent figure of new writing.
English poetry in the first half of the seventeenth century is an outstandingly rich and varied body of verse, which can be understood and appreciated more fully when set in its cultural and ideological context. This student Companion, consisting of fourteen new introductory essays by scholars of international standing, informs and illuminates the poetry by providing close reading of texts and an exploration of their background. There are individual studies of Donne, Jonson, Herrick, Herbert, Carew, Suckling, Lovelace, Milton, Crashaw, Vaughan and Marvell. More general essays describe the political and religious context of the poetry, explore its gender politics, explain the material circumstances of its production and circulation, trace its larger role in the development of genre and tradition, and relate it to contemporary rhetorical expectation. Overall the Companion provides an indispensable guide to the texts and contexts of early-seventeenth-century English poetry.
This book is a critical experiment that tracks the literary and poetic uses of musical notation and notational methods in North American long poems from the middle of last century to the contemporary moment. Poets have readily referred to their poems as “scores.” Yet, in this study, Carruthers argues that the integration of musical scores in expansive works of this period does more work than previously thought, offering both resolution and escape from the demands placed on long poem form. The five case studies, on Langston Hughes, Armand Schwerner, BpNichol, Joan Retallack and Anne Waldman, offer approaches to reading literary scores in what might be described as a critical stave or a critical “fugue” of instances. In differing ways, musical notation and notational methods impact the form, time and sometimes the ethical and political stances of these respective long poems.
Within the artistic tapestry of Anemone Morning and other poems, poet Gopal Lahiri’s creativity flourishes, weaving together the vibrant hues of nature’s canvas, the tender whispers of love’s longing and belatedness, the pulsating rhythm of bustling cities, the nostalgic charm of diverse locales, and the intricate dance of human and abstract relationships. Each verse, a masterpiece painted with strokes of emotional resonance, invites the readers to immerse themselves in its profound beauty.