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A love letter to horror films where poems are the paragraphs.
A collection of Horror Movie Inspired poems, from the creepy to the bizarre.A homage to horror movies, where imagery is turned into the written word.Horror films are a beast of their own!A macabre delight!Sit back dear reader, And be prepared for a fright!
From Claire C. Holland, a timely collection of poetry that follows the final girl of slasher cinema - the girl who survives until the end - on a journey of retribution and reclamation. From the white picket fences of 1970s Haddonfield to the apocalyptic end of the world, Holland confronts the role of women in relation to subjects including feminism, violence, motherhood, sexuality, and assault in the world of Trump and the MeToo movement. Each poem centers on a fictional character from horror cinema, and explores the many ways in which women find empowerment through their own perceived monstrousness.
A collection of poems inspired by and in response to horror and its tropes as found in film, literature, mythology, and folklore. This anthology features 66 poets' work, and their poetry ranges from the humorous to the insightfully reflective. This collection is for anyone who loves poetry, horror, or both!
A showcase of poetry from some of the darkest and most lyrical voices of women in horror. Under Her Skin features the best in never-before-published dark verse and lyrical prose from the voices of Women in Horror. Centered on the innate relationship between body horror and the female experience, this collection features work from Bram-Stoker Award&® winning and nominated authors, as well as dozens of poems from women (cis and trans) and non-binary femmes. Edited by Lindy Ryan and Toni Miller, Under Her Skin celebrates women in horror from cover to cover. In addition to poems contributed by seventy poets, the collection also features a foreword penned by Science Fiction Poetry Association (SFPA) Grand Master and recipient of the Horror Writers Association Lifetime Achievement Award, Linda D. Addison; interior illustrations by Science Fiction & Fantasy Poetry Association Grand Master and recipient of the Horror Writers Association Lifetime Achievement Award Marge Simon; and cover art by noted horror artist Lynne Hansen. "Not for the faint of heart...Each word and phrase has been structured in such a way that the reader will experience an intense depth of emotion and feelings." —EGuide Magazine "...varied themes, approaches, and poetic structures create a diverse series of horror inspections. Under Her Skin is unparalleled in scope, creativity, and literary strength." —Midwest Book Review
In his first collection of poetry, novelist Kevin Killian views the horrors of the AIDS pandemic through a narrow prism, the films of Italian horror maestro Dario Argento. Argento Series is structured like a horror film, populating deadpan reportage with badly drawn "characters" whose grisly deaths nevertheless come as an apocalyptic shock. For twenty years Killian's friends have been dying like flies--four flies on gray velvet, to borrow one of Argento's titles. And not only his friends, but millions of untold strangers, a catastrophe of such enormity that poetry itself gasps in its wake, deaf, blind, and speechless. Killian's poems are deceptively simple, quiet, and lyric, until the creaky melodrama of the giallo makes its entrance, screaming, like a virus--then the language shrieks and trembles. Argento Series is a testament to human suffering, a curse on the bureaucratic blindness that allows it to spread and grow, a call to political action unlike any other.
Visually arresting and utterly one-of-a-kind, Sarah J. Sloat's Hotel Almighty is a book-length erasure of Misery by Stephen King, a reimagining of the novel's themes of constraint and possibility in elliptical, enigmatic poems. Here, "joy would crawl over broken glass, if that was the way." Here, sleep is “a circle whose diameter might be small," a circle "pitifully small," a "wrecked and empty hypothetical circle." Paired with Sloat's stunning mixed-media collage, each poem is a miniature canvas, a brief associative profile of the psyche—its foibles, obsessions, and delights.
Andrei Tarkovsky is widely regarded as one of the most significant filmmakers of modern times. Fundamental to his practice are the poems that his father, Arsenii, created. They resonate through many of the films, and offer levels of meaning which lie hidden to the unknowing eye. For the first time this book presents not only accurate and beautiful renditions of these poems in English, but also a penetrating and illuminating presentation of the creative relationship between father and son that informed so much of Andrei Tarkovsky's work.--Tate Publishing.
A new selection for the NEA’s Big Read program A compact selection of Poe’s greatest stories and poems, chosen by the National Endowment for the Arts for their Big Read program. This selection of eleven stories and seven poems contains such famously chilling masterpieces of the storyteller’s art as “The Tell-tale Heart,” “The Fall of the House of Usher,” “The Cask of Amontillado,” and “The Pit and the Pendulum,” and such unforgettable poems as “The Raven,” “The Bells,” and “Annabel Lee.” Poe is widely credited with pioneering the detective story, represented here by “The Purloined Letter,” “The Mystery of Marie Roget,” and “The Murders in the Rue Morgue.” Also included is his essay “The Philosophy of Composition,” in which he lays out his theory of how good writers write, describing how he constructed “The Raven” as an example.
In highly charged, dazzling language, 4:30 Movie explores a sister’s death and the ways movies shape our imaginations. In poems that are by turns intimate and wild, provocative and tender, award-winning poet Donna Masini explores personal loss, global violence, and the consolations of art. She brings her wit, grief, fury, and propulsive energy to bear on the preoccupations of our daily lives and our attempts to bargain with endings of every kind. Equal parts lament and praise, 4:30 Movie is fueled by despair and humor, governed by the ways in which movies enter our imaginations and frame our experiences. The movie theater becomes a presiding metaphor: part waiting room, part childhood, part underground depths where the self is a bit player, riding the subway with “its engine of extras.” Masini's exquisite wordplay shows the mind wrestling ferociously to forestall grief, as if finding the right words might somehow allow us to extend our beautiful, foreshortened run.