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As an accountant, Michael Thomas has had difficulty applying his great knowledge of history, literature and art. But in his poetry, he is free to express his understandings in unbridled creative and playful ways. This, his most recent book of poetry is likely his most creative and playful, as he becomes more versed and practiced every day. Michael is blessed with an extensive vocabulary and the understanding of how to blend words to create effects which are more than the sum of the phrases, like a jazz master plays a saxophone solo. You cannot put what you heard into words, you only know that it left you awed and satisfied when it was over. Such is the sublime nature of high art in all of its varied forms. In Michael Thomas Poetry 6, we have a collection that in totality reaches that sublimity a multitude of times, leaving the reader many memorable experiences
We all have our take on what is divine and what makes things divine. As we get older we tend to spend more time contemplating the divine. When the author, Michael Thomas, first saw a picture of this fresco, he was stricken with feelings of identification. For him, this picture was a wonderful representation of the divine, so he has chosen to share it with his readers as a personal expression of divinity. In his fifth volume of poetry, Michael Thomas becomes more philosophical and begins to plum the depths of humanity, looking for the goodness that he can attach himself to . As readers, we have the chance to attach ourselves to divinity through his words.
There are writers and there are writers, there are poets and then there are poets, and then there's Michael Thomas. Here is a man who is a Vietnam Veteran, has lived in a commune, has slept in doorways, and is a very respected C. P. A. How does this all happen to the same man? Fate, chance, whatever the reason, what matters is it did happen. In his first book of poetry, Michael takes us on the rich and varied journey which is his life, complete with all of the philosophical questions, and sometimes even answers. Yet, at the heart of it all is a kindness and a gratitude towards life that is refreshing and nourishing. If you like poetry, or even if you just like to experience the world through the eyes of someone who truly loves life, you will love Michael Thomas Poetry.
Almost 5,000 years ago Enheduanna took time to write 42 hymns and a poem called Min-Me-Sar-Ra or The Exaultation of Inanna. She is considered the first woman author in recorded history. Forward fast a few thousand years and we are priviledged to have the more sophisticated pennings of Michael Thomas, and you do not have to carry huge volumes of stone tablets to read it. Yet, Michael pays homage to the greatness of those who blazed the trail upon which the rest of us travel. He pulls it all into an amalgamous knowledge of expressive language. Come and see what poetry has evolved to over 5,000 years.
The poems of Thomas Hardy (1840-1928) are key to understanding 19th, 20th and even 21st century poetry. This collection of fresh essays sheds new light on Hardy's poems--some of which have received little critical attention--from a variety of thematic and analytical approaches, offering a detailed picture of how his works are currently being read. The contributors discuss why Hardy's poetic genius is less and less overshadowed by his career as a novelist and highlight his passionate attention to small details, his delight in "noticing things" and his "eye for...mysteries."
Not many authors are allowed the privilege of being retrospectively considered both masterful novelists and poets. Despite the fact that Thomas Hardy saw himself as a poet first, only recently have his poems been accepted as equal to his celebrated novels. Persoon explores how Hardy's poetic vision, seemingly cemented in his twenties, existed in constant tension between Darwin and Wordsworth, betweem a scientific outlook and the poetic temperament. Perceiving Hardy's metaphorical double vision--physically represented by his own eyes, one of which was smaller than the other--we see how this bouncing between realism and romanticism informed not only Hardy's poems but also his view of language, art, architecture, religion and even humor. Hardy's Early Poetry deserves attention by anyone who is interested in understanding the full richness and complexity of Hardy's work.
Susan Dean uses Hardy's own metaphor—the diorama of a dream—to interpret The Dynasts, his largest and last major composition. She shows that the poem presents a model of the human mind. In that mind is enacted an event (the war with Napoleon) and, simultaneously, the watching of that event. The author provides a reading of the poem in visual-dramatic terms, using the diorama stage as the vehicle for the poet's field of vision. She then defines various visual dimensions, the relationships between them, and the various ways in which they can be seen and understood. Her interpretation draws on Hardy's autobiography and critical essays. Originally published in 1977. 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.