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Poetry. Asian & Asian American Studies. "No one has written a finer, stranger, more enjoyably various and intelligent long poem than Jason's Koo's 'No Longer See,' the central poem in his splendid new book, MORE THAN MERE LIGHT. Schuyler and Knausgaard, Proust and Ashbery, to name just a few, meld into a poetic performance that is joyfully bent, and as gloriously funny as it is self-castigating. Underscoring all this is a sorrowing sense of self that can't shake free of time--time as it drags or stops or flies during romance and sex and the passage from domestic happiness to failure, and as it marks off the progress of a poetry and a life coming into its full, vital strength. With a cool-eyed detachment from his own drama, Koo has written a book that is unforgettable in its candor, its disabused self-knowledge, and its generosity of spirit."--Tom Sleigh "This book is about falling, a lot. There are good falls and uncomfortable falls and quiet falls and in-between falls and falling in and out of love with other people and yourself--as Koo aptly writes, 'That was a falling.' Koo is brilliant at mastering the often anxious way we talk to ourselves in our heads, as a way to recall moments and construct memories, justify behavior to oneself, and explore the roles of gender dynamics and sexuality within a world full of distractions in an often strange modern technological landscape. Throughout the collection, Koo is wonderfully narrative, bringing us into the speaker's world, full of jazz and biking and Brooklyn and girlfriends and students and conversations with both an overload of self-consciousness and a lack of it all at the same time ('What's okay, okay?'). The speaker's unabashed ability to be excessive while also having the reader rely on silence, on what isn't told, creates a captivating world for the reader to explore--and most importantly, see themselves fully immersed in as they navigate their own bizarre lives and landscapes. Read it over and over and over again, so you can, as Koo says, drop back 'against the light.'"--Joanna C. Valente
Across the medieval and early modern eras, new rulers were celebrated with increasingly elaborate coronations and inaugurations that symbolically conferred legitimacy and political power upon them. Many historians have considered rituals like these as irrelevant to understanding modern governance—an idea that this volume challenges through illuminating case studies focused on the eighteenth- and nineteenth-century Habsburg lands. Taking the formal elasticity of these events as the key to their lasting relevance, the contributors explore important questions around their political, legal, social, and cultural significance and their curious persistence as a historical phenomenon over time.
This is the journal of Joe Necchi, a junkie living on a barge that plies the rivers and bays of New York. Joe's world is the half-world of drugs and addicts -- the world of furtive fixes in sordid Harlem apartments, of police pursuits down deserted subway stations. Junk for Necchi, however, is a tool, freely chosen and fully justified; he is Cain, the malcontent, the profligate, the rebel who lives by no one's rules but his own. Like DeQuincey and Baudelaire before him, Trocchi's muse was drugs. But unlike his literary predecessors, in his roman a clef, Trocchi never romanticizes the source of his inspiration. If the experience of heroin, of the "fix," is central to Cain's Book, both its destructive force and the possibilities for creativity it creates are recognized and accepted without apology. "Cain's Book is the classic late-1950s account of heroin addiction. . . . An un-self-forgiving existentialism, rendered with writerly exactness and muscularity, set this novel apart from all others of the genre." -- William S. Burroughs
The Great Lakes have a colorful past that spans hundreds of years, stretches over thousands of miles... and sometimes crosses into the spirit world. Ghosts of the Great Lakes takes readers from the far eastern shores of Lake Ontario to western Lake Superior, revealing haunting and strange tales. These whispers from the other side, however, are based in history and fact. One lighthouse site hides the bones of a murdered keeper. Rapping sounds in a family home mark the beginning of the Spiritualist movement in North America. A bride has a premonition that her honeymoon ride will end in death... and soon after, the steamer she was on vanishes. Repeated sightings of ghost ships. Can these strange phenomena be attributed to the imagination? How can multiple sightings be explained away as mere tricks of light and fog? Read these historical accounts of the Great Lakes' most fascinating ghost stories and judge for yourself--are they more than mere legend? Where does fact end... and folklore begin?
This inspirational book of poetry and short stories articulates the cavernous expressions and feelings that derive from the triumphs and trials of life. This book demonstrates a profound meaning, the necessity to make life more abundant and understand the inevitable difficulties that will come. The Prism's spectrum of stories and poems illustrate loneliness, life, love, death, life after death, forgiveness, and so much more. In the hopes of touching someone's life, and exemplifying God's grace, the author writes that he might be a Prism of life and bring out the colors of your life.
A moving meditation on memory, oblivion, and eternity by one of our most celebrated poets What is it we want when we can’t stop wanting? And how do we make that hunger productive and vital rather than corrosive and destructive? These are the questions that animate Christian Wiman as he explores the relationships between art and faith, death and fame, heaven and oblivion. Above all, He Held Radical Light is a love letter to poetry, filled with moving, surprising, and sometimes funny encounters with the poets Wiman has known. Seamus Heaney opens a suddenly intimate conversation about faith; Mary Oliver puts half of a dead pigeon in her pocket; A. R. Ammons stands up in front of an audience and refuses to read. He Held Radical Light is as urgent and intense as it is lively and entertaining—a sharp sequel to Wiman’s earlier memoir, My Bright Abyss.
National Book Award Finalist From the dazzlingly original Pulitzer Prize-winning poet hailed for her “extraordinary range and ambition” (The New York Times Book Review): a quietly potent memoir that explores coming-of-age and the meaning of home against a complex backdrop of race, faith, and the unbreakable bond between a mother and daughter. The youngest of five children, Tracy K. Smith was raised with limitless affection and a firm belief in God by a stay-at-home mother and an engineer father. But just as Tracy is about to leave home for college, her mother is diagnosed with cancer, a condition she accepts as part of God’s plan. Ordinary Light is the story of a young woman struggling to fashion her own understanding of belief, loss, history, and what it means to be black in America. In lucid, clear prose, Smith interrogates her childhood in suburban California, her first collision with independence at Harvard, and her Alabama-born parents’ recollections of their own youth in the Civil Rights era. These dizzying juxtapositions—of her family’s past, her own comfortable present, and the promise of her future—will in due course compel Tracy to act on her passions for love and “ecstatic possibility,” and her desire to become a writer. Shot through with exquisite lyricism, wry humor, and an acute awareness of the beauty of everyday life, Ordinary Light is a gorgeous kaleidoscope of self and family, one that skillfully combines a child’s and teenager’s perceptions with adult retrospection. Here is a universal story of being and becoming, a classic portrait of the ways we find and lose ourselves amid the places we call home.
It seems reasonable to believe that there might have existed things other than those that in fact exist, or have existed. But how should we understand such claims? Standard semantic theories exploit the Leibnizian metaphor of a set of all possible worlds: a proposition might or must be true if it is true in some or all possible worlds. The actualist, who believes that nothing exists except what actually exists, prefers to talk of possible states of the world, or of ways that a world might be. But even the actualist still faces the problem of explaining what we are talking about when we talk about the domains of other possible worlds. In Mere Possibilities, Robert Stalnaker develops a framework for clarifying this problem, and explores a number of actualist strategies for solving it. Some philosophers have hypothesized a realm of individual essences that stand as proxies for all merely possible beings. Others have argued that we are committed to the necessary existence of everything that does or might exist. In contrast, Mere Possibilities shows how we can make sense of ordinary beliefs about what might and must exist without making counterintuitive metaphysical commitments. The book also sheds new light on the nature of metaphysical theorizing by exploring the interaction of semantic and metaphysical issues, the connections between different metaphysical issues, and the nature of ontological commitment.