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As stated in Brions introduction, these poems were written and intended as a testimonial of one mans life for his children and grandchildren. The poems grew into something bigger; seeing the importance for as Gods words states in II, Timothy 3:16-17 all scripture is given by inspiration of God and is profitable for doctrine, for re-proof, for correction, for instruction in righteousness that the man of God may be perfect thoroughly furnished unto all good works. Brion thanks his God for the inspiration he has given him on several of these poems. He thanks his daughters as workers and inspiration also. It has never been his intention to hurt anyone with his writings. If so, get over it and change your life as well. The last poem of this book is Brions letter to any addict struggling to overcome a hard addictive behavior. Get and seek the help you need. Believe in the true God and please dont victimize your family. Brion hopes these readings have been enjoyable and inspirational, but most of all, this is and was his testimonial throughout time for his children and grandchildren of who their father and grandfather was.
In this collection of poems, farmers, fathers, poverty-stricken pioneers, and people blackened by the grist of the sugar mills are exposed to the blazing midday sun of Murray's linguistic powers. Richly inventive, tenderly perceptive, and fiercely honest, these poems surprise and bare the human in all of us.
The classic Bubba figure is portrayed in Japanese-style verse, addressing the whole spectrum of redneck culture from RVs and Wal-Mart to monster trucks, and hunting.
This book is truly an accurate repesentation of the life of a Redneck. Great poetry; useful pages at the end of the book. If you ever wondered about the Redneck life you should read this book.
Digte. Addresses race, class, sexuality, faith, social justice, mortality, and the challenges of living HIV positive at the intersection of black and queer identity
Fiction. In MOSTLY REDNECK, Rusty Barnes expounds on his upbringing in disadvantaged rural northern Appalachia to deliver a mastery of country idiom and setting. In one minimalist story after another, he gives perspective and breadth to the widely misunderstood world of a people who still hunt for food, occasionally join their neighbors for church, and sometimes enjoy it when their city kin step in cow shit.
Winner of the 2016 Two Sylvias Press Wilder Series Poetry Book Prize. "When you're lucky enough to get your hands on a book of poems this alive, everything you say about it feels like an understatement. Yes, Appalachians Run Amok is utterly original, wild yet tight, feisty, vibrant, combustible. Yes, it's bursting with keen-eyed tenderness and unshushable attitude. Yes, the poems' startling emotional intelligence blends with myriad other intelligences (e.g. maternal, earthy, topical, humane, etc.) to create this voice, "all hot and giddy." A proud daughter of Appalachia, Blevins gifts us with vivid glimpses of where she came of age. Reading her beautiful, linguistically limber, cascading descriptions is like shooting the rapids with an expert river rider at the helm." --Amy Gerstler
Winner of the Premio Reina Sofia for Poetry Poems of effervescent grace from one of the best-known and best-loved poets of Portugal With the elliptical looping of a butterfly alighting on one’s sleeve, the poems of Ana Lui´sa Amaral arrive as small hypnotic miracles. Spare and beautiful in a way reminiscent both of Szymborska and of Emily Dickinson (it comes as no surprise that Amaral is the leading Portuguese translator of Dickinson), these poems—in Margaret Jull Costa’s gorgeous English versions—seamlessly interweave the everyday with the dreamlike and ask “What’s in a name?”
A versatile missive written from the intersections of gender, disability, trauma, and survival. “Some girls are not made,” torrin a. greathouse writes, “but spring from the dirt.” Guided by a devastatingly precise hand, Wound from the Mouth of a Wound—selected by Aimee Nezhukumatathil as the winner of the 2020 Ballard Spahr Prize for Poetry—challenges a canon that decides what shades of beauty deserve to live in a poem. greathouse celebrates “buckteeth & ulcer.” She odes the pulp of a bedsore. She argues that the vestigial is not devoid of meaning, and in kinetic and vigorous language, she honors bodies the world too often wants dead. These poems ache, but they do not surrender. They bleed, but they spit the blood in our eyes. Their imagery pulses on the page, fractal and fluid, blooming in a medley of forms: broken essays, haibun born of erasure, a sonnet meant to be read in the mirror. greathouse’s poetry demands more of language and those who wield it. “I’m still learning not to let a stranger speak / me into a funeral.” Concrete and evocative, Wound from the Mouth of a Wound is a testament to persistence, even when the body is not allowed to thrive. greathouse—elegant, vicious, “a one-girl armageddon” draped in crushed velvet—teaches us that fragility is not synonymous with flaw.