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In all cultures and times, the poetic imagination has fed on the natural attributes of islands. An island is either a destination, or a home, or a place of exile and imprisonment, or simply a place to sojourn. It is an ideal vehicle for journeys treated as allegories, or for acts of finding that turn into acts of losing, or the reverse transformation. An island is not a continent; yet it can be an archipelago. An island is both a place in itself and a pretext for imaginings that need a local habitation and a name. It can give relief, and pleasure; or it can frustrate, isolate, and negate. Above all, it both invites and resists - or contains or constrains - the imagination. Poetry and Islands explores how islands become repositories of human longings and desires, a locus for some of our deepest fears and fantasies. It balances historical and geographical reference with a selective approach to poems and poets in English, and in translations into English. The study of particular poems in which islands figure in exemplary ways is balanced by a more detailed discussion of the poets who have played a major role in shaping human responses to islands on a global scale.
Poems.
Award-winning poet Diane Glancy's radical approach to the perennial mystery of suffering takes the trials of Job--the just man unjustly punished--into the New World.
Cuba's cultural influence throughout the Western Hemisphere, and especially in the United States, has been disproportionally large for so small a country. This landmark volume is the first comprehensive overview of poetry written over the past sixty years. Presented in a beautiful Spanish-English en face edition, The Whole Island makes available the astonishing achievement of a wide range of Cuban poets, including such well-known figures as Nicolás Guillén, José Lezama Lima, and Nancy Morejón, but also poets widely read in Spanish who remain almost unknown to the English-speaking world—among them Fina García Marruz, José Kozer, Raúl Hernández Novás, and Ángel Escobar—and poets born since the Revolution, like Rogelio Saunders, Omar Pérez, Alessandra Molina, and Javier Marimón. The translations, almost all of them new, convey the intensity and beauty of the accompanying Spanish originals. With their work deeply rooted in Cuban culture, many of these poets—both on and off the island—have been at the center of the political and social changes of this tempestuous period. The poems offered here constitute an essential source for understanding the literature and culture of Cuba, its diaspora, and the Caribbean at large, and provide an unparalleled perspective on what it means to be Cuban.
For the first time, Navigating CHamoru Poetry focuses on Indigenous CHamoru (Chamorro) poetry from the Pacific Island of Guåhan (Guam). In this book, poet and scholar Craig Santos Perez navigates the complex relationship between CHamoru poetry, cultural identity, decolonial politics, diasporic migrations, and native aesthetics.
In Broken by Water: Salish Sea Years, the contemporary world is suffused with the past, a world where even the briefest moments are layered with meaning: widgeons spooked into flight echo the horror of orcas being captured in a quaint harbor; clouds storming north are like a massive spring migration and make human life seem insignificant; a raven's croak underscores the outrage of old-growth devastation; one vandalized grave portends the end of our world. These poems are alive in the moment precisely because they bring the dark, often forgotten, past into the light.
Twenty-nine poems from the 1950's.
In his new collection, Jeffrey McDaniel confronts the insular and expansive qualities of loss. With electric language and surrealistic imagery, McDaniel’s poems deliver the quotidian elements of middle-age life while weaving us in & out of childhood and adulthood alongside body and mind. The tragic and life affirming share the same page and the same world, reminding us how close corruption can be to innocence; domesticity to fantasy; aging to youth. Jonathan We are underwater off the coast of Belize. The water is lit up even though its dark as if there are illuminated seashells scattered on the ocean floor. We’re not wearing oxygen tanks, yet staying underwater for long stretches. We are looking for the body of the boy we lost. Each year he grows a little older. Last December I opened his knapsack and stuck in a plastic box of carrots. Even though we’re underwater, we hear a song playing over a policeman’s radio. He comes to the shoreline to park and eat midnight sandwiches, his headlights fanning out across the harbor. And I hold you close, apple of my closed eye, red dance of my opened fist.
These poems by Nancy Morejon are the voice of the new Cuba, the Cuba born after the Revolution. In her lines, Nancy Morejon captures the rhythms, the sounds, the colors, the people, that make up the rich and complex texture of Revolutionary Cuba. --Amazon.com.