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Poetry, Prose and Praise By: Bruce D. Thornton Poetry, Prose and Praise is a collection of writings that will touch your soul. In every poem there is an element of grandeur about author Bruce D. Thornton’s life experiences that he found worth mentioning. Poetry, Prose and Praise is an outgrowth or rebirth of how Bruce sees life in this twenty-first century as a self-aware man. To the reader: Bruce hopes Poetry, Prose and Praise does for you what it did for him: lift the soul.
Rodney Gómez's Arsenal With Praise Song somehow manages to yoke together lament and celebration, reproach and veneration across the borders of eras and nations. Set in the stark desert landscape of the México-U.S. border all too familiar to so many refugees and migrants, these poems scrutinize human bodies and the body of the earth as the sites of great injustices and violences-political, social, and spiritual-and as the vehicles that carry our collective legacy generation to generation.
After suffering a major heart attack, Michael Commorato 'died' inside the ambulance on the way to the hospital. During the ride, he describes having a Near Death Experience. He received dozens of messages during that time and 'was instructed' to wait 3 years before going public. These messages are written here in various poems and prose in hopes that ALL people may enter Heaven by giving them a jump-start via this book!
At an early age, Olga Sedakova began writing poetry and, by the 1970s, had joined up with other members of Russia's underground second culture' to create a vibrant literary movement - one that was at odds with the political powers that be. This conflict prevented Sedakova's books from being published in the U.S.S.R., they were only available as hand written books. But now Sedakova has published 27 volumes of verse and prose. This is a unique introduction to her work, bringing together a memoir-essay and two poetic works.'
Provides an ongoing narrative of the sailor's life at sea in the late nineteenth and early twentieth centuries
Companionship, love, labor, even survival--animals offer all of these and more. In Praise of Animals honors the animals in our lives. In this unique collection, Edward Searl has gathered poems, prose, blessings, chants--tributes of all kinds, ancient and modern. He explores the varied topics of pets, wildlife, stewardship, ecology, evolution, and the spiritual connection among all creatures. In Praise of Animals is the ideal gift for animal lovers of all kinds--from those who work with animals to those who are welcoming a new pet or grieving the loss of one, to nature lovers in general. Perfect for animal-blessing ceremonies and other rituals that honor the animal kingdom. * Inspiring selections culled from a variety of sources, ancient and modern. This collection features poetry and prose from across the ages and around the world and includes passages from fiction, science, and children's literature. * From pets to wildlife, an anthology unlike any other. Offers selections on mammals, insects, reptiles, amphibians, birds, work animals, and more. * Edward Searl is a seasoned minister of other successful collected anthologies on such topics as birth, marriage, and death. * Inspiring selections culled from a variety of sources, ancient and modern. This collection features poetry and prose from across the ages and around the world and includes passages from fiction, science, and children's literature. * From pets to wildlife, an anthology unlike any other. Offers selections on mammals, insects, reptiles, amphibians, birds, work animals, and more. * Edward Searl is a seasoned minister of other successful collected anthologies on such topics as birth, marriage, and death.
"What a strange and intense book this is! David Blair has a wild, restless imagination and he uses language like saw, a hammer, a velvet whip. He can write incredibly tender (and original) love poems and enfilading satirical poems, as well as many of the many other "kinds" of poems between those poles, and they all seem entirely at home, indeed, need to be in this book together. His music, his diction, his refusal to use (ever!) cliches, his syntax all drive his poems and their hearts forward. That is where his poems go: forward. He will be in the company of the best poets of his generation." --Thomas Lux "Nothing can remain horizontal or vertical for long" might as well be David Blair's mini ars poetica. A commitment to the pleasures and terrors of change, you might say. I have been reading Blair's poems for about ten years now--struck always by his unique pitch and tone, the tensile muscularity of his syntax and vibrational accents. His diction is totally unboxed. He reminds me a bit of August Kleinzahler or John Yau in this--a karaoke of urban hullabaloo sung slightly off the beat, all for the sake of swing....David Blair's acceptance of the world is signaled by his stylishness, provoked by the people and things he encounters. His brain knows that it's living in an animal body. And it moves among all these other minds and bodies in motion. Changed by the smallest of changes. Unbalanced but at ease. This poet's energy reminds me of Edwin Denby's comments about De Kooning's paintings from the 1930s: "He wanted everything in the picture out of equilibrium except spontaneously all of it...a miraculous force and weight of presence moving from all over the canvas at once." These poems wantthat, too. --David Rivard, /Boston Review/ "David Blair's work is both public and discreet, somewhere between black box theatre and a blind date with an utterly beguiling stranger. His poems are dinner parties, intimate and sumptuous, arranged with great care and yet full of unforeseen turns: the pope gives way to 'the first red coils of the peonies' and a the hair of a lost aviator becomes 'brown, fibrous light.' How refreshingly unlike contemporary poetry this book is; a pleasure. --D. A. Powell
An engaging and authoritative introduction to an increasingly important and popular literary genre Prose Poetry is the first book of its kind—an engaging and authoritative introduction to the history, development, and features of English-language prose poetry, an increasingly important and popular literary form that is still too little understood and appreciated. Poets and scholars Paul Hetherington and Cassandra Atherton introduce prose poetry’s key characteristics, chart its evolution from the nineteenth century to the present, and discuss many historical and contemporary prose poems that both demonstrate their great diversity around the Anglophone world and show why they represent some of today’s most inventive writing. A prose poem looks like prose but reads like poetry: it lacks the line breaks of other poetic forms but employs poetic techniques, such as internal rhyme, repetition, and compression. Prose Poetry explains how this form opens new spaces for writers to create riveting works that reshape the resources of prose while redefining the poetic. Discussing prose poetry’ s precursors, including William Wordsworth and Walt Whitman, and prose poets such as Charles Simic, Russell Edson, Lydia Davis, and Claudia Rankine, the book pays equal attention to male and female prose poets, documenting women’s essential but frequently unacknowledged contributions to the genre. Revealing how prose poetry tests boundaries and challenges conventions to open up new imaginative vistas, this is an essential book for all readers, students, teachers, and writers of prose poetry.
Former Poet Laureate Robert Hass 1979's Praise, the writers second volume of poetry.
Poetry. Art. "'G is a garden and seems simple, ' we're told early on in this disarming, charming, and alarming book. With its text cleaved in two across right and left pages, G reads like an exchange between garden plots and the gardener's journal--neither of which remains simple or simply wholesome from up close, when you're in the weeds. It's this up-closeness that rewards, transforming an air of levity into an air of suspension, or suspense: who or what is this G, really? (Who or what, finally, isn't?) Russo's writing, a peculiar marriage of compression and splay, embeds a germinal weirdness in the fallow page, and waits. The results are like certain mushrooms fruiting, unassuming to look at but potent with magic: 'a hindrance open.'"--Anna Moschovakis "Emmalea Russo is imprinting a new archetype of mystical female poet into the collective, where we can grow of the edges & be made of the Glitches and celebrate the poetic as a means of creative prayer."--Guru Jagat "Follow it wherever it leads and let go of expectation about what a poem is. It's a scary gift with a complex and intricate structure."--Jen Bervin "It is tempting to call G a meditation on perception, but it's always-already clear-eyed: often, when the figure meets ground, the actual ground is already the figure, and Emmalea Russo understands these illusory but changeable optics (and her chosen medium) as much as her writing has lived and centered them--grounded, yes, by (tenderly) performed intimacy, tide, earth. G, a letter, lest we forget, too falls from geological time; and the poet's linguistic figuring, seeing, breaking, and tending speak less to the reader than they do water her (during ambrosial hours, so that we do not burn). The work recalls, for me, Carla Harryman, Renee Gladman, Peter Greenaway's reflective H is for House; but Russo's responses to how 21st-cen. life interrupts and materializes fenestration ( ) act as shelves in multiple Gs--where one might sit as if on a lover's lap--and so become truly themselves: 'Some things drop down into what space is cleared for.'"--Corina Copp