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Poets and the Fools Who Love Them blends autobiography with cultural commentary and meditates on creative writing as a cottage industry within humanities higher education. Celebrated poet and memoirist Richard Katrovas examines his picaresque early years with a criminal father, a beleaguered mother, and four siblings as state and federal authorities pursued the family across the highways of America. His freewheeling, wide-ranging essays consider, among other social constructs, the relation of crime and art, and the relation of both to the authority of the state, particularly in terms of race and class. Katrovas speaks candidly about how white privilege facilitated his father’s criminal career, as a lifestyle of larceny and used-car scams, perpetuated state to state, would have surely had different implications for a family of color. Drawing on his adulthood in academe, Katrovas’s memoir in essays chronicles a quest to locate surrogate fathers among older poets and other creative writers, and reflects upon the ways in which that search has affected his role as the father to three Czech American daughters. The book flows from the love of a poet for other poets, for the “community of poets,” one likened to a “gang of priests” and a “herd of bears.” Katrovas maintains that most lovers of poets are themselves poets, and those lovers of poets who are not themselves poets are saints. At its heart, Poets and the Fools Who Love Them contemplates, with care and unabashed honesty, the role of art and the artist in the madcap twenty-first century.
Poets and the Fools Who Love Them blends autobiography with cultural commentary and meditates on creative writing as a cottage industry within humanities higher education. Celebrated poet and memoirist Richard Katrovas examines his picaresque early years with a criminal father, a beleaguered mother, and four siblings as state and federal authorities pursued the family across the highways of America. His freewheeling, wide-ranging essays consider, among other social constructs, the relation of crime and art, and the relation of both to the authority of the state, particularly in terms of race and class. Katrovas speaks candidly about how white privilege facilitated his father’s criminal career, as a lifestyle of larceny and used-car scams, perpetuated state to state, would have surely had different implications for a family of color. Drawing on his adulthood in academe, Katrovas’s memoir in essays chronicles a quest to locate surrogate fathers among older poets and other creative writers, and reflects upon the ways in which that search has affected his role as the father to three Czech American daughters. The book flows from the love of a poet for other poets, for the “community of poets,” one likened to a “gang of priests” and a “herd of bears.” Katrovas maintains that most lovers of poets are themselves poets, and those lovers of poets who are not themselves poets are saints. At its heart, Poets and the Fools Who Love Them contemplates, with care and unabashed honesty, the role of art and the artist in the madcap twenty-first century.
For the first time, Faber publish a selection from the poetry of Philip Larkin. Drawing on Larkin's four collections and on his uncollected poems. Chosen by Martin Amis. 'Many poets make us smile; how many poets make us laugh - or, in that curious phrase, "laugh out loud" (as if there's another way of doing it)? Who else uses an essentially conversational idiom to achieve such a variety of emotional effects? Who else takes us, and takes us so often, from sunlit levity to mellifluous gloom?... Larkin, often, is more than memorable: he is instantly unforgettable.' - Martin Amis
Poetry. By turns mystical and realist, Mary Gilliland's intensely musical poems consider global apocalypse--'our course set for the destitute sunset'--but also celebrate the generative power of creativity. With preternatural empathy, she enters fascinating sensibilities--Virginia Woolf, Nikola Tesla--and sings 'the troubled music' of history. Gilliland's sinewy, nuanced poems understand earth--and consciousness--as gardens that no walls or enchantments can protect. Her vision is profound, enduring.--Alice Fulton Mary Gilliland's THE RUINED WALLED CASTLE GARDEN casts a sidelong glance at the human comedy in various times and places. Here a 'stubbled saint' stumbles into our contemporary world; the rush of life stops with a milennial 'where-were-you party.' Marked by compression, surprise, originality of language, a confident and eloquent voice cuts to the essential.--Mary Crow Like the apothecarist Keats, Mary Gilliland's poetry wells up from the healing force of unheard melodies. Her tensile lyric and fluent narrative grasp the sweet otherness in life, which is 'Eve's radical helplessness' to endure and bear intimate witness to both change and permanence. THE RUINED WALLED CASTLE GARDEN is a radiant testimony--and a triumph--of an unerring ear I deeply cherish.--Ishion Hutchinson
Richly engaging historical adventure in the vein of The Winter Palace and The Malice of Fortune. Muse is the story of the charismatic woman who was the inspiration behind Petrarch's sublime love poetry. Solange Le Blanc begins life in the tempestuous streets of 14th century Avignon, a city of men dominated by the Pope and his palace. When her mother, a harlot, dies in childbirth, Solange is raised by Benedictines who believe she has the gift of clairvoyance. Trained as a scribe, but troubled by disturbing visions and tempted by a more carnal life, she escapes to Avignon, where she becomes entangled in a love triangle with the poet Petrarch, becoming not only his muse but also his lover. Later, when her gift for prophecy catches the Pope's ear, Solange becomes Pope Clement VI's mistress and confidante in the most celebrated court in Europe. When the plague kills a third of Avignon's population, Solange is accused of sorcery and is forced once again to reinvent herself and fight against a final, mortal conspiracy. Muse is a sweeping historical epic that magically evokes the Renaissance, capturing a time and place caught between the shadows of the past and the promise of a new cultural awakening.
A classic in the Bukowski poetry canon, Love Is a Dog from Hell is a raw, lyrical, exploration of the exigencies, heartbreaks, and limits of love. A book that captures the Dirty Old Man of American letters at his fiercest and most vulnerable, on a subject that hits home with all of us. Charles Bukowski was a man of intense emotions, someone an editor once called a “passionate madman.” Alternating between tough and gentle, sensitive and gritty, Bukowski lays bare the myriad facets of love—its selfishness and its narcissism, its randomness, its mystery and its misery, and, ultimately, its true joyfulness, endurance, and redemptive power. "there is a loneliness in this world so great that you can see it in the slow movement of the hands of a clock."
"St Paul's cathedral stands like a cornered beast on Ludgate hill, taking deep breaths above the smoke. The fire has made terrifying progress in the night and is closing in on the ancient monument from three directions. Built of massive stones, the cathedral is held to be invincible, but suddenly Pegge sees what the flames covet: the two hundred and fifty feet of scaffolding erected around the broken tower. Once the flames have a foothold on the wooden scaffolds, they can jump to the lead roof, and once the timbers burn and the vaulting cracks, the cathedral will be toppled by its own mass, a royal bear brought down by common dogs." (p.9) It is the Great Fire of 1666. The imposing edifice of St. Paul's Cathedral, a landmark of London since the twelfth century, is being reduced to rubble by the flames that engulf the City. In the holocaust, Pegge and a small group of men struggle to save the effigy of her father, John Donne, famous love poet and the great Dean of St. Paul's. Making their way through the heat and confusion of the streets, they arrive at Paul's wharf. Pegge's husband, William Bowles, anxiously scans the wretched scene, suddenly realizing why Pegge has asked him to meet her at this desperate spot. The story behind this dramatic rescue begins forty years before the fire. Pegge Donne is still a rebellious girl, already too clever for a world that values learning only in men, when her father begins arranging marriages for his five daughters, including Pegge. Pegge, however, is desperate to taste the all-consuming desire that led to her parents' clandestine marriage, notorious throughout England for shattering social convention and for inspiring some of the most erotic and profound poetry ever written. She sets out to win the love of Izaak Walton, a man infatuated with her older sister. Stung by Walton's rejection and jealous of her physically mature sisters, the boyish Pegge becomes convinced that it is her own father who knows the secret of love. She collects his poems, hoping to piece together her parents' history, searching for some connection to the mother she barely knew. Intertwined with Pegge's compelling voice are those of Ann More and John Donne, telling us of the courtship that inspired some of the world's greatest poetry of love and physical longing. Donne's seduction leads Ann to abandon social convention, risk her father's certain wrath, and elope with Donne. It is the undoing of his career and the two are left to struggle in a marriage that leads to her death in her twelfth childbirth at age thirty-three. In Donne's final days, Pegge tries, in ways that push the boundaries of daughterly behaviour, to discover the key to unlock her own sexuality. After his death, Pegge still struggles to free herself from an obsession that threatens to drive her beyond the bounds of reason. Even after she marries, she cannot suppress her independence or her desire to experience extraordinary love. Conceit brings to life the teeming, bawdy streets of London, the intrigue-ridden court, and the lushness of the seventeenth-century English countryside. It is a story of many kinds of love — erotic, familial, unrequited, and obsessive — and the unpredictable workings of the human heart. With characters plucked from the pages of history, Mary Novik's debut novel is an elegant, fully-imagined story of lives you will find hard to leave behind.
Shares uplifting advice about the virtues of forgiveness, offering strategic and biblically based advice on how to achieve peace and personal fulfillment by letting go of past wrongs.
"Diane di Prima, revolutionary activist of the 1960s Beat literary renaissance, heroic in life and poetics: a learned humorous bohemian, classically educated and twentieth-century radical, her writing, informed by Buddhist equanimity, is exemplary in...
As contemporary poets sing the glories of birds and birch trees, regular guys are left scratching their heads. Who can speak for Everyman? Who will articulate his love for Xbox 360, for Mama Celeste’s frozen pizza, for the cinematic oeuvre of Bruce Willis? Enter Broetry—a stunning debut from a dazzling new literary voice. “Broet Laureate” Brian McGackin goes where no poet has gone before—to Star Wars conventions, to frat parties, to video game tournaments, and beyond. With poems like “Ode to That Girl I Dated for, Like, Two Months Sophomore Year” and “My Friends Who Don’t Have Student Loans,” we follow the Bro from his high school graduation and college experience through a “quarter-life crisis” and beyond.