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Prismatics: Larry Levis & Contemporary American Poetry is a collection of the full-length transcriptions of the extended interviews Gregory Donovan and Michele Poulos conducted with a group of America’s most notable poets—including two U.S. Poet Laureates—in making the documentary film A Late Style of Fire: Larry Levis, American Poet. These discussions cover not only their relationships with Levis and his poetry, but also more wide-ranging commentaries on a broad spectrum of American literary life. Prismatics reflects the multiple angles of perception provided by its fourteen participating poets, including David St. John (who also contributed the foreword), Philip Levine, Charles Wright, Norman Dubie, Gerald Stern, Carolyn Forché, Stanley Plumly, Colleen McElroy, David Wojahn, Carol Muske-Dukes, Kathleen Graber, Peter Everwine, Charles Hanzlicek, and Gail Wronsky. The book’s title points out that Levis’s personal and professional life as a writer provides a prism which leads these discussions to range broadly into a wider portrait of a highly influential era of poets and poetics, personified not only in Levis, but in each of the poets interviewed. In these lively, spontaneous conversations, Prismatics provides an informed and intimate portrait of the risks and triumphs of a life in poetry, a discussion of distinct intellectual, practical, and historical value that’s also emotionally involving—and quite entertaining. Advance Praise Should some Hollywood biopic ever be inspired by Michele Poulos’ stupendous documentary and these marvelous interviews, the great problem will be finding someone to play the inimitable Larry Levis. These transcriptions double as oral histories, flash memoirs, and spontaneous poetics essays not only about Levis, but about contemporary American poetry in the years spanning his larger-than-life life: 1946-1996. In one interview Carolyn Forché says, “Larry’s poems are suffused with an awareness of human presence.” The same must be said of this rich and spirited collection. —Terrance Hayes, author of American Sonnets for My Past and Future Assassin Larry Levis was the genius of our generation; he was the star risen out of a constellation of poets coming from Fresno. In Prismatics, many of our most notable poets offer insightful, personal, and detailed responses to and assessments of Larry’s life and work. Especially touching and salient are the interviews with Philip Levine, Peter Everwine, C.G. Hanzlicek, and David St. John, Fresno poets and friends who knew him best and who knew Larry from the start. They testify to his talent, humanity, and unmatched originality and voice. For lovers of Larry’s poetry, of contemporary poetry, this is an invaluable collection. —Christopher Buckley, author of A Condition of the Spirit As I read through the interviews in Prismatics, I found myself pausing in the middle of chapters, rather than between them, so as to savor the feeling of always being immersed in a rich and rewarding conversation. I love the cumulative warmth of this book, of so many poets speaking affectionately and thoughtfully about one of the great American poets of the 20th century—as friend, colleague, lover, co-conspirator, and cynosure. But more than a commemoration of Larry Levis, Prismatics offers meditations on passion, creativity, self-destruction, ambition, and the nature of literary legacy. It’s a book as capacious and complex as the poetry of Levis itself. —Nicky Beer, author of The Octopus Game and The Diminishing House
Edited and with an Afterword by David St. John When Larry Levis died suddenly in 1996, Philip Levine wrote that he had years earlier recognized Levis as "the most gifted and determined young poet I have ever had the good fortune to have in one of my classes. . . . His early death is a staggering loss for our poetry, but what he left is a major achievement that will enrich our lives." Each of his books was published to wide critical acclaim, and David St. John has collected together the best of his work from his first five books: Wrecking Crew (1972), Afterlife (1976), The Dollmaker’s Ghost (1981), Winter Stars (1985) and The Widening Spell of the Leaves (1991). "It is not an exaggeration to say that the death of Larry Levis in 1996—; of a heart attack at 49—; sent a shock wave through the ranks of American poetry. Not only was Levis a good friend to many poets (not simply of his own generation but of many poets older and younger as well), his poetry had become a kind of touchstone for many of us, a source of special inspiration and awe. With Larry Levis’ death came the sense that an American original had been lost. . . . It is not at all paradoxical that he saw both the most intimate expressions of poetry and the grandest gestures of art, of language, as constituting individual acts of courage. One can only hope that, like such courage, Larry Levis’s remarkable poems will continue to live far into our literature."—; from the Afterword, by David St. John
The empty bar that someone was supposed to swing to him Did not arrive, & so his outstretched flesh itself became A darkening trapeze. The two other acrobats were thieves. --from "Elegy with a Darkening Trapeze Inside It" The Darkening Trapeze collects the last poems by Larry Levis, written during the extraordinary blaze of his final years when his poetry expanded into the ambitious operatic masterpieces he is known for. Edited and with an afterword by David St. John and published twenty years after Levis's death, this collection contains major unpublished works, including final elegies, brief lyrics, and a coda believed to be the last poem Levis wrote, a heart-wrenching poem about his son. The Darkening Trapeze is an astonishing collection by a poet many consider to be among the greatest of late-twentieth-century American poetry.
'Black Sand' comprises poems selected from Baugh's two previous collections, plus a collection's worth of new poems. His subject matter ranges from race, history, and sport to love, the academic life, and the consolations of natural beauty. He also casts a shrewd eye over a Jamaica characterised by urbane polish, gated communities, and a black majority still struggling against the wrongs of the past.
2005 marks the 40th anniversary of San Franciscos Haight-Ashbury district. The psychedelic community was probably the most widely written-about phenomenon of the 1960s apart from the Vietnam War. As unexpected as it was inevitable, the whole eventfrom public manifestation to gaudy collapsehappened in less than two years. In this acclaimed, definitive work, Charles Perry examines the history, the drama, and the energy of counter-cultures defining moment. First published by Rolling Stone Press in 1984 and now re-releasedwith a new introduction by the Grateful Deads Bob Weirto time with Haight-Ashburys 40th anniversary, this highly acclaimed work is a must-have for anyone interested in the original sex, drugs, and rock n roll lifestyle.
change is simply described by the rate of income and rate of loss. Our home's energy budget, our firm's inventory, our nation's debt, and humanity's numbers all have accounts that change at rates that are equal to the inputs minus the outputs. Jenny's "system view" of the soil was carried into the fertile fields of Midwestern American prairies from the laboratories of Switzerland in the late 1920s. Jenny's rate equations provided the other paradigm or world view that, I recall, brought us to the threshold of systems ecology as it later evolved in the second half of the twentieth century. As if world renown in the specialties of pedology and soil chemistry were not enough for one lifetime, excerpts below remind us that Hans Jenny has also been a perceptive outdoor field ecologist since his early Alpine expeditions with Braun Blanquet in the mid 1920s. Jenny's ecosystem studies in the pygmy forest, a further classic example of a soil-plant system "run down" over hundreds of thousands of years since its origin, continue to occupy some of the vigorous retirement time near his farm in Mendocino County. But each specific, quantitative case study, and each research area conserved (with additional hard work) for further study by future generations, fits into Jenny's coherent world view. It is that view, and its legacies of discovery and of tangible landscape preserves, which we are privileged to share with their originator in this volume.
Philip Levine came to teach at Fresno State in 1958 and Peter Everwine followed in 1962; C.G. Hanclicek came in 1966 and the initial group of Fresno poets collected here became students and colleagues of theirs. Sadly, about one third of the poets in Naming the Lost are no longer with us. This book focuses then on the community of poets first coming through Fresno, beginning in the early 1960s, starting it all off. Naming the Lost: The Fresno Poets--Interviews & Essays, preserves an amazing nexus of poetic talent and fellowship, and documents the providence that brought so many outstanding poets to Fresno--early '60s through the '80s--a confluence and coincidence of talent and personalities unlikely to be seen again.
The Rock History Reader is an eclectic compilation of readings that tells the history of rock as it has been received and explained as a social and musical practice throughout its six decade history. The readings range from the vivid autobiographical accounts of such rock icons as Ronnie Spector and David Lee Roth to the writings of noted rock critics like Lester Bangs and Chuck Klosterman. It also includes a variety of selections from media critics, musicologists, fanzine writers, legal experts, sociologists and prominent political figures. Many entries also deal specifically with distinctive styles such as Motown, punk, disco, grunge, rap and indie rock. Each entry includes headnotes, which place it in its historical context. This second edition includes new readings on the early years of rhythm & blues and rock ‘n’ roll, as well as entries on payola, mods, the rise of FM rock, progressive rock and the PMRC congressional hearings. In addition, there is a wealth of new material on the 2000s that explores such relatively recent developments as emo, mash ups, the explosion of internet culture and new media, and iconic figures like Radiohead and Lady Gaga. With numerous readings that delve into the often explosive issues surrounding censorship, copyright, race relations, feminism, youth subcultures, and the meaning of musical value, The Rock History Reader continues to appeal to scholars and students from a variety of disciplines.
The J. Paul Getty Museum Journal has been published annually since 1974. It contains scholarly articles and shorter notes pertaining to objects in the Museum’s seven curatorial departments: Antiquities, Manuscripts, Paintings, Drawings, Decorative Arts, Sculpture and Works of Art, and Photographs. The Journal includes an illustrated checklist of the Museum’s acquisitions for the previous year, a staff listing, and a statement by the Museum’s director outlining the year’s most important activities. Volume 21 of the J. Paul Getty Museum Journal includes articles by John Walsh, Barbara C. Anderson, Ariel Herrmann, Jill Finsten, Lynn F. Jacobs, And Peter J. Holliday.