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Renata Ferreira's poems were composed in the final years of Portugal's fascist regime, exposing and subverting the government's draconian edicts against women's rights, sexual freedoms, political dissent, and progressive thought. While she worked in the resistance as a clandestine writer, passing hand-typed bulletins and banned literature throughout Lisbon, her poetry is unmistakably ardent, tender, fraught, erotic, and Sapphic. Presenting the poems of this Portuguese-American writer and detailing their surprising rediscovery in 2015, Frank X. Gaspar fuses genres, flouts borders, and brings to life a voice that had been silenced by history and happenstance. As his inventive narrative unfolds, Ferreira emerges, whole and mysterious, offering up her history, her passions, and her art.
Poetry. Latino/Latina Studies. Translated from the Portugese by K. David Jackson. RENATA & OTHER POEMS introduces readers to Renata Pallottini's world of "organized anarchy" in a stunning bilingual volume. Bringing the reader to an entirely new understanding of the personal and the political, Pallottini erases the artificial demarcation between the heart and the brain, between the real and the imaginary, between the sophisticated and the simple. While Pallottini is undoubtedly very Brazilian in her worldview and sensitivity, any so-called "cultural differences" do not play a role in a reader's perception of her work. Pallottini's poetry gives breath to the very essence of Brazilian life, indeed, of life in general.
'The disease he has is addiction,' Nina Renata Aron writes of her boyfriend. 'The disease I have is loving him.' Their affair is dramatic, urgent - an intoxicating antidote to the lonely days of early motherhood. But soon, K starts using again. Even as his addiction deepens, she stays, thinking she can save him. It's a familiar pattern, developed in an adolescence marred by family trauma - how can she break it? If she leaves, has she failed? In this unflinching memoir, Aron shows the devastating effect of addiction on loved ones. She also untangles the messy ties between her own history of enabling, society's expectations of womanhood and our ideas of love. She cracks open the feminised phenomenon of co-dependency, tracing its development from the formation of Al-Anon to recent research in the psychology of addiction, and asks uncomfortable questions about when help becomes harm, and when we choose to leave.
In these poems, the poet restlessly inhabits the night, finding it terrifying and beautiful, searching for meaning in the yard, the neighborhood, the heavens and every wise book he owns. These urban pastoral meditations employ ritual and repetition to create a kind of mantra, seeking surrender to that state of meditation leading to enlightenment—yet arguing with the idea of surrendering any attachments at all to this world we’ve been given to learn and love: a city garden cohabitated by ancient Romans and tattooed kids, automobiles and hollyhock, maurauding cats and the Buddha. “I should be satisfied with the household gods,” he mourns, but is satisfied with nothing, determined to fit the whole world into his poems lest the one essential thing slip by. From “The One God is Mysterious” The king and his queen are feasting. . They recline, sumptuously, on long divans. and are attended by naked servants. They. can have anything they want, this much is. clear, and I believe they have been having. sex with one another and with the servants. Why wouldn’t they? Who among the servants. . would not be honored to help? And it’s Babylon. after all, and doesn’t Babylon exist in your. memory? Isn’t Babylon the clear rumbling. of your heart at ease with its every craving—. not the way it is now, fenced off with spiked wire. and old pipes, with signs telling the pedestrians. to beware: the litter, the old cans rusting. No, . this is my own memory of excess and extravagance, . of abandonment to the weight of everything. that pulls me down to ruin, those same ticks. and voices that lift me up and fill me with breath. “Frank Gaspar’s poems are agile and forceful, their narratives clear and absorbing. In them, he is speaking to the reader—but also to himself, or perhaps to some hazy divinity or to the blue sky. I felt in his voice no attempt to persuade me of anything. I felt only the abiding imperative to get it right. Which is, of course, what real writing is all about.”—Mary Oliver
A strange, thrilling novel about desperate love, paranoia, and heartbreak by one of America's most singular writers. “What’s new. What else. What next. What’s happened here.” Pitch Dark is a book about love. Kate Ennis is poised at a critical moment in an affair with a married man. The complications and contradictions pursue her from a house in rural Connecticut to a brownstone apartment in New York City, to a small island off the coast of Washington, to a pitch black night in backcountry Ireland. Composed in the style of Renata Adler’s celebrated novel Speedboat and displaying her keen journalist’s eye and mastery of language, both simple and sublime, Pitch Dark is a bold and astonishing work of art.
I love to swim in the sea, which keeps talking to itself in the monotone of a vagabond who no longer recalls exactly how long he's been on the road. Swimming is like prayer: palms join and part, join and part, almost without end. --from "On Swimming" Without End draws from each of Adam Zagajewski's English-language collections, both in and out of print--Tremor, Canvas, and Mysticism for Beginners--and features new work that is among his most refreshing and rewarding. These poems, lucidly translated, share the vocation that allows us, in Zagajewski's words, "to experience astonishment and to stop still in that astonishment for a long moment or two."
This book considers the life and legacy of Renée de France (1510–75), the youngest daughter of King Louis XII and Anne de Bretagne, exploring her cultural, spiritual, and political influence and her evolving roles and actions as fille de France, Duchess of Ferrara, and Dowager Duchess at Montargis. Drawing on a variety of often overlooked sources – poetry, theater, fine arts, landscape architecture, letters, and ambassadorial reports – contributions highlight Renée’s wide-ranging influence in sixteenth-century Europe, from the Italian Wars to the French Wars of Religion. These essays consider her cultural patronage and politico-religious advocacy, demonstrating that she expanded upon intellectual and moral values shared with her sister, Claude de France; her cousins, Marguerite de Navarre and Jeanne d’Albret; and her godmother and mother, Anne de France and Anne de Bretagne, thereby solidifying her place in a long line of powerful French royal women.
Winner of the Hemingway Foundation/PEN Award, this is one of the defining books of the 1970s, an experimental novel about a young journalist trying to navigate life in America. When Speedboat burst on the scene in the late ’70s it was like nothing readers had encountered before. It seemed to disregard the rules of the novel, but it wore its unconventionality with ease. Reading it was a pleasure of a new, unexpected kind. Above all, there was its voice, ambivalent, curious, wry, the voice of Jen Fain, a journalist negotiating the fraught landscape of contemporary urban America. Party guests, taxi drivers, brownstone dwellers, professors, journalists, presidents, and debutantes fill these dispatches from the world as Jen finds it. A touchstone over the years for writers as different as David Foster Wallace and Elizabeth Hardwick, Speedboat returns to enthrall a new generation of readers.
"I loved this book. It's a private ticket into a secret world of desire and sex and the raw edge between them . . . I read it with the fever of the addicted."--Michael Connelly "I never miss a book by Vicki Hendricks. No one on the current scene is writing super-charged, erotic, real noir novels like these."--George P. Pelecanos Renata is young, beautiful, and has sex for money and kicks. Few are immune to her intoxicating allure--even her pet Burmese python, Pepe, seems captive to her charm. Richard is one of her clients, a poetry professor with a wife and two sons, whose erotic fascination with Rennie is threatening his home and job. Meanwhile, Julie, a shy wannabe novelist, spies on Rennie from her room next door in between bouts of frustrated writing. Both would do anything to save Rennie from her dangerous occupation and become her one true love. Set in Miami's gaudy vacationland and the haunting atmosphere of the Everglades, Cruel Poetry is a gripping story of fatal attraction that captures the Florida behind the postcards. As the lives of Richard and Julie unravel amidst drugs and murder, Hendricks amps the adrenaline jolts and sweeps us to a bittersweet climax. Vicki Hendricks lives in Hollywood, Florida, where she teaches English and creative writing. A fan of dangerous sports, she has completed 550 skydives, learned to dog sled in Finland, and has been birding in the jungles of Costa Rica.