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The epic made simple. The miracle in the mundane. One day, while browsing an antique store in Helena, Montana, photographer Tyler Knott Gregson stumbled upon a vintage Remington typewriter for sale. Standing up and using a page from a broken book he was buying for $2, he typed a poem without thinking, without planning, and without the ability to revise anything. He fell in love. Three years and almost one thousand poems later, Tyler is now known as the creator of the Typewriter Series: a striking collection of poems typed onto found scraps of paper or created via blackout method. Chasers of the Light features some of his most insightful and beautifully worded pieces of work—poems that illuminate grand gestures and small glimpses, poems that celebrate the beauty of a life spent chasing the light.
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This volume fulfills the author's career-long reflections on radical otherness in literature. J. Hillis Miller investigates otherness through ten nineteenth- and twentieth-century authors: Friedrich Schlegel, Charles Dickens, George Eliot, Anthony Trollope, Joseph Conrad, W. B. Yeats, E. M. Forster, Marcel Proust, Paul de Man, and Jacques Derrida. From the exquisite close readings for which he is celebrated, Miller reaps a capacious understanding of otherness--one reachable not through theory but through literature itself. Otherness has wide valence in contemporary literary and cultural studies and is often understood as a misconception by hegemonic groups of subaltern ones. In a pleasing counter to this, Others conceives of otherness as something that inhabits sameness. Instances of the ''wholly other'' within the familiar include your sense of self or your beloved, your sense of your culture as such, or your experience of literary, theoretical, and philosophical works that belong to your own culture--works that are themselves haunted by otherness. Though Others begins and ends with chapters on theorists, the testimony they offer about otherness is not taken as more compelling than that of such literary works as Dicken's Our Mutual Friend, Conrad's ''The Secret Sharer,'' Yeats's ''Cold Heaven,'' or Proust's Remembrance of Things Past. Otherness, as this book finds it in the writers read, is not an abstract concept. It is an elusive feature of specific verbal constructs, different in each case. It can be glimpsed only through close readings that respect this diversity, as the plural in the title--Others--indicates. We perceive otherness in the way that the unseen--and the characters' emotional responses to it--ripples the conservative ideological surface of Howard's End. We sense it as chaos in Schlegel's radical concept of irony. And we gaze at it in the multiple personifications of Heart of Darkness. Each testifies in its own way to the richness and tangible weight of an otherness close at hand.
Who were Shakespeare's 'Friend' and the 'Dark Lady'? Why did Donne risk his life and ruin his career for a seventeen-year-old girl? Why did Wordsworth's sister retire to her bed on his wedding day? Writing never takes place in a vacuum and much of the finest poetry in the English language has been inspired by particular people - patrons, spouses, lovers, friends, or just casual acquaintances. Whether relegated to an obscurity they do not deserve or thrust into prominence they did not seek, their importance to the creative process is inescapable. In Where All the Ladders Start, Julian Lovelock discusses with characteristic incisiveness and enthusiasm nine major British poets and the real lives behind some of their most personal and significant works. Along the way he shows how poetry has developed over the past four hundred years and provides suggestions for further reading, while for convenience all of the relevant poems and extracts are reproduced in full. Written for both the seasoned reader and the student encountering these poems for the first time, Lovelock's analysis will inspire and entertain in equal measure.
The death in 2013 of Seamus Heaney is an appropriate point to honour the great Irish poet's major contribution to classical reception in modern poetry. This is the first volume to be wholly dedicated to this perspective on Heaney's work, focusing primarily on his fascination with Greek drama and myth and his interest in Latin poetry.
Multiliterate Ireland examines a selection of Irish literature to illuminate a legacy of a multilingual history, demonstrated through works that range from past centuries to the present era. This study examines authors who utilized two or more languages in the same poem, play, or work of fiction, also known as “code-mixing” and “code-switching,” of primarily English and Irish Gaelic languages, but with the inclusion of others such as Latin, Greek, and French, and examines linguistically and historically why these multiliterate choices were made. Included in this analysis are the history of relationships among the languages, the historical use of multiple languages by Irish and proto-Irish writers, the psycholinguistic and cultural effects of colonial suppression of the language, the attempts at restoration of Irishand the desire for a post-Independence literary legacy in the medium of Irish, and a discussion of certain theories and principles of code-mixing that were developed in the case of its oral use and which may in some cases extend to writing. Along with these historical explanations, examples of multiliterate poetry and prose and the writers who produced them, from the late-17th or early 18-centuries up through contemporary works, are explored in greater depth, and serve to illustrate and highlight various uses of code-switching and code-mixing. Finally, "multiliteracy" as art, or the use of two or more languages as a means of transcendence beyond the ordinary, which is associated with the artistic impulse in general, is explored. This exploration reveals that many Irish writers were akin historically and culturally to artists in various other media whose multi-geographic and multi-linguistic experiences were essential to the development of both enduring and new aesthetic principles. By examining the literature of these Irish writers through the prism of multiliteracy, Multiliterate Ireland attempts to keep at the forefront the authors and their texts, and their decisions to break through the wall of English, or of Irish, to develop an aesthetic that goes beyond a single language, and that creates a language that is at once also many languages.
As the Sekk threaten Everien and the tribes squabble over the spoils of the Empire, Istar is given a message by a legendary Raptor: the massive Snowfalcon. It is a message that holds the key to the mystery of Tarquin of The Company.