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Born in Nebraska in 1914, he followed his polymorphous muse from coast to coast as a musician, librarian, writer, screenwriter, critic, and painter. He is remembered most for his poetry, and for his disappearance. Did he leap to his death from the Golden Gate Bridge in July 1955 or seek a new life in Mexico? In an extraordinary act of identification, poet and essayist Rooney (For You, For You I Am Trilling These Songs (Counterpoint, 2010)) improvises on Kees's most haunting poems, a quartet featuring an alter ego named Robinson. Her loosely biographical, knowledgeably imaginative, and gorgeously atmospheric story in verse portrays Robinson as a dapper,talented, and bedeviled man who conceals his sorrows behind insouciance. Rooney weaves lines from Kees's writings into her bluesy, funny, and scorching lyrics as she follows Robinson from elation to desolation as his wife succumbs to alcoholism and his dreams fade.
When a young girl helps tend to her grandmother’s garden, she begins to notice things that make her curious. Why does her grandmother have long, braided hair and beautifully coloured clothing? Why does she speak another language and spend so much time with her family? As she asks her grandmother about these things, she is told about life in a residential school a long time ago, where all of these things were taken away. When We Were Alone is a story about a difficult time in history, and, ultimately, one of empowerment and strength. Also available in a bilingual Swampy Cree/English edition. When We Were Alone won the 2017 Governor General's Literary Award in the Young People's Literature (Illustrated Books) category, and was nominated for the TD Canadian's Children's Literature Award.
This book explores the author’s award-winning novels while also engaging her non-fiction. As the first book devoted entirely to Robinson and to her diverse contributions to literature and scholarship, This Life, This World familiarizes readers with the major currents in her thought and moves scholarly dialogue into new theoretical directions. An interdisciplinary group, the contributors bring to their subject a diversity of perspectives—Romanticism, ecocriticism, medicine and literature, religion and literature, theology, American Studies, critical race theory, and feminist and gender studies—that reflects the amplitude and fecundity of Robinson’s art and thought. The book begins with an annotated timeline and concludes with a substantive written interview with Robinson wherein she reflects on her work and its reception. A tremendous resource for Robinson enthusiasts and for readers interested in the questions she raises in her fiction and non-fiction.
In 1992 Ian, a native New Zealander, was living in London and was seized with the idea of travelling across Mongolia. Despite opposition from friends and family, he went on to become the first Westerner to cross Mongolia alone on horseback. This is his fascinating, sometimes frightening and often hilarious story.
In this delightful memoir, the book critic for NPR’s Fresh Air reflects on her life as a professional reader. Maureen Corrigan takes us from her unpretentious girlhood in working-class Queens, to her bemused years in an Ivy League Ph.D. program, from the whirl of falling in love and marrying (a fellow bookworm, of course), to the ordeal of adopting a baby overseas, always with a book at her side. Along the way, she reveals which books and authors have shaped her own life—from classic works of English literature to hard-boiled detective novels, and everything in between. And in her explorations of the heroes and heroines throughout literary history, Corrigan’s love for a good story shines.
Are we doomed to construct reality with the language of being and individuality? Autós shows a different perspective by reconsidering the European textual production of individuals. Its narration progresses in reverse chronological order to escape teleology: it goes from the modern atomized and self-sufficient subject to her immediate precursor, namely, the isolated faithful of Reformation theology, and to the amazing proliferation of medieval bodies, after the Late Antique narrow individuation of the Christian persona. Roman law mostly escapes the latter’s definitional approach, which first appears in Greek speculation: here, the vocabulary of being and identity takes shape, as exemplified by the new Platonic deployment of the word autós, which has both the sense of ‘same’ and ‘self.’ The Homeric epic instead shows us a discursive regime that precedes the invention of body, mind, being, and self. Taking further old and new examples, the book seeks to provincialize the technologies of the self through a new vocabulary of incorporation, whose sphere of action is not the being of entities, but the performing of practices.
FEATURING: Ken Gonzales-Day Angela Alaimo O'Donnell Shelly Rambo Frank Seeburger Chelle Stearns PLUS: God Gave Birth Tweeting the Impossible Forgiveness How Cancer Made Me Less of a Bastard (and More Human) What's Love Got to Do with It? Theodicy, Trauma, and Divine Love Naming the Animals --AND MORE . . .
Critic, novelist, filmmaker, jazz musician, painter, and, above all, poet, Weldon Kees performed, practiced, and published with the best of his generation of artists—the so-called middle generation, which included Robert Lowell, Elizabeth Bishop, and John Berryman. His dramatic disappearance (a probable suicide) at the age of forty-one, his movie-star good looks, his role in various movements of the day, and his shifting relationships with key figures in the arts have made him one of the more intriguing—and elusive—artists of the time. In this long-awaited biography, James Reidel presents the first full account of Kees’s troubled yet remarkably accomplished life. Reidel traces Kees’s career from his birth in 1914 and boyhood in Beatrice, Nebraska, to his stint as an award-winning short-story writer and novelist, his rise as a poet and critic in New York, his branching off into abstract expressionism, jazz music, and theater, and his experimental and scientific filmmaking and photography. Going beyond the cult status that has grown up around Kees over the years, this work fairly and judiciously places him as a cultural adventurer at a particularly rich and significant moment in postwar twentieth-century America.