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The book is a collection of short poems inspired by the stories we’ve heard growing up and the things we see and hear every day. Can Sisyphus really be happy? Who is the hero of the Mahabharat? Why are we prisoners and not travellers? Each poem in this book attempts to address a question or give a lesson. Steeped in themes that resonate with the world we live in today, these 10 poems will make you stop and ponder.
The book is a collection of short poems inspired by the stories we've heard growing up and the things we see and hear every day. Can Sisyphus really be happy? Who is the hero of the Mahabharat? Why are we prisoners and not travellers? Each poem in this book attempts to address a question or give a lesson. Steeped in themes that resonate with the world we live in today, these 10 poems will make you stop and ponder.
One of the most influential works of this century, The Myth of Sisyphus and Other Essays is a crucial exposition of existentialist thought. Influenced by works such as Don Juan and the novels of Kafka, these essays begin with a meditation on suicide; the question of living or not living in a universe devoid of order or meaning. With lyric eloquence, Albert Camus brilliantly posits a way out of despair, reaffirming the value of personal existence, and the possibility of life lived with dignity and authenticity.
U.A. Fanthorpe was that rarest of literary beings, a poet who was hugely popular with the general public and at the same time very seriously regarded by fellow poets and literary critics for her originality, wit and humanity. Since her death, much of her work has been out of print. Selected Poems, chosen from over thirty years of Fanthorpe's distinctive and accessible writing by her partner R.V. Bailey, will delight all her existing fans as well as those who come to her poems for the first time.
A Glance into Ilja Kostovski’s Selected Poetry It is a slightly smirking smile that accompanies the voice calling on Muses in Ilja Kostovski’s epic poetry and final book, Sisiphus and I. In this seminal production of the poet’s work, an eager, if slightly sarcastic, voice cries out from the woodpile of modernity: Don’t tarry You envious God This minute I will go Into the deep forests And will chop for you Firewood in piles. As for Kostovski’s readers, they are the “connoisseurs of sorrow,” the “suicide...leaning on the railings of bridges,” the “self-despisers,” for he is a poet of the lone wolves, the melancholy wanderer we read about in Blake and imagine among the happy crowds at Coney Island in the 1920s, or among the tripping multitudes of Haight Ashbury in the 1960s, or in the city where he made his last residence, the throngs of the upright and enraged of Washington, D.C. Kostovski’s verse is prayer to a God who is or is not there, a nearly desperate, repeating “Come unto me.” It is not merely exhortation to the deity. He invokes, too, the gathering crowds of the lost and broken-hearted, as though the divine could only be conjured by those numbers, or as if the dead God of Nietzsche could be resurrected by a hoard whose suffering is the very thing that binds them. In that case, instead of a savior, the hero of these poems is a common wound: “Come unto me those/Who have turned your roads/Into hazardous games.” The language is straight out of the book of Micah (whose own anaphoric language begins each chapter with “Hear”), an Old Testament prophet no one believes, but the language pops with contemporary hideousness: “Come, candidates for oval offices/ Come, candidates for electric chairs.” In what is perhaps the most powerful poem in the collection, “Sermon at the Washington Monument,” Kostovski the poet recalls his association with Ferlinghetti, who “Told me once/The Anglo-Saxons speak the truth/with half-closed mouths...” From a formal angle, the collection Sisyphus and I is Kostovski’s open-mouthed song to a universe that may or may not be listening. Like the fledgling with mouth turned upward, Kostovski’s poetry is both artistic hallelujah and hungry yawp, whose overarching tone is a kind of “gallows praise”: “I hear America is not singing anymore/All songs are dead/And you are the executioner.../Have you ever known Francois Villion/ Who multiplied his life on the gallows?” The poet calls on writers to awaken—rather like Micah, standing on his street corner—if not to save anything, then to attend it as it passes, flares out, at the height of its beauty. Kostovski, born in the Macedonian province of Greece, is the author of Dostoevsky and Goethe: Two Devils, Two Geniuses. Like his poetry, his scholarship sought out the insight of the outsider, as he himself carried the burden of his generation through exile during Communist overthrows, until he settled in Washington, D.C. The prophetic insight is this: a monument does not memorialize a country, but rather a misinterpreted ideal. The best remembrances are those that serve a human purpose. And the best invitation to the gods, in Kostovski’s reckoning at least, is to chop some firewood, good for burning. This is a poet whose voice at once harkens back to the Tanakh while it recalls the beatniks of San Francisco, the homeless, and the insidious white power structures and silent mausoleums of Washington D.C. We are reminded in these pages that life is to be sung open-mouthed, if at all. David Keplinger December, 2017
Arthania By: Ihor Pavlyuk Arthania is a personal prayer to God, which can be heard and read by people, and animals, and plants, and stars. New song rhythm forms and meanings are proposed in this book; the truth of author Ihor Pavlyuk’s life (as a citizen of Ukraine, who lived and worked in many countries of the world) is consonant with all the people of the planet who can take the subtle energy they need from this book if they adequately catch the wave of his soul through an interpretation. Within are themes of freedom, of the individual and society, the theme of love for nature, for the homeland, for one’s parents, other people, the theme of freedom, orphanhood (the author grew up an orphan), the struggle for independence—all expressed in this autobiographical book in a poetic style. His life credo is expressed in this book with these words: “I am ready to live for ages and I am ready to die at every moment.”
Every myth is a tale half-told… When the darkest of vice meets red-stained ice, we hear it all unfold! It is 2035 CE (covid era). Este, a disgraced and broken ex-intelligence officer, finds herself in the middle of a small isolated island community, frozen and barren— on the edge of the world, with the ‘virus’ at the core of its existing divisions. She has come here searching for a second chance, a chance to redeem herself from the demons of an unforgiving yet forgotten past. In doing that, as she tries hard to blend into this near-about dystopian world, she realises that subtle is scarce; ominous rituals, ‘handsome’ dead bodies, the flaring ‘mythical’ and a sinister Belief surround her, shadowing the darkness that is growing within her. Sleuthing skills, a favouring instinct and an overbearing empathy act as her only shield, as she navigates between the intrigues of this remote coastline and that of her mind, much desperate to untangle the meaning of her long-quested salvation. She is also confident. Perhaps a little too much. She thinks she has all the reins— of both probe and patriarchy. But nothing is as it seems. Not even her. She is much more than who she is… much more than she will ever know! Hence, when the land dangles a mirror in front of her, it is she who must choose. The End. Of her and of this story.
While we learn a great deal about ancient Greece from writers like Homer, Aristophanes, and Sappho, Raffel goes on to say, our picture is sadly incomplete until we read the poetry of such lesser-known greats as Alkaios, Callimachos, and Simonides.
For nearly three thousand years, King Sisyphus of Corinth has been one of the most compelling characters in world mythology. The iconic image of Sisyphus putting his shoulder to the boulder and pushing it to the summit of a mountain in the Underworld is recognizable the world over. To many poets and philosophers, from Homer and Aeschylus to Lucille Clifton and Albert Camus, the rebel hero has been a powerful symbol for hard-earned wisdom and the struggle to transcend suffering, while more skeptical commentators have interpreted Sisyphus' defiance of the gods as futile and doomed. In this mythopoetic novel, Phil Cousineau reimagines Sisyphus as telling his own tale through notebooks he kept while enduring his notorious punishment, which include surprising revelations about the self-sacrifice he made for his fellow Corinthians, his bold fight against the injustice of the gods, and the unbounded love for his wife and sons that earned him a second chance at life. The Lost Notebooks of Sisyphus is a timeless allegory that helps us come to terms with our own daily struggles and shines new light on Camus' existential conclusion that, "We must imagine Sisyphus as happy." I am Sisyphus, King of Corinth, great-great-grandson of Prometheus, great-grandson of Deucalion and Pyrrha, grandson of Hellen and Orseis, son of Aeolus and Enarate, husband of Merope, father of Glaucus, Ornytion, Almus, and Thersander, and grandfather of Bellerophon, slayer of the Chimera. I am a champion of navigators, sailors, athletes, merchants, poets, and playwrights, and an enemy of tyrants, despots, bullies, ruffians, and demagogues. I honor the gods and goddesses by building splendid temples, holy shrines, and sacrificial altars worthy of their glory. Many men deep am I, as my mentor, the deep-browed, long- bearded, wise-counseling Alexandros of Milos described me. What I am not is a scoundrel, as scandalmongers have impugned across the centuries while exonerating the cruel gods who condemned me.