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Survival of the Young Poet is a fascinating work that combines narrative of a novel with poetry. It tells the story of a poet, focusing more on verse than it does on plot and characterization. Written in prose, it is frequently interspersed with verse. The protagonist is the title character, and other characters speak and write to each other in beautiful, flowing poetry. From the legend of human hours to the dim time of struggle lies the strive of aging pain of poets. When the day dies to live no more, that's when the story begins: the fighting pen of poets and the humiliation of struggle. Survival of the Young Poet portrays untold stories of poets struggling to survive in an unveiling society.
Intended for general readers and for students and scholars of poetry, Poetry as Survival is a complex and lucid analysis of the powerful role poetry can play in confronting, surviving, and transcending pain and suffering. Gregory Orr draws from a generous array of sources. He weaves discussions of work by Keats, Dickinson, and Whitman with quotes from three-thousand-year-old Egyptian poems, Inuit songs, and Japanese love poems to show that writing personal lyric has helped poets throughout history to process emotional and experiential turmoil, from individual stress to collective grief. More specifically, he considers how the acts of writing, reading, and listening to lyric bring ordering powers to the chaos that surrounds us. Moving into more contemporary work, Orr looks at the poetry of Sylvia Plath, Stanley Kunitz, and Theodore Roethke, poets who relied on their own work to get through painful psychological experiences. As a poet who has experienced considerable trauma--especially as a child--Orr refers to the damaging experiences of his past and to the role poetry played in his ability to recover and survive. His personal narrative makes all the more poignant and vivid Orr's claims for lyric poetry's power as a tool for healing. Poetry as Survival is a memorable and inspiring introduction to lyric poetry's capacity to help us find safety and comfort in a threatening world.
An intimate first book of personal essays and incisive commentary from the editor of Poetry.
"In Young's work, the big essential questions—mortality, identity, the meaning of life—aren't simply food for thought; they're grounds for entertainment."—Toronto Star "Surrealism seldom seems as much like real life as in Young's hilarious and cautionary poems."—Booklist Bender gathers a generous selection of new work along with treasure from Dean Young's twelve volumes. Strongly influenced by Surrealism, Dean Young's poems flash with extravagant imagery, humorous speech, sly views of the quotidian, and the exposed nerves of heartache. As the American Academy of Arts and Letters raved, "Young's poems are as entertaining as a three-ring circus and as imaginative as a canvas by Hieronymus Bosch. He is one of the most inventive and satisfying poets writing today." From "Even Funnnier Looking Now": If someone had asked me then, Do you suffer from the umbrage of dawn's dark race horses, is your heart a prisoner of raindrops? Hell yes! I would have said or No way! Never would I have said, What could you possibly be talking about? I had just gotten to the twentieth century like a leftover girder from the Eiffel Tower. My Indian name was Pressure-Per-Square-Inch. I knew I was made of glass but I didn't yet know what glass was made of: hot sand inside me like pee going all the wrong directions, probably into my heart which I knew was made of gold foil glued to dust . . .
Essential reading for scholars, poetry lovers, and anyone with an interest in Rainer Maria Rilke, German poetry, or the creative impulse, these ten letters of correspondence between Rilke and a young aspiring poet reveal elements from the inner workings of his own poetic identity. The letters coincided with an important stage of his artistic development and readers can trace many of the themes that later emerge in his best works to these messages—Rilke himself stated these letters contained part of his creative genius.
An expansive, moving poetry anthology, representing 20 years of poetry from students and alumni of Chicago's Oak Park River Forest High School Spoken Word Club. "Poets I know sometimes joke that the poetry club at Oak Park River Forest High School is the best MFA program in the Chicagoland area. Like all great jokes, this one is dead serious." -Eve L. Ewing, award-winning poet, playwright, scholar, and sociologist For Chicago's Oak Park and River Forest High School's Spoken Word Club, there is one phrase that reigns supreme: Respect the Mic. It's been the club's call to arms since its inception in 1999. As its founder Peter Kahn says, "It's a call of pride and history and tradition and hope." This vivid new collection of poetry and prose -- curated by award-winning and bestselling poets Hanif Abdurraqib, Franny Choi, Peter Kahn, and Dan "Sully" Sullivan -- illuminates just that, uplifting the incredible legacy this community has cultivated. Among the dozens of current students and alumni, Respect the Mic features work by NBA champion Iman Shumpert, National Youth Poet Laureate Kara Jackson, National Youth Poet Laureate Kara Jackson, National Student Poet Natalie Richardson, comedian Langston Kerman, and more. In its pages, you hear the sprawling echoes of students, siblings, lovers, new parents, athletes, entertainers, scientists, and more --all sharing a deep appreciation for the power of storytelling. A celebration of the past, a balm for the present, and a blueprint for the future, Respect the Mic offers a tender, intimate portrait of American life, and conveys how in a world increasingly defined by separation, poetry has the capacity to bind us together.
"An unflinching reckoning with the traumas of one's life and those inherited through a history of exacted injustices "Some men find nothing, and others/ find omens everywhere," writes C. Dale Young in Prometeo, a collection whose speaker is a proverbial "child of fire." In poems that thrive off of their distinct voice, the speaker confronts generational and lived trauma and their relationship to his multi-ethnicity. We are presented with the idea of the past's burial in the body and its constellatory manifestations-both in the speaker and those around him-in disease and pain, but also in strength and a capacity for intimacy with others and nature. Grounded in precise language, Young's examination of the past and its injuries turns into a celebration of the self. In stark, exuberant relief, the speaker proclaims "...I was splendidly blended, genetically engineered/ for survival." Resilient, Young's poems find beauty in landscape, science, and meditation"--
Praise for Saeed Jones: "Jones is the kind of writer who's more than wanted: he's desperately needed."—FlavorWire "I get shout-happy when I read these poems; they are the gospel; they are the good news of the sustaining power of imagination, tenderness, and outright joy."—D. A. Powell "Prelude to Bruise works its tempestuous mojo just under the skin, wreaking a sweet havoc and rearranging the pulse. These poems don't dole out mercy. Mr. Jones undoubtedly dipped his pen in fierce before crafting these stanzas that rock like backslap. Straighten your skirt, children. The doors of the church are open."—Patricia Smith "It's a big book, a major book. A game-changer. Dazzling, brutal, real. Not just brilliant, caustic, and impassioned but a work that brings history—in which the personal and political are inter-constitutive—to the immediate moment. Jones takes a reader deep into lived experience, into a charged world divided among unstable yet entrenched lines: racial, gendered, political, sexual, familial. Here we absorb each quiet resistance, each whoop of joy, a knowledge of violence and of desire, an unbearable ache/loss/yearning. This is not just a "new voice" but a new song, a new way of singing, a new music made of deep grief's wildfire, of burning intelligence and of all-feeling heart, scorched and seared. In a poem, Jones says, "Boy's body is a song only he can hear." But now that we have this book, we can all hear it. And it's unforgettable."—Brenda Shaughnessy "Inside each hunger, each desire, speaks the voice of a boy that admits "I've always wanted to be dangerous." This is not a threat but a promise to break away from the affliction of silence, to make audible the stories that trouble the dimensions of masculinity and discomfort the polite conversations about race. With impressive grace, Saeed Jones situates the queer black body at the center, where his visibility and vulnerability nurture emotional strength and the irrepressible energy to claim those spaces that were once denied or withheld from him. Prelude to a Bruise is a daring debut."—Rigoberto González From "Sleeping Arrangement": Take your hand out from under my pillow. And take your sheets with you. Drag them under. Make pretend ghosts. I can't have you rattling the bed springs so keep still, keep quiet. Mistake yourself for shadows. Learn the lullabies of lint. Saeed Jones works as the editor of BuzzfeedLGBT.
Describes a unique approach for eliciting poetry from people of many ages and backgrounds--particularly underprivileged urban kids and the elderly. The process--from dialogue to self-expression to publication to public event--illuminates the urgency and meaning of releasing the spirit captured in each man and woman and child's experience.
ñDonÍt believe the deadly game,î Miguel Algarin warns the elderly black Puerto Rican sitting in a park in Old San Juan, ñof Northern cities paved with gold and plenty / donÍt believe the fetching dream / of life improvement in New York / the only thing youÍll find in Boston / is a soft leather shoe up your ass.î In this affecting collection of poetry and prose, Nuyorican poet Miguel Algarin crafts beautifully angry, sad pieces about injustice and loss. While warning his compatriots about the unreality of the American Dream, he acknowledges that ñwe are the pistons that / move the roughage through Uncle / SamÍs intestines, we keep the flow / of New York happening / we are its muscles.î AlgarinÍs poems covering his long career give voice to the disenfranchised„the junkie, the HIV inflicted, the poverty stricken„and survival is a recurring theme. In the essay ñNuyorican Language,î which was originally published in 1975, he argues that for the New York Puerto Rican, there are three survival possibilities: to work hard for little money all your life and remain in eternal debt; to live life by taking risks of all types, including killing, cheating and stealing; and to create alternative behavioral habits. The Nuyorican poet, he says, must create a new language, ñA new day needs a new language or else the day becomes a repetition of yesterday.î While many of the poems focus on the Puerto Rican experience in New York, others touch on universal experiences such as the death of friends and the ephemeral nature of life. ñSo what if youÍre dead, / IÍm here, youÍre gone, / and IÍm left alone / to watch how time betrays, / and we die slow / so very slow.î And he turns his sharp gaze on events around the world, including the fights between England and Argentina for the Falkland Islands, Israel and Palestine for the Holy Land. With an introduction by Ernesto QuiÐonez, author of the acclaimed novel Bodega Dreams, this collection takes the reader through an intimate, autobiographical journey of one of the countryÍs leading Nuyorican writers and intellectuals.