Download Free The Blood Poets Book in PDF and EPUB Free Download. You can read online The Blood Poets and write the review.

This thought-provoking and insightful study of 40 years of American violent cinema ties together the multiple disciplines of psychology, criminology, censorship, and anthropology. The study is divided into two volumes: Volume 1: American Chaos, From Touch of Evil to The Terminator, and Volume 2: Millennial Blues, From Apocalypse Now to The Matrix. Horsley raises a new dialogue between scholars and movie buffs as readers struggle to find their own answers to the connection between the need to portray and the need to watch violent films.
"Katie Ford's is a finely-wrought lyrical beauty, a poetry of detail and care, but she has set it within an epic arc." —Poetry I lie still, play dead, am delivered decree: our daughter weighs seven hundred dimes, paperclips, teaspoons of sugar, this child of grams for which the good nurse laid out her studies as a coin purse into which our tiny wealth clinked, our daughter spilling almost to the floor. —from "Of a Child Early Born" In Katie Ford's third collection, she sets her music into lyrics wrung from the world's dangers. Blood Lyrics is a mother's song, one seared with the knowledge that her country wages long, aching wars in which not all lives are equal. There is beauty imparted, too, but it arrives at a cost: "Don't say it's the beautiful / I praise," Ford writes. "I praise the human, / gutted and rising."
For poet Tiana Clark, trees will never be just trees. They will also and always be a row of gallows from which Black bodies once swung. This is an image that she cannot escape, but one that she has learned to lean into as she delves into personal and public histories, explicating memories and muses around race, elegy, family, and faith by making and breaking forms as well as probing mythology, literary history, her own ancestry, and, yes, even Rihanna. I Can’t Talk About the Trees without the Blood, because Tiana cannot engage with the physical and psychic landscape of the South without seeing the braided trauma of the broken past—she will always see blood on the leaves.
In Blood Pages George Bilgere continues his exploration of the joys and absurdities of being middle-aged and middle-class in the Midwest. OK, maybe he’s a bit beyond middle-aged at this point, and his rueful awareness of this makes these poems even more darkly hilarious, more deeply aware of the feckless and baffling times our nation has stumbled into. And the fact that Bilgere, relatively late in life, is now the father of two young boys brings a fresh sense of urgency to his work. Blood Pages is a guidebook to the fears, foibles, and beauties of our lovely old country as it makes its blundering, tentative way into the new century.
This thought-provoking and insightful study of 40 years of American violent cinema ties together the multiple disciplines of psychology, criminology, censorship, and anthropology. The study is divided into two volumes: Volume 1: American Chaos, From Touch of Evil to The Terminator, and Volume 2: Millennial Blues, From Apocalypse Now to The Matrix. Horsley raises a new dialogue between scholars and movie buffs as readers struggle to find their own answers to the connection between the need to portray and the need to watch violent films.
Mother Body is an intersectional exploration of the trauma and agency held within a body defined by its potential to mother. As Mother Body unfolds, it tasks its reader to understand the expected and unexpected manifestations of motherhood, through menstruation and womb work, but also generational, societal, and literary mothering. With a variety of forms and modes, these poems unpack the experiences of a fat, black woman's body while also manifesting joy, resistance, and celebration.
"Nate Marshall was paying close attention when Chuck D said, 'Rap is CNN for Black people.' In his hard-hitting chapbook, BLOOD PERCUSSION, Marshall takes the Hard Rhymer's words and masterfully applies them to poetry, turning his eye toward gun play, free lunches, skull caps, prayers, and praise songs. With wit and fierce music, these poems take on the subjects that can't find a space on the evening news, reminding the reader again and again that there is power and grace in truth- telling even when those truths are difficult to hear."—Adrian Matejka
That Adrienne Rich is a not only a major American poet but an incisive, compelling prose writer is made clear once again by this collection, in which she continues to explore the social and political context of her life and art. Examining the connections between history and the imagination, ethics and action, she explores the possible meanings of being white, female, lesbian, Jewish, and a United States citizen, both at this particular time and through the lens of the past.
The definitive guidebook and rebel yell for poets seeking radical growth. You want to write great poems: poems that challenge, inspire and awe; poems that forever alter your audience and yourself. Those poems take imagination, skill and some serious guts. This is not an easy step-by-step up a how-to staircase. This collection of essays, prompts and exercises is the safecracker�s toolbox you need to tap in to your creative source, find what�s sparkling in the dark, and get its life-blood and electricity flowing into your writing.
Vienna Blood & Other Poems is in some ways the most synthesizing of Jerome Rothenberg's recent collections, pulling together work from the 1970s that stands apart from Poland/1931 (1974) and A Seneca Journal (1978) yet at the same time continuing the enactment of past and present begun in those books. But where before he chose to restrict his exploration to ancestral Jewish and Amerindian poetries, Rothenberg now takes us on a series of broader journeys through the collapsed landscape of what he calls the 'new wilderness," evoked as place, as structure, as mind. Written both to be read quietly on the printed page and aloud in performance, the poems in Vienna Blood, though experimental and language-centered, are nevertheless the work of a poet who, by his own admission, is "crazy for content, make no mistake about it." As if to underscore this point, he has appended brief comments to most of the major sections of the book, in order, as he says, "to give it some context in the way of 'oral tradition' usually reserved for poetry readings, etc., a little of which I now commit to writing."