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In an age of simplistic and repetitive worship songs, the church must not forget Isaac Watts, the Father of English Hymnody. In this profile of the great hymn writer, Douglas Bond writes that Watts life and words can enrich the lives and worship of Christians today.
If a tortoise could run And losses be won, And bullies be buttered on toast; If a song brought a shower And a gun grew a flower, This world would be nicer than most! Beautiful, poignant and funny, Ruskin Bond’s verses for children are a joy to read to yourself on a lazy summer afternoon or to recite in school among friends. For the first time, his poems for children, old and new, come together in this illustrated volume. Nature, love, friends, school, books -- all find a place in the poetry of India’s favourite children’s writer.
Going Farther into the Woods than the Woods Go opens with the poet speaking from an interior landscape in which life is going too fast and he is lonely and isolated from himself and others. Life is brutal, and the speaker finds himself constantly questioning his self-worth, yet in a surrealistic, witty fashion perhaps best described as black humor. As the book moves forward, the point of view shifts to a landscape largely identified as a desert. Many of these poems address the horrors of war, with concerns such as political liberation, elections, and the plight of refugees. Throughout the book, the aloneness and isolation of the individual is the paramount theme; yet, despite the darkness of the poet's vision, his fresh, vivid imagery, use of wit and humor, and his unique approach to style and content make this book a showcase for one of the most interesting and original voices in contemporary American poetry.
Poetry. Drama. The transistor, a tiny device capable of amplification and control, is the foundation of our digital world. Now comes "Transistor, who is sage, / and who is never seen despite the live feed," to conduct us on a breathtaking journey through that world, in this audacious first full-length collection from Esteban Oloarte. "Transistor broadcasts traffic reports, / powers of suggestion, chances of allegory, / and everyone exits in headsets as exiles." To read this book is to join that parade of exiles, to hitch a ride on an electron, flashing through the circuitry of modern life. Written in the shape of a bible, it is part prophesy, part wisdom literature, part jeremiad, with a bit of Song of Solomon eroticism for good measure, a secular sacred and profane text of social and cultural criticism. A set of "footnotes" run throughout the book like a plainsong chant, offering contrapuntal perspective from philosophers, academics, artists, and critics. More than anything, this is a celebration of the pure incantatory power of words, from a poet mad-drunk on language, a modern-day Delphic oracle. This is new, this is news, this is poetry like you haven't read before, and won't soon forget.
In a strikingly original and rich portrait of the uses of verse in America, Rubin shows how the sites and practices of reciting poetry influenced readers' lives and helped them to find meaning in a poet's words. By blurring the boundaries between "high" and "popular" poetry as well as between modern and traditional, it creates a fuller, more democratic way of studying our poetic language and ourselves.
Poetry. Asian & Asian American Studies. "No one has written a finer, stranger, more enjoyably various and intelligent long poem than Jason's Koo's 'No Longer See,' the central poem in his splendid new book, MORE THAN MERE LIGHT. Schuyler and Knausgaard, Proust and Ashbery, to name just a few, meld into a poetic performance that is joyfully bent, and as gloriously funny as it is self-castigating. Underscoring all this is a sorrowing sense of self that can't shake free of time--time as it drags or stops or flies during romance and sex and the passage from domestic happiness to failure, and as it marks off the progress of a poetry and a life coming into its full, vital strength. With a cool-eyed detachment from his own drama, Koo has written a book that is unforgettable in its candor, its disabused self-knowledge, and its generosity of spirit."--Tom Sleigh "This book is about falling, a lot. There are good falls and uncomfortable falls and quiet falls and in-between falls and falling in and out of love with other people and yourself--as Koo aptly writes, 'That was a falling.' Koo is brilliant at mastering the often anxious way we talk to ourselves in our heads, as a way to recall moments and construct memories, justify behavior to oneself, and explore the roles of gender dynamics and sexuality within a world full of distractions in an often strange modern technological landscape. Throughout the collection, Koo is wonderfully narrative, bringing us into the speaker's world, full of jazz and biking and Brooklyn and girlfriends and students and conversations with both an overload of self-consciousness and a lack of it all at the same time ('What's okay, okay?'). The speaker's unabashed ability to be excessive while also having the reader rely on silence, on what isn't told, creates a captivating world for the reader to explore--and most importantly, see themselves fully immersed in as they navigate their own bizarre lives and landscapes. Read it over and over and over again, so you can, as Koo says, drop back 'against the light.'"--Joanna C. Valente
In his third collection, The Latitude of a Mercy, Stefan Lovasik offers a testament of unflinching immediacy, conflicted sensitivity, and lyric grace - poem after poem, wise without presumption, pared down to a breed of silent speech, the stubborn legacy of what must be said and all that never can. Lovasik brings into striking focus the landscape of war, the lasting physical, moral and psychological consequences of it, and the resilience of the human spirit. The Latitude of a Mercy is a timeless, deeply moving and luminous book.
In dialogue between poetry and visual art, The Other Sky probes the depths of the psyche: childhood roots, reveries, tensions.
"All of the new thinking is about loss," Robert Hass once wrote. "In that, it resembles all of the old thinking." Gay poet Justin Bond's gorgeous debut collection pays beautiful, painful homage to this human tradition. These pages steep the reader in passion and grief, stark and gleaming. They nourish us with lust, lyricism and the will to go on, which is, as Bond says, "part of what elevates us above a clumsy gallop of meat and bone." --Ruth L. Schwartz, winner of the National Poetry Series prize, Autumn House Press Poetry Prize, Anhinga Prize for Poetry, AWP Award Series prize. "The story of us," writes Justin Bond, "is the story of America." The smart, insightful, and revelatory poems of Ordinary Monsters are themselves stories of us (both reader and writer) but also of this vast and bizarre country. And like our country, Bond's poems are diverse, ambitious, and explosive. Walt Whitman would love their big, expansive, democratic heart. You will too.--Dean Rader, winner of the 2010 T. S. Eliot Poetry Prize, 2010 Writer's League of Texas Poetry Prize, and the George H. Bogin Award from the Poetry Society of America