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In these moving and insightful poems modeled after the Book of the Psalms, Louis Daniel Brodsky, gravely ill, looks Death squarely in the face and answers with a series of unyielding affirmations -- a faith in God, faith in human relationships, faith in life's precious passing moments, and, undergirding and supporting all of these, faith in the power and beauty of the poetic voice.
Ever get so lonely that you dial your own phone number and leave yourself messages on your answering machine? Have you and your buddy ever dressed as Gandhi and Buddha, respectively, for Halloween, and proceeded to celebrate the day by trading insults? Have you and your attaché case become indistinguishable from each other? Or perhaps you've had it stolen by an elevator? Ever attempted to skip a day's work as a human test subject for toxic substances, by making up a story that your pet tabby died? If you've answered no to these questions, then step into the unruly purlieus of L. D. Brodsky's . . . And the Horse You Rode In On, and revel in the experiences of those who've said yes.
Provides up-to-date profiles on the careers of leading and emerging poets.
In the seventy poems of Spirits of the Seasons, Louis Daniel Brodsky divides nature's cycles into narrative halves, tracing the winter slowing and spring burgeoning in and around Wisconsin's Lake Nebagamon.
He's back -- L. D. Brodsky's working stiff from St. Louis, with his Bud Light-hued worldview and his uniquely foul-mouthed, malapropistic takes on modern life and his own tenuous place in it. This volume, the title of which is our unlikely hero's trademark interjection, brings together his narrations from seven of Brodsky's short-fiction books, in which he made spot appearances. Together, these episodes in the hilarious chronicle of a true American "rough" prove Brodsky's uncanny ability to satirize both the best and the worst of American culture. You will never again experience anything like Guarangoddamnteeya! -- guarangoddamnteeya!
Seiwa-en: Poems in a Japanese Garden is Louis Daniel Brodsky's journey into the spirit of Zen. In these thirty poems, he explores the unassuming beauty of the Missouri Botanical Garden's Seiwa-en, or "garden of pure, clear harmony and peace," and finds himself transported beyond its lake, bridges, and scrupulously groomed trees, shrubs, and grounds. What he discovers is a state of mind he's never before experienced: "The meaning of nature's ageless flowering -- / Peaceful oneness underlying life's abundance."
With this study Karl F. Zender offers fresh readings of individual novels, themes, and motifs while also assessing the impact of recent politicized interpretations on our understanding of Faulkner’s achievement. Sympathetically acknowledging the need to decenter the canon, Zender’s searching interrogation of current theory clears a breathing space for Faulkner and his readers between the fustier remnants of New Criticism and the excesses of post-structuralism. Each chapter opens with a balanced presentation of the genuine gifts contemporary theory has bestowed on our comprehension of a particular novel or problem in Faulkner criticism and then proceeds with a groundbreaking reading. “The Politics of Incest” challenges older psychoanalytic interpretations of Faulkner’s use of the incest motif, and “Faulkner’s Privacy” defends the novelist’s difficulty or “reticence” as an aesthetic resistance against the rude candor of deregionalized and depersonalized culture. Subsequent chapters take up the volatile issues of Faulkner’s representations of women and of African Americans, and a close reading of the classic “Barn Burning” critiques the current tendency to blur the concepts of patriarchy and paternity. The elegiac final chapter, “Where is Yoknapatawpha County?” draws on a comparison with John Updike’s Pennsylvania fiction and a reading of Joan Williams’s The Wintering to explore Faulkner’s disinclination to represent the quotidian realities of southern life in his later novels. Zender shows that Faulkner’s stylistic withdrawal attempts to “transform into beauty” his alienation from the postwar world and his fear of aging. That Faulkner and the Politics of Reading itself recovers and gives new luster to Faulkner’s beauty will surely please, in the author’s words, “those readers . . . for whom literature is less a mechanism of social change than a source of pleasure.” The originality of its critical vision will inspire Faulkner scholars, students of American literature, and general readers.