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Alex Dimitrov’s third book, Love and Other Poems, is full of praise for the world we live in. Taking time as an overarching structure—specifically, the twelve months of the year—Dimitrov elevates the everyday, and speaks directly to the reader as if the poem were a phone call or a text message. From the personal to the cosmos, the moon to New York City, the speaker is convinced that love is “our best invention.” Dimitrov doesn’t resist joy, even in despair. These poems are curious about who we are as people and shamelessly interested in hope.
The bestselling, beloved classic on how to go into the dark side of yourself to bring out the light -- now with new material. Debbie Ford believes that we each hold within us a trace of every human characteristic that exists, the capacity for every human emotion. We are born with the ability to express this entire spectrum of characteristics. But, Ford points out, our families and our society send us strong messages about which ones are good and bad. So when certain impulses arise, we deny them instead of confronting them, giving them a healthy voice, then letting them go. It is to these feelings that Ford turns our attention, these parts of our selves that don't fit the personae we have created for the rest of the world. She shows us the effects of living in the dark, of keeping all our supposedly unsavory impulses under wraps. We find ourselves disproportionately frustrated and angry at the selfishness of friends, the laziness of colleagues, the arrogance of siblings. When we are unable to reconcile similar impulses in ourselves, Ford explains, we waste our own energy judging others instead of empathizing. But most important, we deny ourselves the power and freedom of living authentically. Through the stories and exercises in The Dark Side of the Light Chasers, Debbie Ford shows us not only how to recognize our hidden emotions, but also how to find the gifts they offer us. This is for fans of Marianne Williamson, Neale Donald Walsch, and Deepak Chopra. The very impulses we most fear may be the key to what is lacking in our lives.
For the first time, Faber publish a selection from the poetry of Philip Larkin. Drawing on Larkin's four collections and on his uncollected poems. Chosen by Martin Amis. 'Many poets make us smile; how many poets make us laugh - or, in that curious phrase, "laugh out loud" (as if there's another way of doing it)? Who else uses an essentially conversational idiom to achieve such a variety of emotional effects? Who else takes us, and takes us so often, from sunlit levity to mellifluous gloom?... Larkin, often, is more than memorable: he is instantly unforgettable.' - Martin Amis
Winner of the 2016 Whiting Award One of Publishers Weekly's "Most Anticipated Books of Spring 2016" One of Lit Hub's "10 must-read poetry collections for April" “Reading Vuong is like watching a fish move: he manages the varied currents of English with muscled intuition. His poems are by turns graceful and wonderstruck. His lines are both long and short, his pose narrative and lyric, his diction formal and insouciant. From the outside, Vuong has fashioned a poetry of inclusion.”—The New Yorker "Night Sky with Exit Wounds establishes Vuong as a fierce new talent to be reckoned with...This book is a masterpiece that captures, with elegance, the raw sorrows and joys of human existence."—Buzzfeed's "Most Exciting New Books of 2016" "This original, sprightly wordsmith of tumbling pulsing phrases pushes poetry to a new level...A stunning introduction to a young poet who writes with both assurance and vulnerability. Visceral, tender and lyrical, fleet and agile, these poems unflinchingly face the legacies of violence and cultural displacement but they also assume a position of wonder before the world.”—2016 Whiting Award citation "Night Sky with Exit Wounds is the kind of book that soon becomes worn with love. You will want to crease every page to come back to it, to underline every other line because each word resonates with power."—LitHub "Vuong’s powerful voice explores passion, violence, history, identity—all with a tremendous humanity."—Slate “In his impressive debut collection, Vuong, a 2014 Ruth Lilly fellow, writes beauty into—and culls from—individual, familial, and historical traumas. Vuong exists as both observer and observed throughout the book as he explores deeply personal themes such as poverty, depression, queer sexuality, domestic abuse, and the various forms of violence inflicted on his family during the Vietnam War. Poems float and strike in equal measure as the poet strives to transform pain into clarity. Managing this balance becomes the crux of the collection, as when he writes, ‘Your father is only your father/ until one of you forgets. Like how the spine/ won’t remember its wings/ no matter how many times our knees/ kiss the pavement.’”—Publishers Weekly "What a treasure [Ocean Vuong] is to us. What a perfume he's crushed and rendered of his heart and soul. What a gift this book is."—Li-Young Lee Torso of Air Suppose you do change your life. & the body is more than a portion of night—sealed with bruises. Suppose you woke & found your shadow replaced by a black wolf. The boy, beautiful & gone. So you take the knife to the wall instead. You carve & carve until a coin of light appears & you get to look in, at last, on happiness. The eye staring back from the other side— waiting. Born in Saigon, Vietnam, Ocean Vuong attended Brooklyn College. He is the author of two chapbooks as well as a full-length collection, Night Sky with Exit Wounds. A 2014 Ruth Lilly Fellow and winner of the 2016 Whiting Award, Ocean Vuong lives in New York City, New York.
Why should New Age trends and philosophies shape the ecological agenda? Loren and Mary Ruth Wilkinson believe that it's time Christian families took a biblical position on environmental issues. In this wonderfully creative and practical book, they offer more than a hundred simple things you and your family can do to make God's earth a better place in which to live. But more than this, they show you how to celebrate God's creation through the seasons of the year. If you have wanted to get involved in environmentalism but felt overwhelmed or confused by the philosophies shaping the ecological movement, here is a book to help you sort through the confusion. It offers biblically-based answers and practical ideas that will not only help the environment but will enrich your life. In Caring for Creation in Your Own Backyard, you will discover a host of smart and simple things to do at home with your children, neighbours, and community. Learn how to: Shop for a better world Make creative and ecological meals that everyone enjoys Save money and energy through recycling and re-using Support businesses that care for creation?and much more! Loren and Mary Ruth Wilkinson have worked in both city and countryside putting principles of caring for creation to work. They live on Hunterston Farm, Galiano Island, British Columbia. Loren is Professor of Interdisciplinary Studies and Philosophy at Regent College. He is editor of Earthkeeping: Christian Stewardship of Creation. Mary Ruth teaches as a sessional lecturer at Regent College.
At the age of 19, Phillis Wheatley was the first black American poet to publish a book. Her elegies and odes offer fascinating glimpses of the beginnings of African-American literary traditions. Includes a selection from the Common Core State Standards Initiative.
WINNER OF THE 2021 PULITZER PRIZE IN POETRY FINALIST FOR THE 2020 NATIONAL BOOK AWARD FOR POETRY Natalie Diaz’s highly anticipated follow-up to When My Brother Was an Aztec, winner of an American Book Award Postcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality. Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—in it, a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.