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A deeply stirring memoir of fathers, sons, and the oldest bar in New York City. Since it opened in 1854, McSorley's Old Ale House has been a New York institution. This is the landmark watering hole where Abraham Lincoln campaigned and Boss Tweed kicked back with the Tammany Hall machine. Where a pair of Houdini's handcuffs found their final resting place. And where soldiers left behind wishbones before departing for the First World War, never to return and collect them. Many of the bar's traditions remain intact, from the newspaper-covered walls to the plates of cheese and raw onions, the sawdust-strewn floors to the tall-tales told by its bartenders. But in addition to the bar's rich history, McSorley's is home to a deeply personal story about two men: Rafe Bartholomew, the writer who grew up in the landmark pub, and his father, Geoffrey "Bart" Bartholomew, a career bartender who has been working the taps for forty-five years. On weekends, Rafe Bartholomew would tag along for the early hours of his dad's shift, polishing brass doorknobs, watching over the bar cats, and handling other odd jobs until he grew old enough to join Bart behind the bar. McSorley's was a place of bizarre rituals, bawdy humor, and tasks as unique as the bar itself: protecting the decades-old dust that had gathered on treasured artifacts; shot-putting thirty-pound grease traps into high-walled Dumpsters; and trying to keep McSorley's open through the worst of Hurricane Sandy. But for Rafe, the bar means home. It's the place where he and his father have worked side by side, serving light and dark ale, always in pairs, the way it's always been done. Where they've celebrated victories, like the publication of his father's first book of poetry, and coped with misfortune, like the death of Rafe's mother. Where Rafe learned to be part of something bigger than himself and also how to be his own man. By turns touching, crude, and wildly funny, Rafe's story reveals universal truths about family, loss, and the bursting history of one of New York's most beloved institutions.
Classic reprints from: Edith Wharton, Stephen Crane, O. Henry, Irwin Shaw, Jerome Weidman, Damon Runyon, Evan Hunter, Jerrold Mundis, Edgar Allan Poe, Horace Gregory, Geoffrey Bartholomew, Cornell Woolrich, Barry N. Malzberg, Clark Howard, Jerome Charyn, Donald E. Westlake, Joyce Carol Oates, Lawrence Block, Susan Isaacs, and others. Lawrence Block has won most of the major mystery awards and has been called the quintessential New York writer. His series characters--Matthew Scudder, Bernie Rhodenbarr, Evan Tanner, Chip Harrison, and Keller--all live in Manhattan; like their creator, they would not really be happy anywhere else.
A prose poem is a poem written in prose rather than verse. But what does that really mean? Is it an indefinable hybrid? An anomaly in the history of poetry? Are the very words "prose poem" an oxymoron? This groundbreaking anthology edited by celebrated poet David Lehman, editor of The Best American Poetry series, traces the form in all its dazzling variety from Poe and Emerson to Auden and Ashbery and on, right up to the present. In his brilliant and lucid introduction, Lehman explains that a prose poem can make use of all the strategies and tactics of poetry, but works in sentences rather than lines. He also summarizes the prose poem's French heritage, its history in the United States, and the salient differences between verse and prose. Arranged chronologically to allow readers to trace the gradual development of this hybrid genre, the poems anthologized here include important works from such masters of American literature as Gertrude Stein, William Carlos Williams, e. e. cummings, Hart Crane, Ernest Hemingway, James Schuyler, Allen Ginsberg, Frank O'Hara, and Elizabeth Bishop. Contemporary mainstays and emerging poets -- Robert Bly, John Ashbery, Charles Simic, Billy Collins, Russell Edson, James Tate, Anne Carson, Yusef Komunyakaa, and Lydia Davis, among them -- are represented with their best work in the field. The prose poem is beginning to enjoy a tremendous upswing in popularity. Readers of this marvelous collection, a must-have for anyone interested in the current state of the art, will learn why.
Haunting, alarming, transformative, and elusive, these poems bridge together the gaps between development stages: from girl, to woman, and then mother. With the complexities that intertwine them, can you be all three at once? Who shapes our identity, and who is in control here? How do we recognize, acknowledge, and honor the changing of who we are?
Sick of gentrification, overpriced cosmopolitans and clean bathrooms? New York's drinking scene isn't only about the cliched Sex and the City fashionista hang-outs - dive bars are where the fun is really at. Featuring all-new reviews of 100 of the best dive bars in the five boroughs of New York and surrounding cities including Jersey City and Hoboken, this insider guide takes drinkers where other guidebooks fear to tread.
This book was just announced as the WINNER of the USABookNews 2006 History: Media/Entertainment category!Everything important that has ever happened in New York began or ended in the City's best bars. From the deep mahogany of downtown to the polished brass of uptown, THE HISTORY AND STORIES OF THE BEST BARS OF NEW YORK recounts the drama, character and stories of the City's most important meeting places. Nearly fifty profiles containing vignettes of famous lore and little-known history are accented by stunning duotone images sure to intrigue both long-time New Yorkers and visitors to The City. THE HISTORY AND STORIES OF THE BEST BARS OF NEW YORK is a unique and necessary work, long overdue.
In this evocative, intimate, piercing, and often funny collection of stories, "New York Times" reporter and columnist Barry discovers New York City at its most ordinary and most extraordinary.
This anthology spans more than a century of noir fiction set in the heart of the Big Apple—“17 sure winners” from Edith Wharton, Donald Westlake, and more (Publishers Weekly, starred review). The island of Manhattan has been a breeding ground of crime, longing, and discontent since its earliest days as a city—and a natural setting for noir fiction since the genre was invented. And from Harlem to Greenwich Village to Wall Street, it has also been home to many a great writer. After the success of the first Manhattan Noir, dedicated to all-new stories, Lawrence Block combed through the borough’s long literary history to deliver this stellar collection of classics, even stretching the bounds of noir to include poems by Edgar Allen Poe and others. Manhattan Noir 2: The Classics features entries by Edith Wharton, Stephen Crane, O. Henry, Langston Hughes, Irwin Shaw, Jerome Weidman, Damon Runyon, Evan Hunter, Jerrold Mundis, Edgar Allan Poe, Horace Gregory, Geoffrey Bartholomew, Cornell Woolrich, Barry N. Malzberg, Clark Howard, Jerome Charyn, Donald E. Westlake, Joyce Carol Oates, Lawrence Block, and Susan Isaacs.
New Yorker essayist Mitchell likes to start with an unimportant hero, but collects all the facts, arranges them to give the desired effects, and usually ends by describing the customs of a community. The subject of one portrait "is a brassy little man who has made a living for the last forty years by giving an annual ball for the benefit of himself." Mitchell doesn't present him as anything more than a barroom scrounger; but in telling his story, he also gives a picture of New York sporting life. "King of the Gypsies" sets out to describe the spokesman of 38 gypsy families, but it soon becomes a Gibbon's decline and fall of the American gypsies; and it ends with an apocalyptic vision that is not only comic but also more imaginative than recent novels. Reading some of his portraits a second time, you catch an emotion beneath them that resembles Dickens'.--From Malcolm Cowley, The New Republic.