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All is one, and you've been asleep, creator. A step by step guide to spiritual enlightenment told in poetry. Become more conscious A path to self discovery Heal your mind Become in tune with nature Find higher purpose Create your reality
Infused with dark, tumultuous, and urgent feeling--emotion recollected not in tranquility, but in intensity.
Kenneth Rexroth called Denise Levertov (1923–1997) "the most subtly skillful poet of her generation, the most profound, . . . and the most moving." Author of twenty-four volumes of poetry, four books of essays, and several translations, Levertov became a lauded and honored poet. Born in England, she published her first book of poems at age twenty-three, but it was not until she married and came to the United States in 1948 that she found her poetic voice, helped by the likes of William Carlos Williams, Robert Duncan, and Robert Creeley. Shortly before her death in 1997, the woman who claimed no country as home was nominated to be America's poet laureate. Levertov was the quintessential romantic. She wanted to live vividly, intensely, passionately, and on a grand scale. She wanted the persistence of Cézanne and the depth and generosity of Rilke. Once she acclimated herself to America, the dreamy lyric poetry of her early years gave way to the joy and wonder of ordinary life. By the late 1960s and early 1970s, however, her poems began to engage the issues of her times. Vehement and strident, her poetry of protest was both acclaimed and criticized. The end of both the Vietnam War and her marriage left her mentally fatigued and emotionally fragile, but gradually, over the span of a decade, she emerged with new energy. The crystalline and luminous poetry of her last years stands as final witness to a lifetime of searching for the mystery embedded in life itself. Through all the vagaries of life and art, her response was that of a "primary wonder." In this illuminating biography, Dana Greene examines Levertov's interviews, essays, and self-revelatory poetry to discern the conflict and torment she both endured and created in her attempts to deal with her own psyche, her relationships with family, friends, lovers, colleagues, and the times in which she lived. Denise Levertov: A Poet's Life is the first complete biography of Levertov, a woman who claimed she did not want a biography, insisting that it was her work that she hoped would endure. And yet she confessed that her poetry in its various forms--lyric, political, natural, and religious--derived from her life experience. Although a substantial body of criticism has established Levertov as a major poet of the later twentieth century, this volume represents the first attempt to set her poetry within the framework of her often tumultuous life.
The definitive biography of Frank O’Hara, one of the greatest American poets of the twentieth century, the magnetic literary figure at the center of New York’s cultural life during the 1950s and 1960s. City Poet captures the excitement and promise of mid-twentieth-century New York in the years when it became the epicenter of the art world, and illuminates the poet and artist at its heart. Brad Gooch traces Frank O’Hara’s life from his parochial Catholic childhood to World War II, through his years at Harvard and New York. He brilliantly portrays O’Hara in in his element, surrounded by a circle of writers and artists who would transform America’s cultural landscape: Willem de Kooning, Franz Kline, Helen Frankenthaler, Jackson Pollock, Gregory Corso, Jack Kerouac, Allen Ginsberg, LeRoi Jones, and John Ashbery. Gooch brings into focus the artistry and influence of a life “of guts and wit and style and passion” (Luc Sante) that was tragically abbreviated in 1966 when O’Hara, just forty and at the height of his creativity, was hit and killed by a jeep on the beach at Fire Island—a death that marked the end of an exceptional career and a remarkable era. City Poet is illustrated with 55 black and white photographs.
From its beginnings, philosophy's language, concepts and imaginative growth have been heavily influenced by poetry and poets. Drawing on the work of a wide range of thinkers throughout the history of Western philosophy, Raymond Barfield explores the pervasiveness of poetry's impact on philosophy and, conversely, how philosophy has sometimes resisted or denied poetry's influence. Although some thinkers, like Giambatista Vico and Nietzsche, praised the wisdom of poets, and saw poetry and philosophy as mutually beneficial pursuits, others resented, diminished or eliminated the importance of poetry in philosophy. Beginning with the famous passage in Plato's Republic in which Socrates exiles the poets from the city, this book traces the history of the ancient quarrel between philosophy and poetry through the works of thinkers in the Western tradition ranging from Plato to the work of the contemporary thinker Mikhail Bakhtin.
Winner of the 2012 Pulitzer Prize * Poet Laureate of the United States * * A New York Times Notable Book of 2011 and New York Times Book Review Editors' Choice * * A New Yorker, Library Journal and Publishers Weekly Best Book of the Year * New poetry by the award-winning poet Tracy K. Smith, whose "lyric brilliance and political impulses never falter" (Publishers Weekly, starred review) You lie there kicking like a baby, waiting for God himself To lift you past the rungs of your crib. What Would your life say if it could talk? —from "No Fly Zone" With allusions to David Bowie and interplanetary travel, Life on Mars imagines a soundtrack for the universe to accompany the discoveries, failures, and oddities of human existence. In these brilliant new poems, Tracy K. Smith envisions a sci-fi future sucked clean of any real dangers, contemplates the dark matter that keeps people both close and distant, and revisits the kitschy concepts like "love" and "illness" now relegated to the Museum of Obsolescence. These poems reveal the realities of life lived here, on the ground, where a daughter is imprisoned in the basement by her own father, where celebrities and pop stars walk among us, and where the poet herself loses her father, one of the engineers who worked on the Hubble Space Telescope. With this remarkable third collection, Smith establishes herself among the best poets of her generation.
Why do poets write about animals? What can poetry do for animals and what can animals do for poetry? In some cases, poetry inscribes meaning on animals, turning them into symbols or caricatures and bringing them into the confines of human culture. It also reveals and revels in the complexity of animals. Poetry, through its great variety and its inherently experimental nature, has embraced the multifaceted nature of animals to cross, blur, and reimagine the boundaries between human and animal. In Poetry and Animals, Onno Oerlemans explores a broad range of English-language poetry about animals from the Middle Ages to the contemporary world. He presents a taxonomy of kinds of animal poems, breaking down the categories and binary oppositions at the root of human thinking about animals. The book considers several different types of poetry: allegorical poems, poems about “the animal” broadly conceived, poems about species of animal, poems about individual animals or the animal as individual, and poems about hybrids and hybridity. Through careful readings of dozens of poems that reveal generous and often sympathetic approaches to recognizing and valuing animals’ difference and similarity, Oerlemans demonstrates how the forms and modes of poetry can sensitize us to the moral standing of animals and give us new ways to think through the problems of the human-animal divide.
A vital, engaging, and hugely enjoyable guide to poetry, from ancient times to the present, by one of our greatest champions of literature The Times and Sunday Times, Best Books of 2020 “[A] fizzing, exhilarating book.”—Sebastian Faulks, Sunday Times What is poetry? If music is sound organized in a particular way, poetry is a way of organizing language. It is language made special so that it will be remembered and valued. It does not always work—over the centuries countless thousands of poems have been forgotten. But this Little History is about some that have not. John Carey tells the stories behind the world’s greatest poems, from the oldest surviving one written nearly four thousand years ago to those being written today. Carey looks at poets whose works shape our views of the world, such as Dante, Chaucer, Shakespeare, Whitman, and Yeats. He also looks at more recent poets, like Derek Walcott, Marianne Moore, and Maya Angelou, who have started to question what makes a poem “great” in the first place. For readers both young and old, this little history shines a light for readers on the richness of the world’s poems—and the elusive quality that makes them all the more enticing.
Can poetry act as an aesthetic amplification device, akin to a microscope, through which we can sense minute or nearly imperceptible phenomena such as the folding of molecules into their three-dimensional shapes, the transformations that make up the life cycle of a silkworm, or the vaporous movements that constitute the ever-shifting edges of clouds? We tend to think of these subjects as reserved for science, but, as Ada Smailbegović argues, twentieth- and twenty-first-century writers have intermingled scientific methodologies with poetic form to reveal unfolding processes of change. Their works can be envisioned as laboratories within which the methodologies of experimentation, natural historical description, and taxonomic classification allow poetic language to register the rhythms and durations of material transformation. Poetics of Liveliness moves across scales to explore the realms of molecules, fibers, tissues, and clouds. It investigates works such as Christian Bök’s insertion of a poetic text into the DNA code of living bacteria in order to generate a new poem in the shape of a protein molecule, Jen Bervin’s considerations of silk fibers and their use in biomedicine, Gertrude Stein’s examination of brain tissues in medical school and its subsequent influence on her literary taxonomies of character, and Lisa Robertson’s studies of nineteenth-century meteorology and the soft architecture of clouds. In their attempt to understand physical processes unfolding within lively material worlds, Smailbegović contends, these poets have developed a distinctive materialist poetics. Structured as a poetic cosmology akin to Lucretius’s “On the Nature of Things,” which begins at the atomic level and expands out to the vastness of the universe, Poetics of Liveliness provides an innovative and surprising vision of the relationship between science and poetry.
New York Times Bestselling Author of Solito "Every line resonates with a wind that crosses oceans."—Jamaal May "Zamora's work is real life turned into myth and myth made real life." —Glappitnova Javier Zamora was nine years old when he traveled unaccompanied 4,000 miles, across multiple borders, from El Salvador to the United States to be reunited with his parents. This dramatic and hope-filled poetry debut humanizes the highly charged and polarizing rhetoric of border-crossing; assesses borderland politics, race, and immigration on a profoundly personal level; and simultaneously remembers and imagines a birth country that's been left behind. Through an unflinching gaze, plainspoken diction, and a combination of Spanish and English, Unaccompanied crosses rugged terrain where families are lost and reunited, coyotes lead migrants astray, and "the thin white man let us drink from a hose / while pointing his shotgun." From "Let Me Try Again": He knew we weren't Mexican. He must've remembered his family coming over the border, or the border coming over them, because he drove us to the border and told us next time, rest at least five days, don't trust anyone calling themselves coyotes, bring more tortillas, sardines, Alhambra. He knew we would try again. And again—like everyone does. Javier Zamora was born in El Salvador and immigrated to the United States at the age of nine. He earned a BA at UC-Berkeley, an MFA at New York University, and is a 2016–2018 Wallace Stegner Fellow at Stanford University.