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A selection of the very best from one of America's most thought-provoking writers: poems on life, faith, doubt, and death that read like memoir, essay, and story. As The New York Times said, "likely to resonate with many who have come face to face with life's most important questions." Thomas Lynch--like Wallace Stevens and William Carlos Williams--is a poet who writes about real things with language rooted in the everyday yet masterfully infused with power: I have steady work, a circle of friends and lunch on Thursdays with the Rotary. I have a wife, unspeakably beautiful, a daughter and three sons, a cat, a car, good credit, taxes, and mortgage payments and certain duties here. Notably, when folks get horizontal, breathless, still: life in Milford ends. They call. I send a car. Thomas Lynch spent his career as an undertaker in Midwest America--and in his off-hours became a writer of exceptional insight. Publishers Weekly calls him, "A poet with something to say and something worth listening to." This collection presents 140 of his greatest poems drawn from his previous books, Skating with Heather Grace, Still Life in Milford, Grimalkin, The Sin-Eater, and Walking Papers. This is a collection for readers who love all life's questions and mysteries--big and small.
"THE THORN ROSARY gathers a selection of prose poems by Eileen R. Tabios that were released between 1998 and 2010 by publishers in the U.S., Philippines and Finland. While Ms. Tabios writes in many forms and actually created a popular minimalist poetic form called the "hay(na)ku", much of her work has been in prose poetry. The bulk of her first collection and recipient of the Philippines' National Book Award for Poetry, Beyond Life Sentences (1998), and the entirety of her first U.S.-published book, Reproductions of the Empty Flagpole (2002), are prose poems."--Provided by publisher.
Anna Akhmatova (June 23, 1889 - March 5, 1966) is considered by many to be one of the greatest Russian poets of the Silver Age. One of the forefront leaders of the Acmeism movement, which focused on rigorous form and directness of words, she was a master of conveying raw emotion in her portrayals of everyday situations. Her works range from short lyric love poetry to longer, more complex cycles, such as Requiem, a tragic depiction of the Stalinist terror. During the time of heavy censorship and persecution, her poetry gave voice to the Russian people. To this day, she remains one of Russia's most beloved poets and has left a lasting impression on generations of poets that came after her. Rosary, published in 1914, is Akhmatova's second book, and one of her most popular collections. After its publication, Akhmatova became a household name and further established her place among the greatest Russian poets.
THE ROSARY is a practical and reverential primer to a centuries old prayer that has touched millions of lives. In the introduction, author Gary Jansen appeals to the universality of one of the original Christian prayers, "Though traditionally considered a Catholic act of devotion, the rosary with its primary focus on the life, death, and resurrection of Christ Jesus, is ultimately a . . . universal prayer--one that can appeal to Christians of all denominations." Written for both Catholic and Protestant Christians, candid explanations on why and how to pray the rosary along with useful instructions on how to get the most out of the meditative and spiritual exercise of repeating prayers are in the first of two sections. Prayers including a visual and spiritual journey that illuminates the teachings of the New Testament follow in the second section.
What happens when a former Zen Buddhist monk and his feminist wife experience an apparition of the Virgin Mary? “This book could not have come at a more auspicious time, and the message is mystical perfection, not to mention a courageous one. I adore this book.”—Caroline Myss, author of Anatomy of the Spirit Before a vision of a mysterious “Lady” invited Clark Strand and Perdita Finn to pray the rosary, they were not only uninterested in becoming Catholic but finished with institutional religion altogether. Their main spiritual concerns were the fate of the planet and the future of their children and grandchildren in an age of ecological collapse. But this Lady barely even referred to the Church and its proscriptions. Instead, she spoke of the miraculous power of the rosary to transform lives and heal the planet, and revealed the secrets she had hidden within the rosary’s prayers and mysteries—secrets of a past age when forests were the only cathedrals and people wove rose garlands for a Mother whose loving presence was as close as the ground beneath their feet. She told Strand and Finn: The rosary is My body, and My body is the body of the world. Your body is one with that body. What cause could there be for fear? Weaving together their own remarkable story of how they came to the rosary, their discoveries about the eco-feminist wisdom at the heart of this ancient devotion, and the life-changing revelations of the Lady herself, the authors reveal an ancestral path—available to everyone, religious or not—that returns us to the powerful healing rhythms of the natural world.
What better gift could Our Lady have given us than the Rosary? The Rosary is Sacred Braille in that it is a miraculous juxtaposition of a language of prayer we can feel with our hands, joining word to touch. It is the Rosary to which our fingers may cling, as our flesh craves something tangible. The decades of the Rosary can be thought about, and, quite literally, felt, at the same time. While contemporary society separates the idea of "thinking" and "feeling," Scripture unites all functions in the heart. If we meditate on the words, "Mary treasured up all these things and pondered them in her heart," (Lk 2:19) the thinking and feeling functions are joined. The Rosary, through engaging both thought and touch, unites our spiritual and physical natures; our thinking and feeling faculties.
This book is a compelling new look at the centuries-old prayer of the rosary. It gives new meaning to the experience of prayer through exquisite glimpses into the heart of the mother of Jesus, who for women represents the power of life itself.
In Still Life in Milford, Lynch casts the cold eye we are told to on life and death, history and memory, the local and the larger geographics. Examining the dynamics of faith, remembrance, and intimate conduct, these poems are informed by end times, tribulations and visions that make up the ordinary enterprise of daily life. Colloquy and narrative, soliloquy and tribute, Still Life in Milford engages the full register of the poet's voices as elegist, eulogist, obituarist, straight man and passer-by to achieve a difficult and inimitable harmony.