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As you read this quaint little book, you will find the charming simplicity of Dr. Lay's poetry. Heartwarming thoughts touch us deep within our being, memories of loves we have had in our lives. Our family and friends that are so dear to us and of course, and our love of God. Lovers of poetry will find R.J. Lay's writings of nature, family, romance and God to be of the first order. When you began to read his prose materials, they're stories being remembered over the years. These stories are written with such exquisite as composed if writing a sympathy. They move you as music moves you. The writings pull you into them as if you had written them. You feel the grass under your feet with dew, the smell of freshly cut hay, hear the chirping of birds; as well as the water moving over the rocks. His writings carry you back in time to special places and special people. It was a time of comfort, joy and happiness when you felt peace and love all around you and know there was a loving God. R.J. Lay's "Words of Wisdom" section has words of profound thought. They are words that will open your eyes to the reality of life and help you understand what life a is all about. He writes descriptively the words with pen on paper the same way he creates on canvas with brush and paint. Dr. Lay is a fine writer and a wonderful addition to the world of American Poets. He is also quickly becoming known as one of Americas most known sensitive poets and being identified by many as " The weeping poet". You may experience tears of joy and sadness while reading his writings, as many tears were shed by Dr. Lay as he wrote this book.
As you read this quaint little book, you will find the charming simplicity of Dr. Lay's poetry. Heartwarming thoughts touch us deep within our being, memories of loves we have had in our lives. Our family and friends that are so dear to us and of course, and our love of God. Lovers of poetry will find R.J. Lay's writings of nature, family, romance and God to be of the first order. When you began to read his prose materials, they're stories being remembered over the years. These stories are written with such exquisite as composed if writing a sympathy. They move you as music moves you. The writings pull you into them as if you had written them. You feel the grass under your feet with dew, the smell of freshly cut hay, hear the chirping of birds; as well as the water moving over the rocks. His writings carry you back in time to special places and special people. It was a time of comfort, joy and happiness when you felt peace and love all around you and know there was a loving God. R.J. Lay's "Words of Wisdom" section has words of profound thought. They are words that will open your eyes to the reality of life and help you understand what life a is all about. He writes descriptively the words with pen on paper the same way he creates on canvas with brush and paint. Dr. Lay is a fine writer and a wonderful addition to the world of American Poets. He is also quickly becoming known as one of Americas most known sensitive poets and being identified by many as " The weeping poet". You may experience tears of joy and sadness while reading his writings, as many tears were shed by Dr. Lay as he wrote this book.
On its first appearance English Poetry of the Romantic Period was widely praised as on of the best introductions to the subject. This edition includes updated material in the light of recent work in Romanticism and Romantic poetry. The book discusses the concerns that linked the Romantic poets, from their responses to the political and social upheavals around them to their interest in the poet's visionary and prophetic role. It includes helpful and authoritative discussions of figures such as Blake, Clare, Coleridge, Crabbe, Keats, Scott, Shelley and Wordsworth.
The Ghost Was Always The Machine is an artist's book which blends digital and analog platforms. You'll be bouncing between this book and web pages. You'll only be able to access the web pages with passwords which can be deduced from the content of the poems and the hints laid out in the analog portion of the book. The poems in this book must be exhumed, peeled apart, summoned, disassembled, and re-assembled. It is strongly encouraged that you take notes. Write in this book. Dog-ear the pages. Bookmark websites. Use the book as an umbrella. Eat pizza off of it. Make this book your own. There are more poems than are listed in the table of contents. You'll have to be clever if you want to find all the poems.
. The contributors are Stephen C. Behrendt, Don H. Bialostosky, Jerome Christensen, Richard W. Clancey, Klaus Dockhorn, James Engell, David Ginsberg, Bruce E. Graver, Scott Harshbarger, Theresa M. Kelley, J. Douglas Kneale, John R. Nabholtz, Lawrence D. Needham, Marie Secor, Nancy S. Struever, Leslie Tannenbaum, and Susan J. Wolfson.
Examining the roots of the relationship between literature and theology, this book offers the first serious attempt to probe the deep theological purposes of the study of literature. Through an exploration of themes of evil, forgiveness, sacrament and what it means to be human, David Jasper draws from international research and discussions on literature and theology and employs an historical and profoundly personal journey through the later part of the last century up to the present time. Combining fields such as bible and literature, poetry and sacrament, this book sheds new light on how Christian theology seeks to remain articulate in our global, secular and multi-faith culture.
Emphasizing the interplay of aesthetic forms and religious modes, Sean Pryor's ambitious study takes up the endlessly reiterated longing for paradise that features throughout the works of W. B. Yeats and Ezra Pound. Yeats and Pound define poetry in terms of paradise and paradise in terms of poetry, Pryor suggests, and these complex interconnections fundamentally shape the development of their art. Even as he maps the shared influences and intellectual interests of Yeats and Pound, and highlights those moments when their poetic theories converge, Pryor's discussion of their poems' profound formal and conceptual differences uncovers the distinctive ways each writer imagines the divine, the good, the beautiful, or the satisfaction of desire. Throughout his study, Pryor argues that Yeats and Pound reconceive the quest for paradise as a quest for a new kind of poetry, a journey that Pryor traces by analysing unpublished manuscript drafts and newly published drafts that have received little attention. For Yeats and Pound, the journey towards a paradisal poetic becomes a never-ending quest, at once self-defeating and self-fulfilling - a formulation that has implications not only for the work of these two poets but for the study of modernist literature.
Emphasizing the interplay of aesthetic forms and religious modes, Sean Pryor's ambitious study takes up the endlessly reiterated longing for paradise that features throughout the works of W. B. Yeats and Ezra Pound. Yeats and Pound define poetry in terms of paradise and paradise in terms of poetry, Pryor suggests, and these complex interconnections fundamentally shape the development of their art. Even as he maps the shared influences and intellectual interests of Yeats and Pound, and highlights those moments when their poetic theories converge, Pryor's discussion of their poems' profound formal and conceptual differences uncovers the distinctive ways each writer imagines the divine, the good, the beautiful, or the satisfaction of desire. Throughout his study, Pryor argues that Yeats and Pound reconceive the quest for paradise as a quest for a new kind of poetry, a journey that Pryor traces by analysing unpublished manuscript drafts and newly published drafts that have received little attention. For Yeats and Pound, the journey towards a paradisal poetic becomes a never-ending quest, at once self-defeating and self-fulfilling - a formulation that has implications not only for the work of these two poets but for the study of modernist literature.
Edward Thomas can be seen as the most important poetry critic in the early twentieth century. Thomas was a prose-writer before he was a poet. The Selected Edition of his prose, and especially this volume, shows that he was also a critic before he was a poet. His unusual literary career opens up key questions about the relation between poetry and criticism, as well as between poetry and prose. Thomas wrote books about poetry, but his criticism mainly took the form of reviews. He reviewed collections, editions, and studies of poetry, most regularly, for the Daily Chronicle and the Morning Post. These reviews amount to a unique commentary on the state of poetry and of poetry criticism after 1900. Since reviewing provided Thomas's main income, he also reviewed other kinds of book. Hence the sheer mass of his reviews, the stress he suffered as a literary journalist. Yet his criticism maintains an astonishingly high standard. Thomas's response to contemporary poetry intersects with his readings of older poetry. No critic or poet of the time was so deeply acquainted with the traditions of English-language poetry or so alert to new poetic movements in Ireland and America. Edward Thomas's writings on poetry have a double importance. Besides suggesting the hidden evolution of his own aesthetic, they constitute a lost history and critique of poetry before the Great War. They change our assumptions about that period. Thomas's perspectives on poets such as Yeats, Hardy, Frost, Lawrence, and Pound illuminate the making of modern poetry.
In this revisionary study of the poetry of Coleridge, Wordsworth and their friends during the 'revolutionary decade' David Fairer questions the accepted literary history of the period and the critical vocabulary we use to discuss it. The book examines why, at a time of radical upheaval when continuities of all kinds (personal, political, social, and cultural) were being challenged, this group of poets explored themes of inheritance, retrospect, revisiting, and recovery. Organising Poetry charts their struggles to find meaning not through vision and symbol but from connection and dialogue. By placing these poets in the context of an eighteenth-century 'organic' tradition, Fairer moves the emphasis away from the language of idealist 'Romantic' theory towards an empirical stress on how identities are developed and sustained through time. Locke's concept of personal identity as a continued organisation 'partaking of one common life' offered not only a model for a reformed British constitution but a way of thinking about the self, art and friendship, which these poets found valuable. The key term, therefore, is not 'unity' but 'integrity'. In this context of a need to sustain and organise diversity and give it meaning, the book offers original readings of some well known poems of the 1790s, including Wordsworth's 'Tintern Abbey' and 'The Ruined Cottage', and Coleridge's conversation poems 'The Eolian Harp', 'This Lime-Tree Bower', and 'Frost at Midnight'. Organising Poetry represents an important contribution to current critical debates about the nature of poetic creativity during this period and the need to recognise its more communal and collaborative aspects.