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Voices, chants and magical enchantments fill the pages of this wonderful collection of poetry. Step through the many forests of magical illusions as the voice of another slowly overwhelm the minds of those who dare. Spellbound by evil, these many souls silently cry for help. Take a look into the minds of those possessed as they walk along the oceans and lakes of sanity searching for help. Within this magical book of poetry, tales of spellbinding enchantments captivates the imagination!
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Unlocking the Poetry of W.B. Yeats undertakes a thorough re-reading of Yeats' oeuvre as an extended meditation on the image and theme of the heart as it is evident within the poetry. It places the heart at the centre of a complex web of Yeatsian preoccupations and associations—from the biographical, to the poetic and philosophical, to the mythological and mystical. In particular, the book seeks to unlock Yeats’ mystifying aesthetic vision via his understanding of the ancient Egyptian "Weighing of the Heart" ceremony. The work provides a chronological narrative arc that looks to use the theme of the heart as it recurs in the poetry in order to circumvent and overcome more established frameworks. Its purpose is to offer refreshing ways of conceptualizing and building alternatives to more deeply entrenched, but not entirely satisfactory arguments that have been offered since Yeats' death in 1939, while demonstrating the centrality of the occult to Yeats' art.
In 1913 Marcel Duchamp's Nude Descending a Staircase exploded through the American art world. This is the story of how he followed the painting to New York two years later, enchanted the Arensberg salon, and—almost incidentally—changed art forever. In 1915, a group of French artists fled war-torn Europe for New York. In the few months between their arrival—and America’s entry into the war in April 1917—they pushed back the boundaries of the possible, in both life and art. The vortex of this transformation was the apartment at 33 West 67th Street, owned by Walter and Louise Arensberg, where artists and poets met nightly to talk, eat, drink, discuss each others’ work, play chess, plan balls, organise magazines and exhibitions, and fall in and out of love. At the center of all this activity stood the mysterious figure of Marcel Duchamp, always approachable, always unreadable. His exhibit of a urinal, which he called Fountain, briefly shocked the New York art world before falling, like its perpetrator, into obscurity. Many people (of both sexes) were in love with Duchamp. Henri-Pierre Roché and Beatrice Wood were among them; they were also, briefly, and (for her) life-changingly, in love with each other. Both kept daily diaries, which give an intimate picture of the events of those years. Or rather two pictures—for the views they offer, including of their own love affair, are stunningly divergent. Spellbound by Marcel follows Duchamp, Roché, and Beatrice as they traverse the twentieth century. Roché became the author of Jules and Jim, made into a classic film by François Truffaut. Beatrice became a celebrated ceramicist. Duchamp fell into chess-playing obscurity until, decades later, he became famous for a second time—as Fountain was elected the twentieth century’s most influential artwork.
Percy Bysshe Shelley (1792–1822) was one of the major poets of the English Romantic period. This is the fifth volume of a six-volume edition of The Poems of Shelley, which aims to present all of Shelley’s poems in chronological order and with full annotation. Date and circumstances of composition are provided for each poem and all manuscript and printed sources relevant to establishing an authoritative text are freshly examined and assessed. Headnotes and footnotes furnish the personal, literary, historical and scientific information necessary to an informed reading of Shelley’s varied and allusive verse. Most of the poems in the present volume were composed between late summer 1821 and late January 1822. They include Hellas, a lyrical drama written in support of the Greek War of Independence, composed in September–November 1821 and published in February–March 1822, his unfinished tragedy Charles the First which he had been planning for several years, as well as important shorter poems such as ‘The Indian Girl’s Song’, ‘Autumn: a Dirge’ and his ‘Epitaph’ for John Keats. In addition to accompanying commentaries, there are extensive bibliographies to the poems, a chronological table of Shelley’s life and publications, and indexes to titles and first lines. Now completed, this is the most comprehensive edition of Shelley’s poetry available to students and scholars.
In the fall of 1998, Acadia University, Wolfville, Nova Scotia, hosted a symposium on the life and work of Pulitzer prize-winning writer Elizabeth Bishop (1911-1979). This book collects 25 of the essays that were presented at the conference, as well as over 40 black and white reproductions of photographs relating to Bishop's life. Contributors include: Crystal Bacon, Marian Bannerman, Sandra Barry, Brian Bartlett, Neil Besner, Theodore Colson, Barbara Comins, Gwen Davies, Jeffery Donaldson, Patricia Dwyer, Lilian Falk, Andre Furlani, Gary Fountain, Glen Robert Gill, Lorrie Goldensohn, Michael Happy, Kathleen Johnson, Ross Leckie, Elizabeth McKim, Laura Jehn Menides, Sara Meyer, Roger Moore, Brian Robinson, Camille Roman, Peter Sanger and Anne Stevenson.
Ella Enchanted meets The Parent Trap in this spellbinding wintery tale where two young enchanters team up to break a centuries-old family curse and accidentally put their entire town at risk along the way. Every winter solstice, when people lock eyes in the Ambrose Ensorcelled Cottage, they fall in love. This year, Alice Ambrose has secretly invited her dad in hopes that her parents will realize they’re happier together than apart. With her parents together, Alice will finally feel whole. But when Alice's parents lock eyes…nothing happens. Turns out, the women in her family are cursed to never fall in love. Ronan Knight will do anything to get his enchantress mom to settle on a forever home. Luckily, he’s found her a perfect job at a perfect place: the Ensorcelled Cottage. The only snag? His mom would rather run from their mysterious past than settle down. When Ronan learns about Alice’s family curse, he figures he can kill two birds with one broken curse, since helping Alice will surely earn his mom points with the owner of Ensorcelled Cottage. But when their meddling causes the town to lose the ability to love all together, and ghosts whisper of the very past haunting Ronan’s family, Alice and Ronan discover that happily ever after doesn’t look the same for everyone. And sometimes, to get what you want, you’ll have to give your heart away.
Ann Marie Eleazer has always considered herself a bit ancient, haunted and otherworldly, who enjoys enchanted flights through the dark fairy tales and magical places she's been drawn to since childhood.She's Magic & Midnight Lace is a beautiful collection of poetry and prose, or as author, Ann Marie Eleazer says, Poems and Poetic Spells. Each page is filled with her writings that will charm you and leave you spellbound. She's Magic & Midnight Lace has over 200 hand-selected pieces from the soul of the author that will lure you in, giving you a better understanding of the mystery of the darkness, and have you believing just how magical life really can be. ***Poetry, simply said, is her magical potion. Darkened and mysterious words form deep within her old soul, executed with pinpoint precision as she lulls her audience into a hypnotic trance. Ann Marie's poetry, with a hint of Poe, sprinkled to and fro, brings life to those obscure hidden desires of yesteryear.With a hint of mystery, a dash of seduction and wording that seemingly dances in unison, Ann Marie's arrangement of words casts a bewitching spell upon those that dare transcend into her magical coven of poetry.~Maxwell Xavier, Writer at Primal Awakenings***This poetry sings to deep hidden places in my heart, allowing me to embrace my own wild and beautiful darkness.If you yearn for a sensual life, shun pastels, and feel at home in mysterious places, you will love this book.I read it to my lover late at night and watch it bring out his inner wicked passion.~Elisa Robyn, PhD, Author of The Way of The Well and Dark Fire
Introduction “Poem 0” Welcome to my book of poems, I hope you’re doing well, The poems within go very deep, And some of them might smell… (See “Ode to the Decrepit Hotel That Smells Like Body Odor”)… The symbolism is profound, And metaphor extreme, It draws from ancient languages, And some a spirit stream, I do not know what they might mean, They’re far beyond my mind, And so it’s “Poetry Beyond”, They are one-of-a-kind, By opening awareness, I get out of my own way, Allowing in Divinity, To take the pen today, It compliments the mystic texts, Like myrtle, pine and yew, And if we’re talking B.O., Then the language is P.U., But like a diamond in the sky, With fractal mirrored gaze, With angles truly infinite, You see things different ways, For angel angle might be there, Depending what you see, And lost ones may be tones or stones, And there is number three, There is no right or wrong in poems, Relax the thinking mind, The inner child’s very wise, Be gentle, loving, kind, This is a space to be yourself, And deeply go inside, For secrets do the mystics hold, You might go for a ride…… (See “The Time Space Fabric Has a Hole”) Or just enjoy these poems “as is”, They hold no warranty, Each poem had its own work of art, Painted photography, From places all around the world, Inspired camera art, You’ll find the art-inspired poems, Pierce deeply through the heart, For “Oy the Joy” will pop right out, With eyes-crossed vision true, But anyway, enjoy the poems, The greatest light is you. Pamela Storch
One of the most exciting developments in Romantic studies in the past decade has been the rediscovery and repositioning of women poets as vital and influential members of the Romantic literary community. This is the first volume to focus on women poets of this era and to consider how their historical reception challenges current conceptions of Romanticism. With a broad, revisionist view, the essays examine the poetry these women produced, what the poets thought about themselves and their place in the contemporary literary scene, and what the recovery of their works says about current and past theoretical frameworks. The contributors focus their attention on such poets as Felicia Hemans, Letitia Elizabeth Landon, Charlotte Smith, Anna Barbauld, Mary Lamb, and Fanny Kemble and argue for a significant rethinking of Romanticism as an intellectual and cultural phenomenon. Grounding their consideration of the poets in cultural, social, intellectual, and aesthetic concerns, the authors contest the received wisdom about Romantic poetry, its authors, its themes, and its audiences. Some of the essays examine the ways in which many of the poets sought to establish stable positions and identities for themselves, while others address the changing nature over time of the reputations of these women poets.