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In this remarkable true life story, Shakespeare, man and genius, comes gloriously to life. For the first time we see him as he really was - a courageous and loveable man who suffered the slings and arrows of outrageous fortune, and whose life was as great a drama as any play he wrote. This is the most important research on Shakespeare's Sonnets ever published. It will open the floodgates for a great Shakespearean debate engendering new understanding and fresh dramatic interpretation. A spellbinding and compelling read for all who love Shakespeare.
Bronwen Wallace Memorial Award-winning poet Sonnet L'Abbé returns with her third collection, in which a mixed-race woman decomposes her inheritance of Shakespeare by breaking open the sonnet and inventing an entirely new poetic form. DOROTHY LIVESAY POETRY PRIZE FINALIST RAYMOND SOUSTER AWARD FINALIST How can poetry grapple with how some cultures assume the place of others? How can English-speaking writers use the English language to challenge the legacy of colonial literary values? In Sonnet's Shakespeare, one young, half-dougla (mixed South Asian and Black) poet tries to use "the master's tools" on the Bard's "house," attempting to dismantle his monumental place in her pysche and in the poetic canon. In a defiant act of literary patricide and a feat of painstaking poetic labour, Sonnet L'Abbé works with the pages of Shakespeare's sonnets as a space she will inhabit, as a place of power she will occupy. Letter by letter, she sits her own language down into the white spaces of Shakespeare's poems, until she overwhelms the original text and effectively erases Shakespeare's voice by subsuming his words into hers. In each of the 154 dense new poems of Sonnet's Shakespeare sits one "aggrocultured" Shakespearean sonnet--displaced, spoken over, but never entirely silenced. L'Abbé invented the process of Sonnet's Shakespeare to find a way to sing from a body that knows both oppression and privilege. She uses the procedural techniques of Oulipian constraint and erasure poetries to harness the raw energies of her hyperconfessional, trauma-forged lyric voice. This is an artist's magnum opus and mixed-race girlboy's diary; the voice of a settler on stolen Indigenous territories, a sexual assault survivor, a lover of Sylvia Plath and Public Enemy. Touching on such themes as gender identity, pop music, nationhood, video games, and the search for interracial love, this book is a poetic achievement of undeniable scope and significance.
What was it like to grow up German during Hitler’s Third Reich? In this extraordinary book, Frederic C. Tubach returns to the country of his roots to interview average Germans who, like him, came of age between 1933 and 1945. Tubach sets their recollections and his own memories into a broad historical overview of Nazism—a regime that shaped minds through persuasion (meetings, Nazi Party rallies, the 1936 Olympics, the new mass media of radio and film) and coercion (violence and political suppression). The voices of this long-overlooked population—ordinary people who were neither victims nor perpetrators—reveal the rich complexity of their attitudes and emotions. The book also presents selections from approximately 80,000 unpublished letters (now archived in Berlin) written during the war by civilians and German soldiers. Tubach powerfully provides new insights into Germany’s most tragic years, offering a nuanced response to the abiding question of how a nation made the quantum leap from anti-Semitism to systematic genocide.
WINNER OF THE 2020 PULITZER PRIZE FOR POETRY Finalist for the 2019 National Book Award "100 Notable Books of the Year," The New York Times Book Review One Book, One Philadelphia Citywide Reading Program Selection, 2021 "By some literary magic—no, it's precision, and honesty—Brown manages to bestow upon even the most public of subjects the most intimate and personal stakes."—Craig Morgan Teicher, “'I Reject Walls': A 2019 Poetry Preview” for NPR “A relentless dismantling of identity, a difficult jewel of a poem.“—Rita Dove, in her introduction to Jericho Brown’s “Dark” (featured in the New York Times Magazine in January 2019) “Winner of a Whiting Award and a Guggenheim Fellowship, Brown's hard-won lyricism finds fire (and idyll) in the intersection of politics and love for queer Black men.”—O, The Oprah Magazine Named a Lit Hub “Most Anticipated Book of 2019” One of Buzzfeed’s “66 Books Coming in 2019 You’ll Want to Keep Your Eyes On” The Rumpus poetry pick for “What to Read When 2019 is Just Around the Corner” One of BookRiot’s “50 Must-Read Poetry Collections of 2019” Jericho Brown’s daring new book The Tradition details the normalization of evil and its history at the intersection of the past and the personal. Brown’s poetic concerns are both broad and intimate, and at their very core a distillation of the incredibly human: What is safety? Who is this nation? Where does freedom truly lie? Brown makes mythical pastorals to question the terrors to which we’ve become accustomed, and to celebrate how we survive. Poems of fatherhood, legacy, blackness, queerness, worship, and trauma are propelled into stunning clarity by Brown’s mastery, and his invention of the duplex—a combination of the sonnet, the ghazal, and the blues—is testament to his formal skill. The Tradition is a cutting and necessary collection, relentless in its quest for survival while reveling in a celebration of contradiction.
Poetry. Women's Studies. Samantha Zighelboim's debut collection conducts a radical re-examination of what we mean by body. In these poems, body is noun, verb and adverb; body is dearly beloved and fiercely rejected; it is by turns a singularly beautiful process and a frightening object. Zighelboim takes the sonnet form as a loose premise, a la Bernadette Mayer, but then explodes, expands, defies and otherwise grows out of supposed formal limits, making language into a living embodiment of the refusal of (institutional, patriarchal, cultural) control. The poet's refusal of the social invisibility of fat bodies is essential. "I am a perfect fucking blossom," Zighelboim writes, and also "I am entitled to the loneliness of my interminable appetite." Offering felt registers as subtle as "The oblique / correspondence between / a soft body / and a thin / layer of / pulp," this is the writing of a sharp and observant world-eater: a cosmophage in the truest sense.
Attiya's cheating husband is murdered in a Bangkok nightclub, leaving her to raise their ten year old son, Den, alone. The killer, Surapat Wongsuphan, is a member of the country's "elite", who expects his father's wealth to once again get him out of trouble. But this time it's different. As Thailand's Old Money families rally against the Wongsuphan's, Attiya, Den and Surapat's lives will change in the most unexpected ways -- even as fate binds them together. Set in Bangkok, Vientiane and London, "The Mask Under My Face" is about what happens when those above the law fall within the reach of the powerless.
Intended for all readers, an exciting, innovative approach to Shakespeare's Sonnets."His sugared Sonnets among his private friends." That's how Shakespeare's Sonnets were described in the only contemporary reference to them. This brings up the image of a talented, young poet-with a penchant for irreverent fun-getting together with friends to read his new sonnet cycle. Numerous sonnet cycles were published that typically told the story of thwarted love. The same topics are repeated: a chaste and beautiful lady, a love-sick poet dreaming only of his beloved, sunk into despair by her cruelty (cruel only because she decides to remain chaste). Shakespeare's Sonnets are like this, but with a twist-adding a love triangle that turning convention upside down. Working out all the possibilities of this intriguing story as the sonnets progress is all part of the fun.Atkins invites you to imagine that you are among the friends our poet has allowed to see his new sonnets. You'll read the poems and the discussion of each one, trying to figure out the story. See what it might have been like to read Shakespeare's Sonnets "among his private friends."This book, complete with glosses of difficult words and phrases and a thorough explanation of each poem, is as carefully edited as the acclaimed variorum edition published by Atkins in 2007, Shakespeare's Sonnets: With Three Hundred Years of Commentary. It has the same sensitive readings of verse that made his variorum edition unique. (For those particularly interested in Shakespeare's use of meter, Atkins has made a complete metrical analysis of all 154 poems, which serves as an excellent companion to Shakespeare's Sonnets Among His Private Friends. It is available free at amonghisprivatefriends.com.) Also unique to this edition is a look at how the last 28 sonnets about a "dark lady" may have been influenced by Christopher Marlowe's English translation of Ovid's erotic poems, Amores (Book 1 of which is included in an appendix).294 pages including appendix, bibliography and index
In this lively, fascinating account of the publication of Shakespeare's Sonnets, noted biographer Clinton Heylin brings their convoluted history to light, beginning with the first complete appearance of the Sonnets in print in May, 1609. He introduces us to the "unholy alliance" involved in this precarious enterprise: Thomas Thorpe, the publisher, a self-described "well wishing adventurer;" George Eld, the printer, heavily embroiled in large-scale pirating; William Aspley, the prestigious bookseller, who mysteriously ended his association with Thorpe soon after. Leaving the calamitous world of Elizabethan publishing, Heylin goes on to chart the many editions of the Sonnets through the years and the editorial decisions that led to their present configuration. Passionate, astute, and brilliantly entertaining, the result is a concise and vivid history of perhaps the greatest poetry ever written.