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Sunbathing in the Rain is undoubtedly the best book I have ever read about one person's experience of depression.' - Dorothy Rowe, author of Breaking the Bonds 'This upbeat, very readable and engaging view of depression as a temporary retrenchment, a breathing space in which to adjust better to life, makes encouraging reading.' - Spectator 'Gwyneth Lewis writes with clarity, beauty and metaphorical precision. She conveys the darkness, the silence, the selfishness, the mental clutter of depression brilliantly.' - Simon Hattenstone, Guardian 'Welsh poet Gwyneth Lewis shares her personal story of wrestling with clinical depression and describes what she learned along the way about coping with the disease. The text is aimed primarily at those who are currently depressed and are struggling to recover. The emphasis throughout is on the healing power of self-acceptance and truth-telling. This is a reprint of a book first published in London by Flamingo in 2002.' - www.booknews.com This might well be the Age of Depression. More people than ever now experience the disease directly or see a friend or relative succumb to it. Among their number is Gwyneth Lewis. And she set about writing this book simply because she wished something like it had existed for her when she was in the middle of her depression. Depression is assassination. The depressive is both victim and detective - charged with tracking down the perpetrator of his or her own murder. By drawing on her own experience of struggling with the affliction, by highlighting ways of coping, ways of truth-telling, and ways of thriving, in a straightforward, robust fashion full of casual wisdom and easy wit, Gwyneth re-embarks on a journey that nearly killed her first time round and returns with this, perhaps the first truly undogmatic, undemanding, downright useful book about depression.
This little book is a violent poetic tantrum, an act of rage against a city which erects vacant monuments to its ogreish mercantile religion and murders masses of its children in the furnaces of the demons. Yet, in the midst of unthinkable decadence and brutality, there lies a sublime beauty, a desperate but sensational lyricism which is only found in close proximity to death and cataclysm. This poem exhumes the ancient city of Carthage, a bastion of the most sinister tendencies of human civilization, with terrifying implications for the island of Manhattan, a city which assented to its own doom when it built the skyscraper on 432 Park Avenue.
Best known as one of the great short story writers of the twentieth century, Raymond Carver also published several volumes of poetry and considered himself as much a poet as a fiction writer. Sandra Lee Kleppe combines comparative analysis with an in-depth examination of Carver’s poems, making a case for the quality of Carver’s poetic output and showing the central role Carver’s pursuit of poetry played in his career as a writer. Carver constructed his own organic literary system of 'autopoetics,' a concept connected to a paradigm shift in our understanding of the inter-relatedness of biological and cultural systems. This idea is seen as informing Carver’s entire production, and a distinguishing feature of Kleppe’s book is its contextualization of Carver’s poetry within the complex literary and scientific systems that influenced his development as a writer. Kleppe addresses the common themes and intertextual links between Carver’s poetry and short story careers, situates Carver’s poetry within the love poem tradition, explores the connections between neurology and poetic memories, and examines Carver’s use of the elegy genre within the context of his terminal illness. Tellingly, Carver’s poetry, which has aroused slight interest among literary scholars, is frequently taught to medical students. This testimony to the interdisciplinary implications of Carver’s work suggests the appropriateness of Kleppe’s culminating discussion of Carver’s work as a bridge between the fields of literature and medicine.
The Eastern Cape is a country of great natural beauty and tourist potential, and has produced a wealth of writers and writings that have responded to the landscape in a variety of interesting and enjoyable ways.
Twenty-nine poems from the 1950's.
-- New York Times Book Review
Throughout his career, Derek Walcott turned to the literature and cultures of ancient Greece and Rome. His book-length poem recasting the epics of Homer, Virgil and Dante in St Lucia is best-known in this regard, yet Omeros is only the pinnacle of a lengthy and lively dialogue that Walcott developed between the ancient Mediterranean and the modern Caribbean. Derek Walcott and the Creation of a Classical Caribbean explores how, in developing that discourse between ancient and modern, between Europe and the Caribbean, Walcott refuted the suggestion that to engage with literature from elsewhere was to lack originality; instead, he asserted a place for Caribbean art in a global, transhistorical canon. Drawing on Walcott's own theoretical concerns, this book explores his engagement with Graeco-Roman antiquity from three key perspectives. Firstly, that a perception of time as linear must be coupled with an understanding of it as simultaneous, thereby doing away with the oppressive power of history and confirming the 'New World' on a par with the 'Old'. Secondly, that syncretism lies at the heart of Caribbean life and art, with influences from Africa, Asia, and Europe constituting key parts of Caribbean identity alongside its indigenous cultures. Thirdly, that Caribbean literature creates the world anew without erasing the past. With these three postcolonial conceptions at the heart of his engagement with ancient Greece and Rome, Walcott revealed the reasons why classical reception has been a rich facet of Caribbean artistry.
This is the first book-length study foregrounding Auden’s sense of place as a means for enhancing our grasp of this crucial twentieth-century poet. Proposing that Auden had a remarkable spatial sensibility, this book concentrates on his treatment of his homeland England, as well as the North Pennines and Iceland, both of which served as his ‘good’ places, ‘holy’ grounds and sources of topophilic sentiment. The readings draw on the scholarship of humanistic geography, tracing patterns of mental constructs which emerge from spatial experience. In a scholarly but engaging way, this book argues that focusing on Auden’s poetics of place as it emerged and evolved can be instrumental to our understanding of this influential poet not only in relation to his epoch but also to the Anglophone poetic tradition. Precisely because of his stature, these elaborations on Auden’s preoccupation with places, escapism, borders and local identity promise to enrich our understanding of the cultural and intellectual climate of the interwar period, when established notions of local places and cultures were beginning to be contested by internationalisation. This study will be of interest to both academics and students in the field of Anglophone literary studies while also appealing to those attracted to Auden’s poetry, interwar culture and the literary representation of space.
"This volume aims to be a useful companion to both the specialist and non-specialist reader of South African literature in English, and covers a period from approximately 1795 (the time of the 'First British Occupation of the Cape') to the end of 1985."--Pref.