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"The novelist and poet Ben Lerner argues that our hatred of poetry is ultimately a sign of its nagging relevance"--
Over 125 years ago, barely a year and a half after the Tay Railway Bridge was built, William McGonnagal composed his poem about the Tay Bridge Disaster, the poem about Britain’s worst-ever civil engineering disaster. Over 80 people lost their lives in the fall of the Tay Bridge, but how did it happen? The accident reports say that high wind and poor construction were to blame, but Peter Lewis, an Open University engineering professor, tells the real story of how the bridge so spectacularly collapsed in December 1879.
The Poetry of Mr Minevar, Book 2 is a collection of easy reading poems that would appeal to anyone interested in History, Literature or Science. The poems aim to be both enjoyable and informative and to appeal to a wide range of age groups. Ideal as a great present for any occasion.
One hundred and thirty-five years after the event, the Tay Bridge Disaster remains the single most catastrophic collapse of a British engineering structure. The fateful day in 1879 shook Britain and the world of engineering to their core and sent a nation into mourning for the seventy-five souls lost to the dark, freezing waters of the Tay River. Here Lumley gives the collapse a much wider perspective than the event of one night by delving into the lives of those lost to the disaster, both passengers and railway workers, against a background of a wider Scottish history. Packed full of personal tales and with more technical appendices for those that wish to further their technical knowledge, The Tay Bridge Disaster is a must read for anyone interested in this poignant event of Scottish and British history.
There is something offensive and scandalous about poetry, judging by the number of attacks on it and defenses of it written over the centuries. Poetry, Hazard Adams argues, exists to offend - not through its subject matter but through the challenges it presents to the prevailing view of what language is for. Poetry's main cultural value is its offensiveness; it should be defended as offensive. Adams specifies four poetic offenses - gesture, drama, fiction, and trope - and devotes a chapter to each, ranging across the landscape of traditional literary criticism and exploring the various attitudes toward poetry, including both attacks and defenses, offered by writers from Plato and Aristotle to Sidney, Vico, Blake, Yeats, and Seamus Heaney, among others. "Criticism," Adams writes, "needs renewal in every age to free poetry from the prejudices of that age and the unintended prejudices of even the best critics of the past, to free poetry to perform its provocative, antithetical cultural role." Poetry achieves its cultural value by opposing the binary oppositions - form and content, fact and fiction, reason and emotion - that structure and polarize most understandings of literature and of life. Adams takes a position antithetical to the extremes of both abstract formalism and the politicization of literary content. He concludes with an appreciation of what he calls the double offense of "great bad poetry," poetry so exceptionally bad that it transcends its shortcomings and leads to gaiety. He reminds us that Blake, in The Marriage of Heaven and Hell, identified angels with the settled and coercive and assigned the qualities of energy and creativity to his devils. According to Adams, poetry, in its broad and traditional sense of all imaginative writing, may be identified with Blake's devils.