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Rumi the Persian poet is widely acknowledged as being the greatest Sufi mystic of his age. He was the founder of the brotherhood of the Whirling Dervishes. This is a collection of his poetry.
Of all the losses we may be asked to bear, the murder of one’s child must be the most terrible. These poems evoke that keenly, seeking justice but transcending judgment as they grieve loss, celebrate love, and find healing.
Poetry. Literary Nonfiction. African & African American Studies. Australian Book Review Book of the Year. Honorable mention for the 2017 Glenna Luschei Prize for African Poetry. "Timothy Ogene's poems are writings of witness, displacement and beauty. Instead of a home address there are poems as address, at once exquisitely gentle and acute. The sharpness of the poems' blades --whether literal, like the blades that peel cassavas and leave the speaker's arms scarred, or deeper injuries of trauma and loss--sits alongside their subtlety and tenderness. These are poems of deep attentiveness to the smallest encounters, and to the largest questions of love, doubt, solitude and migration. Their crafting reveals Ogene's deep reading, both of poetry and of the landscapes the poems explore. How do poems that bear witness to violence, loss and displacement open so gently to the reader? This paradox is one of many in these wise, important poems. I am reminded of Hélène Cixous's description of Paul Celan's poetry as 'writing that speaks of and through disaster such that disaster and desert become author or spring.' Where trees hold 'time in absent leaves,' these poems mourn roots but refrain from 'easy paths,' offering, instead, the force and grace of a numinous poetics."-- Felicity Plunkett "Where does he come from, Timothy Ogene? From Nigeria, from Liberia, from Texas, from Oxford, now Boston. But look for him in the future, where he will be writing great books. Look for him in the present, too, in this satisfying, wonderful book--already he can do everything--he makes music, his figurative language is rare in that it goes deep, is never arbitrary, there is a care for especially the poor people and objects of this world, he remains hidden behind his language yet clear, which is to say his ego does not control the writing, something else does--a desire to lead us gently to noticing. Not just noticing, experiencing. Suddenly an empty bench comes to the forefront of our sight, from the "remains" of fog. He can personify without anthropomorphizing, maybe because he loves the world without needing to hold on to any aspect of it. He is unusually free yet aware of the limitations imposed on us politically and yes by language itself. If you want some pleasure, slow down and listen to his poems."-- Ruth Lepson "Timothy Ogene's debut collection, DESCENT & OTHER POEMS, presents a lyric and emotional journey that swiftly and utterly captures the reader's eye and heart."--John Keene, judge for the 2017 Glenna Luschei Prize for African Poetry
"Indestructible & Other Poems" is the second poetry collection by Kristy Rulebreaker. It describes life multicolored as it is, sometimes bitter, sometimes sweet. It's about people, places, hate, love, justice, nature, etc. The most of all, it's about freedom and courage. It encourages you, no matter how hard the life is, to stay indestructible.
AN INSTANT NEW YORK TIMES BESTSELLER! Another thrilling domestic suspense novel from the New York Times bestselling author of The Couple Next Door and Not a Happy Family “A gripping mystery perfect for fans of Agatha Christie.” –Good Housekeeping “Another nail-biter perfect for an all-nighter.” –Entertainment Weekly A weekend retreat at a cozy mountain lodge is supposed to be the perfect getaway . . . but when the storm hits, no one is getting away It's winter in the Catskills and Mitchell's Inn, nestled deep in the woods, is the perfect setting for a relaxing--maybe even romantic--weekend away. It boasts spacious old rooms with huge woodburning fireplaces, a well-stocked wine cellar, and opportunities for cross-country skiing, snowshoeing, or just curling up with a good murder mystery. So when the weather takes a turn for the worse, and a blizzard cuts off the electricity--and all contact with the outside world--the guests settle in and try to make the best of it. Soon, though, one of the guests turns up dead--it looks like an accident. But when a second guest dies, they start to panic. Within the snowed-in paradise, something--or someone--is picking off the guests one by one. And there's nothing they can do but hunker down and hope they can survive the storm--and one another.
Poetry. "Years ago, I predicted that David Sloan's name would easily join those who revel in the stubbornly elusive meld of craft and lyric. Ever since I've known him, he's mastered it with enviable ease, in deftly-spun poems probing what consoles and disquiets us--inexplicable loss, love that illuminates, the quirks and quandaries of the natural world. This is the book that will do it."--Patricia Smith "David Sloan's second collection of poems astonishes and delights at every turn, literally as each line breaks upon a next elegant phrase, apt image or surprising metaphor. There are several ekphrastic poems that are among the best I've ever read, a sestina that definitely is, a supple and indelible ghazal. The scope of subject matter is breathtaking: birth, childhood, grief, marriage, relationships of all ilks, including one's relationship to Nature, and many more. A few poems are hilariously funny, others beautifully dark and sobering. More are praise songs, and every mood and tone of voice is artfully encoded. Abundance enough, but here as well, a consistent richness of texture, of the intricate workings of sound and thought that only happen when someone falls madly in love with, and remains under the spell of, language itself. This collection demonstrates, full-bore, Sloan's accomplishment: a true poet expressing with elegant restraint and consummate skill the agony and the ecstasy of human existence in North America at this time in history."--Gray Jacobik
Mimi White explores new forms with her sensitive poetic reach in language and vision, often mixing the natural world and the human condition together to express the mysteries of life as a sense of those things that cannot be seen.
In our post-9/11 world, the figure of the stranger—the foreigner, the enemy, the unknown visitor—carries a particular urgency, and the force of language used to describe those who are “different” has become particularly strong. But arguments about the stranger are not unique to our time. In Romanticism and the Question of the Stranger, David Simpson locates the figure of the stranger and the rhetoric of strangeness in romanticism and places them in a tradition that extends from antiquity to today. Simpson shows that debates about strangers loomed large in the French Republic of the 1790s, resulting in heated discourse that weighed who was to be welcomed and who was to be proscribed as dangerous. Placing this debate in the context of classical, biblical, and other later writings, he identifies a persistent difficulty in controlling the play between the despised and the desired. He examines the stranger as found in the works of Coleridge, Austen, Scott, and Southey, as well as in depictions of the betrayals of hospitality in the literature of slavery and exploration—as in Mungo Park's Travels and Stedman's Narrative—and portrayals of strange women in de Staël, Rousseau, and Burney. Contributing to a rich strain of thinking about the stranger that includes interventions by Ricoeur and Derrida, Romanticism and the Question of the Stranger reveals the complex history of encounters with alien figures and our continued struggles with romantic concerns about the unknown.
They searched for each other in dreams. Then they traveled through time to save Ireland. Portland book artist Neve Kelly is having weird visions—vivid daydreams of lovers on a battlefield that yank her out of reality. A couple weeks before Halloween, a confused, strangely dressed man appears in her living room. He drops a slip of paper that describes a dream much like her own before disappearing without a trace. Will Yeats has had enough of heroics. With the peace between Ireland and its enemies restored, he plans to spend the next decade quietly writing his Irish fairy history. But suddenly he’s time traveling again. He briefly visits the home of an intriguing stranger, who appears to be American. The next time he’s drawn there, he finds her being sucked through a ghastly hole in her ceiling. Will saves Neve by carrying her back to 1888 Ireland, where he learns that not only is she from more than a century in the future but from a parallel world where fairies and Tuatha De Danaan heroes are no more than myth. Their dreams of ancient lovers have brought them together ... but why? Dark portents surround them—portents bearing the mark of the Morrigan’s meddling—and they soon discover it’s all part of a sinister scheme to seize the throne of Ireland. And the love story from their dreams has begun to manifest in the present moment. Will’s friends—Irish Queen Isolde and her allies—are depending on Will and Neve to connect with the past in order to save Ireland. But can anything save them from the violent end that their dreams have foreshadowed?