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“A strutting, dazzling, exhilarating” collection of poems by the Kingsley Tufts Poetry Award–winning author of The Cloud Corporation (The Village Voice). In his critically acclaimed debut collection, Timothy Donnelly pairs an extraordinary gift for rhetorical exuberance with a stunning formal mastery. The title poem conjures an imaginary play, populated by objects, that forms an allegorical rendering of a single lifetime. In “Accidental Species,” he puts forth a remarkable statement about his own efforts as a poet, a humorous ars poetica by way of a heartbreaking lover’s complaint. For its thoughtfulness, range, and sheer energy, Twenty-Seven Props for a Production of Eine Lebenszeit is a remarkable work from one of our most original young poets. “Filled with dreams both romantic and funny . . . [Donnelly’s] self-deprecating surrealism is vivid and often touching.” —Ken Tucker, The Baltimore Sun
The long-awaited second collection by a central literary figure, Columbia University professor, and poetry editor of the Boston Review.
'The best collection I've read in ages: every poem contains something unexpected and unexpectedly powerful. This is serious, modern, ambitious and bold work – the kind of poetry you hope to find, and rarely do' – Nick Laird John Ashbery called Timothy Donnelly’s previous collection, The Cloud Corporation, ‘The poetry of the future, here today’. The Problem of the Many sees Donnelly, one of the most influential poets of his generation, focused less on the future than the end of history: these richly textured and intellectually capacious poems often seem to attempt nothing less than a circumscription of the totality of human experience. The book contains the already widely praised ‘Hymn to Life’, which opens with a litany of what we have made extinct; elsewhere, from an immediately contemporary vantage, Donnelly confronts the clutter and devastation that civilization has left us as he strives towards a beauty that we still need, along the way enlisting agents as various as Prometheus, Jonah, Flamin’ Hot Cheetos, NyQuil, Nietzsche, and Alexander the Great. The Problem of the Many refers to the famous philosophical problem of what defines the larger aggregate – a cloud, a crowd – which Donnelly extends to address the subject of individual boundary, identity and belonging. Donnelly’s solutions may be wholly poetic, but he has succeeded in speaking as deeply to these profound and urgent issues as any writer currently at work.
“A poetry collection that marries wit and wisdom more brilliantly than any I know” by the Pulitzer Prize–winning former US Poet Laureate (Jane Hirshfield, author of Come, Thief). Filled with wry logic and a magical, unpredictable musicality, Kay Ryan’s poems continue to generate excitement with their frequent appearances in The New Yorker and other leading periodicals. Say Uncle, Ryan’s fifth collection, is filled with the same hidden connections, the same slyness and almost gleeful detachment that has delighted readers of her earlier books. Compact, searching, and oddly beautiful, these poems, in the words of internationally acclaimed poet and writer Dana Gioia, “take the shape of an idea clarifying itself.” “The first thing you notice about her poems is an elbow-to-the-ribs playfulness.” —San Francisco Chronicle “The short lines and quick images—almost snapshots—are elemental. Ryan puts them together, then pulls them apart, and twists them in playful fashion, as though she were an alchemist with a modern experimental attitude . . . Truly short-line, one-stanza (for the most part) wonders: full-brained poems in a largely half-brained world.” —Kirkus Reviews “Witty, charming, serious and delightful . . . her tight structures, odd rhymes and ethical judgments place her more firmly in the tradition of Marianne Moore and, latterly, Amy Clampitt. Those poets, though, wrote many kinds of poems: Ryan, in this volume, writes just one kind. It is, however, a kind worth looking out for—well crafted, understated, funny and smart.” —Publishers Weekly
Chapbooks, musings, poetry, and prose by a folklorist with a “wonderful imagination, eye for detail and command of language” (Publishers Weekly). While Jim Dodge is internationally known for his fiction, his first and abiding passion is poetry. After eighteen years of publishing anonymously and only reading to local crowds in the Pacific Northwest, he began to issue occasional limited-edition letterpress chapbooks, as well as occasional broadsides and, since 1987, a Winter Solstice poem or story, most given as gifts to friends. Rain on the River contains his work collected here for the first time, as well as three dozen previously unpublished poems. Dodge’s verse and short prose offer the same pleasures as his fiction—a splendid ear for language, great emotional range and subtlety, a sharp eye for the illuminating detail, and a sensibility that encompasses outright hilarity, savage wit, and tender marvel, all made eminently accessible through writing of uncompromising clarity and grace. “Jim’s words are his gift to the world. His life is his art; his words are merely tokens of appreciation. Reading the poems and short prose . . . makes me happy to be alive. . . . Mine’s a happiness born from the revelation that ‘money and food and poetry [are] ways to live, not reasons,” as Jim puts it” (Sacramento News & Review).
A series of interconnected poems journeys into the dreamlike world of Louise and follows her ever-evolving relationships with an array of enigmatic characters, including her lover, Ham.
A powerful and highly anticipated new collection from a young American poetTimothy Donnelly's brilliant, breakneck and beautiful poetry has been hailed as some of the most original and exciting new work to emerge from the US in several years. In The Cloud Corporation, Donnelly shows how a wholly engaged poetic sensibility can uncover both beauty and meaning within the bewilderments and complexities of contemporary life, without simplifying either its subject or its own investigative approach. In a Donnelly poem, the reader is never sure quite where the next line will take them - the poems pursue their narratives and arguments by surreal association one moment, relentless logic the next - but quickly learns that Donnelly's is a voice to trust, one which can lead them into astonishing and often unexpected clarities. Writing in the New Yorker, Dan Chiasson said "If Whitman had had a young kid and a Brooklyn apartment, too many bills, and a stack of takeout menus in the top drawer of his Ikea desk, he would have written these poems." The Cloud Corporation is an imaginative tour de force, and a fine introduction to an essential new poet."The best collection I've read in ages: every poem contains something unexpected and unexpectedly powerful. This is serious, modern, ambitious and bold work - the kind of poetry you hope to find, and rarely do" (Nick Laird)
Winner of the Big Other Book Award and finalist for the Believer Book Award. If The Cloud Corporation is, as John Ashbery called it, “the poetry of the future, here, today,” then Timothy Donnelly’s third collection, The Problem of the Many, is the poetry of the future yet further pressed to the end of history. In astonishingly textured poems powerful and adroit in their negotiation of a seeming totality of human experience, Donnelly confronts—from a contemporary vantage—the clutter (and devastation) that civilization has left us with, enlisting agents as far flung as Prometheus, Flaming Hot Cheetos, Jonah, NyQuil, and Alexander the Great.
Since the turn of the new millennium English-language verse has entered a new historical phase, but explanations vary as to what has actually happened and why. What might constitute a viable avant-garde poetics in the aftermath of such momentous developments as 9/11, globalization, and the financial crisis? Much of this discussion has taken place in ephemeral venues such as blogs, e-zines, public lectures, and conferences. Nobody's Business is the first book to treat the emergence of Flarf and Conceptual Poetry in a serious way. In his engaging account, Brian M. Reed argues that these movements must be understood in relation to the proliferation of digital communications technologies and their integration into the corporate workplace. Writers such as Andrea Brady, Craig Dworkin, Kenneth Goldsmith, Danny Snelson, and Rachel Zolf specifically target for criticism the institutions, skill sets, and values that make possible the smooth functioning of a postindustrial, globalized economy. Authorship comes in for particular scrutiny: how does writing a poem differ in any meaningful way from other forms of "content providing"? While often adept at using new technologies, these writers nonetheless choose to explore anachronism, ineptitude, and error as aesthetic and political strategies. The results can appear derivative, tedious, or vulgar; they can also be stirring, compelling, and even sublime. As Reed sees it, this new generation of writers is carrying on the Duchampian practice of generating antiart that both challenges prevalent definitions or art and calls into question the legitimacy of the institutions that define it.
Definitive, broadly representative anthology of poets born after 1960