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“A stunning, spellbinding, poetic triumph." —Toronto Star From Giller-shortlisted author Kathleen Winter (author of the bestseller Annabel): A stunning novel reimagining the lost years of misunderstood Romantic Era genius Dorothy Wordsworth. When young James Dixon, a local jack-of-all-trades recently returned from the Battle of Waterloo, meets Dorothy Wordsworth, he quickly realizes he’s never met another woman anything like her. In her early thirties, Dorothy has already lived a wildly unconventional life. And as her famous brother William Wordsworth’s confidante and creative collaborator—considered by some in their circle to be the secret to his success as a poet—she has carved a seemingly idyllic existence for herself, alongside William and his wife, in England’s Lake District. One day, Dixon is approached by William to do some handiwork around the Wordsworth estate. Soon he takes on more and more chores—and quickly understands that his real, unspoken responsibility is to keep an eye on Dorothy, who is growing frail and melancholic. The unlikely pair of misfits form a sympathetic bond despite the troubling chasm in social class between them, and soon Dixon is the quiet witness to everyday life in Dorothy’s family and glittering social circle, which includes literary legends Samuel Coleridge, Thomas de Quincy, William Blake, and Charles and Mary Lamb. Through the fictional James Dixon—a gentle but troubled soul, more attuned to the wonders of the garden he faithfully tends than to vexing worldly matters—we step inside the Wordsworth family, witnessing their dramatic emotional and artistic struggles, hidden traumas, private betrayals and triumphs. At the same time, Winter slowly weaves a darker, complex “undersong” through the novel, one as earthy and elemental as flower and tree, gradually revealing the pattern of Dorothy's rich, hidden life—that of a woman determined, against all odds, to exist on her own terms. But the unsettling effects of Dorothy’s tragically repressed brilliance take their toll, and when at last her true voice sings out, it is so searing and bright that Dixon must make an impossible choice.
Born a boy and a girl but raised as a boy, Wayne or "Annabel" struggles with his identity growing up in a small Canadian town and seeks freedom by moving to the city.
Features poems that affirm the conflicts, fears, and hopes of the poet in words conveying vision and courage
Keine ausführliche Beschreibung für "Vowel undersong" verfügbar.
The author here argues that the traditions of Pope and Goldsmith are continued in the present day by the likes of R.S. Thomas, George Mackay Brown, and others work in an 'anti-pastoralist' tradition of Crabbe and Clare. A chapter examining the attitudes towards the environment of sixteen contemporary poets concludes a lively ecological introduction to modern poetry.
“Puleo has found a new way to tell the story with this well-researched and splendidly written chronicle of the Jamestown, its captain, and an Irish priest who ministered to the starving in Cork city...Puleo’s tale, despite the hardship to come, surely is a tribute to the better angels of America’s nature, and in that sense, it couldn’t be more timely.” —The Wall Street Journal The remarkable story of the mission that inspired a nation to donate massive relief to Ireland during the potato famine and began America's tradition of providing humanitarian aid around the world More than 5,000 ships left Ireland during the great potato famine in the late 1840s, transporting the starving and the destitute away from their stricken homeland. The first vessel to sail in the other direction, to help the millions unable to escape, was the USS Jamestown, a converted warship, which left Boston in March 1847 loaded with precious food for Ireland. In an unprecedented move by Congress, the warship had been placed in civilian hands, stripped of its guns, and committed to the peaceful delivery of food, clothing, and supplies in a mission that would launch America’s first full-blown humanitarian relief effort. Captain Robert Bennet Forbes and the crew of the USS Jamestown embarked on a voyage that began a massive eighteen-month demonstration of soaring goodwill against the backdrop of unfathomable despair—one nation’s struggle to survive, and another’s effort to provide a lifeline. The Jamestown mission captured hearts and minds on both sides of the Atlantic, of the wealthy and the hardscrabble poor, of poets and politicians. Forbes’ undertaking inspired a nationwide outpouring of relief that was unprecedented in size and scope, the first instance of an entire nation extending a hand to a foreign neighbor for purely humanitarian reasons. It showed the world that national generosity and brotherhood were not signs of weakness, but displays of quiet strength and moral certitude. In Voyage of Mercy, Stephen Puleo tells the incredible story of the famine, the Jamestown voyage, and the commitment of thousands of ordinary Americans to offer relief to Ireland, a groundswell that provided the collaborative blueprint for future relief efforts, and established the United States as the leader in international aid. The USS Jamestown’s heroic voyage showed how the ramifications of a single decision can be measured not in days, but in decades.
About Threshold Songs, the voices in these poems perform at the interior thresholds encountered each day, where we negotiate the unfathomable proximities of knowing and not knowing, the gulf of seeing and feeling, the uncanny relation of grief to joy, and the borderless nature of selfhood and tradition. Both conceptual and haunted, these poems explore the asymmetry of the body's chemistry and its effects on expression and form. The poems in Threshold Songs tune us to the microtonal music of speaking and being spoken. Check for the online reader's companion at http://petergizzi.site.wesleyan.edu.
*WINNER OF THE T. S. ELIOT PRIZE 2015* *WINNER OF THE SUNDAY TIMES / PETERS FRASER + DUNLOP YOUNG WRITER OF THE YEAR AWARD 2015* *SHORTLISTED FOR THE FORWARD PRIZE FOR BEST FIRST COLLECTION 2015* There is a Chinese proverb that says: ‘It is more profitable to raise geese than daughters.’ But geese, like daughters, know the obligation to return home. In her exquisite first collection, Sarah Howe explores a dual heritage, journeying back to Hong Kong in search of her roots. With extraordinary range and power, the poems build into a meditation on hybridity, intermarriage and love – what meaning we find in the world, in art, and in each other. Crossing the bounds of time, race and language, this is an enthralling exploration of self and place, of migration and inheritance, and introduces an unmistakable new voice in British poetry.
"Constance Merritt is a poet to defeat categories, to oppose 'the tyranny of names' with a poetry that sets its own terms of encounter, its 'protocols of touch'--tender and austere, formal and intimate at once. Hers is a voice with many musics, sufficiently rich, nuanced and various to express, maintain poise and wrest meaning from the powerful cross-currents in which the heart is torn. I have seldom seen intelligence equal to such a scorching degree of intensity, or mastery of form so equal to passion's contradictory occasions. Merritt's prosodic range is prodigious--she moves in poetic forms as naturally as a body moves in its skin, even as her lines ring with the cadenced authority of a gifted and schooled ear. Here, in her words, the iambic ground bass is in its vital questioning mode: "The heart's insistent undersong: how live?/how live? How live?" this poetry serves no lesser necesssity than to ask that."--Eleanor Wilner Between us, how we wrestle over words Strain to wring some blessing from the silence, Deliverance from violence, its fear, its lure, The tyranny of names: night day, Sable and alabaster, flint shale, Steel and lace. Who among us can afford To speak the language--any language--rightly? As if it weren't enough to bear one heart Eternally divided in its chambers? We stand close enough to touch. We do Not touch. Between us burns a sword of fire, A rusted turnstile glinting in the sun.