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Unexhausted Time inhabits a world of dream and dawn, in which thoughts touch us 'like soft rain', and all the elements are brought closer in. Feelings, messages, symbols, visions . . . Emily Berry's latest collection takes shape in the half-light between the real and the imagined, where everything is lost and yet 'nothing goes away'. Here life's innumerable impressions, moods, seasons and déjà vus collect and disarrange themselves, while a glowing, companionable 'I' travels the mind's landscapes in hope of refuge and transformation amid these displaced moments in time. Whether one reads Unexhausted Time as a long poem to step into or a series of titled and untitled fragments to pick up and cherish, the work is healing and inspiring, always asking how we might harness the power of naming without losing life's 'magic unknownness'. By offering these intangible encounters, Emily Berry more truly presents 'what being alive is'. 'Emily Berry has a refreshingly free, not to say incendiary, approach to poetry.' Observer
Emily Berry's Dear Boy was described as a 'blazing debut', winning the Forward Prize for Best First Collection in 2013. Stranger, Baby, its follow-up, is marked by the same sense of fantasy and play, estrangement and edgy humour for which she has become known. But these poems delve deeper again, in their off-kilter and often painful encounter with childhood loss. This is a book of mourning, recrimination, exhilaration and 'oceanic feeling': 'A meditation on a want that can never be answered.'
Detailed case studies of novels by Leonard Cohen, Michael Ondaatje, George Bowering, Daphne Marlatt, and Anne Carson, as well as sections on A.M. Klein and Anne Michaels, reveal how these authors framed their early novels according to formal precedents established in their poetry. In tracking the authors’ shift from lyric to long poem to novel, Rae also investigates their experiments with non-literary art forms - photography, painting, film. The authors discussed combine disparate genres and media to alter notions of narrative coherence in the novel and engage the diverse but fragmented cultural histories of Canadian society.
Following her Costa Poetry Award-winning debut, Flèche (2019), comes Mary Jean Chan's second collection: Bright Fear. These poems further explore the distinctively intertwined themes of identity, language and postcolonial legacy. They are bedded in key moments from Chan's childhood in Hong Kong and her life, 'racialised and queer', in the UK. Questions of acceptance and assimilation are examined, whether in a mother's ambivalence or the specious jargon of Equality, Diversity and Inclusion. The experience of living through a SARS outbreak with a father as a doctor is horribly revivified as, once again, the existential threat of pandemic becomes reality. Throughout, Chan offers new ways for us to 'withstand the quotidian tug-of-war / between brightness, terror and love'.