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A collection of poems reflecting the regard for life in every form and the belief in the promise of blessing and renewal, sharing through a series of prayer-like works observations of such topics as a suicidal animal, snowflakes, and love.
A collection of poems reflecting the regard for life in every form and the belief in the promise of blessing and renewal, sharing through a series of prayer-like works observations of such topics as a suicidal animal, snowflakes, and love.
In this luminous new collection of poems, Franz Wright expands on the spiritual joy he found in his Pulitzer Prize-winning Walking to Martha’s Vineyard. Wright, whom we know as a poet of exquisite miniatures, opens God’s Silence with “East Boston, 1996,” a powerful long poem that looks back at the darker moments in the formation of his sensibility. He shares his private rules for bus riding (“No eye contact: the eyes of the terrified / terrify”), and recalls, among other experiences, his first encounter with a shotgun, as an eight-year-old boy (“In a clearing in the cornstalks . . . it was suggested / that I fire / on that muttering family of crows”). Throughout this volume, Wright continues his penetrating study of his own and our collective soul. He reaches a new level of acceptance as he intones the paradox “I have heard God’s silence like the sun,” and marvels at our presumptions:We speak of Heaven who have not yet accomplishedeven this, the holiness of things precisely as they are, and never will!Though Wright often seeks forgiveness in these poems, his black wit and self-deprecation are reliably present, and he delights in reminding us that “literature will lose, sunlight will win, don’t worry.”But in this book, literature wins as well. God’s Silence is a deeply felt celebration of what poetry (and its silences) can do for us.
In his tenth collection of poetry, Franz Wright gives us an exquisite book of reconciliation with the past and acceptance of what may come in the future. From his earliest years, he writes in “Will,” he had “the gift of impermanence / so I would be ready, / accompanied / by a rage to prove them wrong / . . . and that I too was worthy of love.” This rage comes coupled with the poet’s own brand of love, what he calls “one / strange alone / heart’s wish / to help all / hearts.” Poetry is indeed Wright’s help, and he delivers it to us with a wry sense of the daily in America: in his wonderfully local relationship to God (whom he encounters along with a catfish in the emerald shallows of Walden Pond); in the little West Virginia motel of the title poem, on the banks of the great Ohio River, where “Tammy Wynette’s on the marquee” and he is visited by the figure of Walt Whitman, “examining the tear on a dead face.” Here, in Wheeling Motel, Wright’s poetry continues to surprise us with its frank appraisal of our soul, and with his own combustible loneliness and unstoppable joy.
A memoir about a brokenhearted, middle-aged man who stumbles upon solace, meaning, and Larry David while hitchhiking around Martha’s Vineyard One summer day on Martha’s Vineyard Paul Samuel Dolman was hitchhiking, and none other than Larry David pulled over and asked, “You’re not a serial killer or something, are you?” The comedic writer and actor not only gave Dolman a ride but helped him find his way. Dolman found himself on Martha’s Vineyard that summer in the wake of a painful breakup. Desperately seeking companionship, he began hitchhiking around the island and met a wide array of characters: the rich and the homeless, movie stars and common folk, and, of course, Mr. David. Written with disarming honest humor, Hitchhiking with Larry David will leave readers simultaneously laughing and crying as they ponder the mystery and spirituality of life.
Franz Wright was recognized as one of the leading poets of his generation even before he won the 2004 Pulitzer Prize. His voice and sensibility are distinctive, and the places he goes are ones where not many writers are able or willing to venture. The dark world of his poems, which face many of the hardest truths we must learn to live with, is lit by humor, tenderness, compassion, and honesty. For this edition, the poet has selected from the best of his previous collections, in some cases making substantial revisions, and has added his newest poems. The resulting collection is exciting in its breadth, consistency, depth, and distinction.
Franz Wright is at his best in this beautiful and startling collection. In these riveting poems, as he considers his mortality, the poet finds a new elation and clarity on the page, handing over for our examination the flawed yet kneeling-in-gratitude self he has become. Wright declares, “I’ve said all that / I had to say. / In writing. / I signed my name. / It’s death’s move.” F stands both for Franz, the poet-speaker who represents all of us on our baffling lifelong journeys, and for the alphabet, the utility and sometimes brutality of our symbols. (It may be, he jokes grimly, his “grade in life.”) From “Entries of the Cell,” the long central poem that details the loneliness of the single soul, to short narrative prose poems and traditional lyrics, Wright revels in the compensatory power of language, observing the daytime headlights following a hearse, or the wind, “blessing one by one the unlighted buds of the backbent peach tree’s unnoted return.”
"In 1962, coed Heddy Winsome leaves her hardscrabble neighborhood behind and ferries to Martha's Vineyard to nanny for one of the wealthiest families on the island. But as she grows enambored with the seemingly perfect young couple and chases after their two children, Heddy discovers that her academic scholarship at Wellesley has been revoked, putting her entire future at risk. Determined to find her palce in the couple's social circles, Heddy nurtures a romance with the hip surfer down the beach while wondering if the better man for her might be a quiet college boy instead. But no one she meets on the summer island--socialite, starlet, or housekeeper--is as picture perfect as they seem, and she quickly learns that the right last name and a house in a tony zip code may guarantee privilige, but that rarely equals happiness."--Page 4 of cover
In this stunning collection, Franz Wright chronicles the journey back from a place of isolation and wordlessness. After a period when it seemed certain he would never write poetry again, he speaks with bracing clarity about the twilit world that lies between madness and sanity, addiction and recovery. Wright negotiates the precarious transition from illness to health in a state of skeptical rapture, discovering along the way the exhilaration of love--both divine and human--and finding that even the most battered consciousness can be good company. Whether he is writing about his regret for the abortion of a child, describing the mechanics of slander ("I can just hear them on the telephone and keening all their kissy little knives"), or composing an ironic ode to himself ("To a Blossoming Nut Case"), Wright's poems are exquisitely precise. Charles Simic has characterized him as a poetic miniaturist, whose "secret ambition is to write an epic on the inside of a matchbook cover." Time and again, Wright turns on a dime in a few brief lines, exposing the dark comedy and poignancy of his heightened perception. Here is one of the poems from the collection: Description of Her Eyes Two teaspoonfuls, and my mind goes everyone can kiss my ass now-- then it's changed, I change my mind. Eyes so sad, and infinitely kind.
A rare glimpse into the outstanding private homes and gardens of Martha's Vineyard, this classic work is expanded with new pictures and commentary. Every kind of Vineyard home, from Edgartown mansions to Gay Head beach cottages, and every kind of garden, from perennial border to wildflower meadow is featured here. On the Vineyard, the natural world and the man-made exist side by side, as the Island's houses and gardens blend harmoniously into the landscape. It is that harmony, and the balance between old houses and new, that give the Vineyard much of its unique style. This world is captured in an illuminating text by long-time Vineyard resident Polly Burroughs and hundreds of stunning, full-color photographs by Lisl Dennis. Together they reveal the rich diversity and myriad charms of the houses and gardens of Martha's Vineyard.