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Poetry celebrating the way in which African Americans celebrate the passing of the spirit.
Dwelling in Possibility cuts across conventional boundaries between critical and creative writing by featuring the work of both women poets and feminist critics as they explore and exemplify the relationship between gender and poetic genres. The contributors suggest new ways of thinking and writing about poetry in light of contemporary questions about history and identity. Most of the contributions are published here for the first time.
Drawing from her own painful experience of losing loved ones, Joyce eloquently writes about the kaleidoscope of feelings that belong to the dying and their companions, friends, and family. Her gift of compassionate, honest expression brings empathy and healing as she guides us in understanding the process of grieving.
Grieving women in early modern English drama, this study argues, recall not only those of Classical tragedy, but also, and more significantly, the lamenting women of medieval English drama, especially the Virgin Mary. Looking at the plays of Shakespeare, Kyd, and Webster, this book presents a new perspective on early modern drama grounded upon three original interrelated points. First, it explores how the motif of the mourning woman on the early modern stage embodies the cultural trauma of the Reformation in England. Second, the author here brings to light the extent to which the figures of early modern drama recall those of the recent medieval past. Finally, Goodland addresses how these representations embody actual mourning practices that were viewed as increasingly disturbing after the Reformation. Female Mourning and Tragedy in Medieval and Renaissance English Drama synthesizes and is relevant to several areas of recent scholarly interest, including the performance of gender, the history of emotion, studies of death and mourning, and the cultural trauma of the Reformation.
A masterful poetic exploration of the impact of Matthew Shepard’s murder on the world. On the night of October 6, 1998, a gay twenty-one-year-old college student named Matthew Shepard was kidnapped from a Wyoming bar by two young men, savagely beaten, tied to a remote fence, and left to die. Gay Awareness Week was beginning at the University of Wyoming, and the keynote speaker was Lesléa Newman, discussing her book Heather Has Two Mommies. Shaken, the author addressed the large audience that gathered, but she remained haunted by Matthew’s murder. October Mourning, a novel in verse, is her deeply felt response to the events of that tragic day. Using her poetic imagination, the author creates fictitious monologues from various points of view, including the fence Matthew was tied to, the stars that watched over him, the deer that kept him company, and Matthew himself. More than a decade later, this stunning cycle of sixty-eight poems serves as an illumination for readers too young to remember, and as a powerful, enduring tribute to Matthew Shepard’s life. Back matter includes an epilogue, an afterword, explanations of poetic forms, and resources.
*Winner of the William Carlos Williams Award* *National Book Critics Circle Award Finalist* *Included in The New York Times Best Poetry of 2016* *Named one of The Washington Post's Best Poetry Collections of 2016* * Longlisted for the National Book Award* “Blackacre” is a centuries-old legal fiction—a placeholder name for a hypothetical estate. Treacherously lush or alluringly bleak, these poems reframe their subjects as landscape, as legacy—a bereavement, an intimacy, a racial identity, a pubescence, a culpability, a diagnosis. With a surveyor’s keenest tools, Youn marks the boundaries of the given, what we have been allotted: acreage that has been ruthlessly fenced, previously tenanted, ploughed and harvested, enriched and depleted. In the title sequence, the poet gleans a second crop from the field of Milton’s great sonnet on his blindness: a lyric meditation on her barrenness, on her own desire—her own struggle—to conceive a child. What happens when the transformative imagination comes up against the limits of unalterable fact?
From the globally acclaimed, best-selling novelist and author of We Should All Be Feminists, a timely and deeply personal account of the loss of her father: “With raw eloquence, Notes on Grief … captures the bewildering messiness of loss in a society that requires serenity, when you’d rather just scream. Grief is impolite ... Adichie’s words put welcome, authentic voice to this most universal of emotions, which is also one of the most universally avoided” (The Washington Post). Notes on Grief is an exquisite work of meditation, remembrance, and hope, written in the wake of Chimamanda Ngozi Adichie's beloved father’s death in the summer of 2020. As the COVID-19 pandemic raged around the world, and kept Adichie and her family members separated from one another, her father succumbed unexpectedly to complications of kidney failure. Expanding on her original New Yorker piece, Adichie shares how this loss shook her to her core. She writes about being one of the millions of people grieving this year; about the familial and cultural dimensions of grief and also about the loneliness and anger that are unavoidable in it. With signature precision of language, and glittering, devastating detail on the page—and never without touches of rich, honest humor—Adichie weaves together her own experience of her father’s death with threads of his life story, from his remarkable survival during the Biafran war, through a long career as a statistics professor, into the days of the pandemic in which he’d stay connected with his children and grandchildren over video chat from the family home in Abba, Nigeria. In the compact format of We Should All Be Feminists and Dear Ijeawele, Adichie delivers a gem of a book—a book that fundamentally connects us to one another as it probes one of the most universal human experiences. Notes on Grief is a book for this moment—a work readers will treasure and share now more than ever—and yet will prove durable and timeless, an indispensable addition to Adichie's canon.
Inspired by the website that the New York Times hailed as "redefining mourning," this book is a fresh and irreverent examination into navigating grief and resilience in the age of social media, offering comfort and community for coping with the mess of loss through candid original essays from a variety of voices, accompanied by gorgeous two-color illustrations and wry infographics. At a time when we mourn public figures and national tragedies with hashtags, where intimate posts about loss go viral and we receive automated birthday reminders for dead friends, it’s clear we are navigating new terrain without a road map. Let’s face it: most of us have always had a difficult time talking about death and sharing our grief. We’re awkward and uncertain; we avoid, ignore, or even deny feelings of sadness; we offer platitudes; we send sympathy bouquets whittled out of fruit. Enter Rebecca Soffer and Gabrielle Birkner, who can help us do better. Each having lost parents as young adults, they co-founded Modern Loss, responding to a need to change the dialogue around the messy experience of grief. Now, in this wise and often funny book, they offer the insights of the Modern Loss community to help us cry, laugh, grieve, identify, and—above all—empathize. Soffer and Birkner, along with forty guest contributors including Lucy Kalanithi, singer Amanda Palmer, and CNN’s Brian Stelter, reveal their own stories on a wide range of topics including triggers, sex, secrets, and inheritance. Accompanied by beautiful hand-drawn illustrations and witty "how to" cartoons, each contribution provides a unique perspective on loss as well as a remarkable life-affirming message. Brutally honest and inspiring, Modern Loss invites us to talk intimately and humorously about grief, helping us confront the humanity (and mortality) we all share. Beginners welcome.
Poems over the ages lamenting the dead. In Elegy for Himself, written in the London Tower before his execution, Chidiock Tichborne wrote: "My tale was heard, and yet it was not told; / My fruit is fall'n, and yet my leaves are green; / My youth is spent, and yet I am not old; / I saw the world and yet I was not seen."
(Book). Carol Kimball's comprehensive survey of art song literature has been the principal one-volume American source on the topic. Now back in print after an absence of several years, this newly revised edition includes biographies and discussions of the work of 150 composers of various nationalities, as well as articles on styles of various schools of composition.