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“Nye at her engaging, insightful best.” —Kirkus Reviews (starred review) Acclaimed poet and Young People’s Poet Laureate Naomi Shihab Nye shines a spotlight on the things we cast away, from plastic water bottles to those less fortunate, in this collection of more than eighty original and never-before-published poems. A deeply moving, sometimes funny, and always provocative poetry collection for all ages. “How much have you thrown away in your lifetime already? Do you ever think about it? Where does this plethora of leavings come from? How long does it take you, even one little you, to fill the can by your desk?” ?Naomi Shihab Nye National Book Award Finalist, Young People’s Poet Laureate, and devoted trash-picker-upper Naomi Shihab Nye explores these questions and more in this original collection of poetry that features more than eighty new poems. “I couldn’t save the world, but I could pick up trash,” she says in her introduction to this stunning volume. With poems about food wrappers, lost mittens, plastic straws, refugee children, trashy talk, the environment, connection, community, responsibility to the planet, politics, immigration, time, junk mail, trash collectors, garbage trucks, all that we carry and all that we discard, this is a rich, engaging, moving, and sometimes humorous collection for readers ages twelve to adult. Includes ideas for writing, recycling, and reclaiming, and an index.
Poems that shine a spotlight on the things we cast away, from plastic water bottles to refugees.
A storm, a shipwreck, an ongoing ocean, then finally, finally a deserted isle. . . . Safety -- but wait! The fifteen swimmers braving the waves are, after all . . . kitties. They are not into cooperating until, until on this desert isle they must. Here, from the creators of the witty Old Cricket, comes a wily, wise saga of sogginess, a feline fantasy about drying off (elegantly), shaping up (grumpily), getting along (at last), and loving it.
Lyric poetry as a temporal art-form makes pervasive use of narrative elements in organizing the progressive course of the poetic text. This observation justifies the application of the advanced methodology of narratology to the systematic analysis of lyric poems. After a concise presentation of this transgeneric approach to poetry, the study sets out to demonstrate its practical fruitfulness in detailed analyses of a large number of English (and some American) poems from the early modern period to the present. The narratological approach proves particularly suited to focus on the hitherto widely neglected dimension of sequentiality, the dynamic progression of the poetic utterance and its eventful turns, which largely constitute the raison d'être of the poem. To facilitate comparisons, the examples chosen share one special thematic complex, the traumatic experience of severe loss: the death of a beloved person, the imminence of one’s own death, the death of a revered fellow-poet and the loss of a fundamental stabilizing order. The function of the poems can be described as facing the traumatic experience in the poetic medium and employing various coping strategies. The poems thus possess a therapeutic impetus.
A collection of poems in which the author draws upon her experiences as a Palestinian-American living in the Southwest, and her travels in Central America, the Middle East, and Asia, to comment upon the shared humanity of different cultures throughout the world.
Copper Woman and Other Poems is a collection of poems that announces a humanistic vision, dealing with such themes as rebirth (physical and symbolic), mythology, memory, bondage, blood, family, identities in flux, migration, politics and flights of fancy. The contents move back and forth between the past and the present, and project into the future, envisioning a new world/a new creation. The message that we are our brothers and our sisters keepers and that the earth is our home – a home that we must protect and keep safe if we are to survive – resonates throughout. Copper Woman is a call to arms against apathy and all forms of tyranny. It is liberatory dub poetics that say equality and equity are possible and within reach. It invites its readers to cast off their chains and shackles and proclaim their freedom. It invites us all to grasp a greater vision of our world. Jamaican-born Dr. Afua Cooper has achieved considerable success as a dub poet and as the author of a children’s book, a collection of poetry and as co-author of The Underground Railroad: Next Stop, Toronto! Dr. Cooper is a recent recipient of the Harry Jerome Award for Professional Excellence.
As a preeminent modernist poet and translator of the classics, John Frederick Nims's work is an elegant fusion of contemporary sensibility with formalist experimentation. But form, for this writer of meditative verse, is only a helpmeet to the quintessential content of the poem, the meaning that gives it value in our time and, one hopes, beyond. Concerning the formal elements of poetry, Nims comments: "One might say they are like the scaffolding at a construction site, meant to be thrown away and not regarded once the building is completed." In his newest collection, The Six-Cornered Snowflake, his poems range through an astonishing variety of complex structures: the shaped-poem of the title work, the sestina, the vocal "Pindar's lattice" of the "First Olympian Ode," the nervous galliambics of "Catullus 63"--just to name a few. As William Pritchard, writing for The New York Times Book Review, so aptly observed, "Mr. Nims has consistently had the nerve to be interested in what language could be made to do, rather than what the psyche would be made to reveal."
FINALIST FOR THE LOS ANGELES TIMES BOOK PRIZE FOR POETRY A brilliant second collection by Sally Wen Mao on the violence of the spectacle—starring the film legend Anna May Wong In Oculus, Sally Wen Mao explores exile not just as a matter of distance and displacement but as a migration through time and a reckoning with technology. The title poem follows a nineteen-year-old girl in Shanghai who uploaded her suicide onto Instagram. Other poems cross into animated worlds, examine robot culture, and haunt a necropolis for electronic waste. A fascinating sequence spanning the collection speaks in the voice of the international icon and first Chinese American movie star Anna May Wong, who travels through the history of cinema with a time machine, even past her death and into the future of film, where she finds she has no progeny. With a speculative imagination and a sharpened wit, Mao powerfully confronts the paradoxes of seeing and being seen, the intimacies made possible and ruined by the screen, and the many roles and representations that women of color are made to endure in order to survive a culture that seeks to consume them.