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A dark, brutally honest, and sometimes sordid voyage, written with a wired, savage voice, into the promiscuous heart of a gay/Queer and hyperactive/ADHD outsider who has internalised a world of pain, but still finds himself, standing, still surviving... "don’t freak if this all goes horribly wrong: it’s fine…" Trigger warnings run their gauntlets everywhere, but there are moments of beauty and sorrow, which is beauty in another guise... "don’t see my eagerness, my tears, or if my eyes blank: it’s fine…" Not for the faint-hearted perhaps, this collection jumps frenetically from elegiac tributes for queer heroes to self-destructive sexual acts in a kind of shadowy no-place and no-time, confronting casual encounters, abuse and queerphobic hate towards a poetic self attempting to act as an antenna for Queer suffering everywhere... "don’t stop: I’ll be your willing sacrifice…"
What do you do when life seems overwhelming, the world seems alienating and physical injury has become debilitating? For artist and poet Bruce Rimell, the answer was to turn away from the world, and to seek solace in landscape, astronomy and poetry. Written over a period of four years, ‘Wanderer: Songs of Solitude, Fragility, and Change’ emerged from this challenging time: the poetry addresses grief and memory, as well as slow-burn changes in the course of a human life. It mourns the passing of a once-cherished friendship, stands in sorrow before waterfalls, celebrates the passing of the seasons visible in the natural world. Framed as a journey across the heavens, the collection is interspersed with deeply personal, and idiosyncratic, hymns to various planets and stars, before returning home to Earth. ‘Wanderer…’ takes in diverse shifts in identity and lifelong movements through walks in moorlands and the wilds, as well as dreams, otherworldly encounters at secluded falls, and the night sky, all sprung from a somewhat hyperactive perspective. A free verse diary of some dark and difficult days punctuated with shards of light, ‘Wanderer’ takes the reader through a time of lost illusions, but a magical journey nonetheless. Sometimes, sorrow is as beautiful as joy: this collection seeks out exactly that kind of beauty.
Iceland is often labelled ‘a land of ice and fire’ – these days it has become something of a cliché – but when artist and poet Bruce Rimell visited with his husband in 2023, he felt plunged into a world of blood and honey, a place of poetry and song, recalling the Old Norse mythic images, as well as the magma which underlies and sculpts the vistas of this volcanic country… “to which I will say: I am a poet, I pray to waterfalls, let it outpour like rain…” Simultaneously a journey through Iceland’s natural, cultural and human landscapes, as well as a dreaming fall into the frenetic soul of a hyperactive poet, ‘Bloodhoney Songs’ takes in scenes from Reykjavik, ekphrastic verses springing from Icelandic music – from Björk to múm, Sigur Rόs to Ólafur Arnalds – and geological wonders, to evoke a sublime process of emergence from lifelong traumas as a Queer/ADHD person into a more hopeful place… “breathe out: you are coming to an end of your grief, a closing of time…” Moving from the waking world, through fractured dreams of love in Loki’s arms, into an eternal moment of stillness – the beginning of a fragile new world – this unique outsider’s view of Iceland is possibly the most unusual perspective on the country and its fascinating people you’ve ever read!
“…everyone’s got something to say with your mouth, even me…” A hyperactive, idiosyncratic and deeply personal journey into the mercurial Welsh poet-prophet figure of Taliesin, framed as a magical pilgrimage around Llyn Geirionydd in North Wales, evoking the lake and its waters as the bard’s own cauldron from which he continually emerges in different historical, mythical and fictional guises… “sometimes dreams are wiser than the waking…” Unfolding layers of meaning from the protohistorical cynfardd of the Old North to the ‘radiant brow’ of medieval legend, as well as Taliesin’s contemporary significance and links with other cultures, this crazed, garrulous exploration runs through the archetypal Celtic poet’s hall of mirrors with eccentric wit and blazing energy… “stand behind the cataract unbound, close my eyes: hear me, I speak...” Culminating in a wildly subjective, underwater encounter with Taloiastinos and the watis, two timeless and interrelated forerunners of the Taliesin mythos, and a forested fall into the mindset of the visionary poet who experiences no separation between self and other, this book is likely to be one of the most riddling, esoteric and obscure treatments of Taliesin ever released! “I am one who waits, says, I am one who watches, says, I am one who wanders off away, says…”
Artist and poet Bruce Rimell brings another strange and colourful poetic travelogue, springing from eight inspiring days and nights on the Greek island of Milos in the Cyclades… "everything is touched by fingers of gales, all’s in motion: sea, air, land shivers" …walking through a volcanic terrain buffeted by strong winds from the tail end of an Aegean storm, with his perception transformed by calls for the return of the world famous ‘Venus de Milo’ – more properly ‘Aphrodite of Milos’ – back to her home island, the sight of her in the mountains… "hey Paris…! Aphrodite wants to go home" …as if Aphrodite herself was whispering in the breezes, her truest melody, feeling her way into the poet’s heart, his words, his dreams… "I’ve been hearing her voice, the one who smiles, who persuades into the human heart, and mine so easily opened, so swayed by heaven on earth, and shadows" …these verse notes are echoes, fragments of a song, as much from Aphrodite as for her, as well as an elegy to a unique and stunning island landscape… "ask how and why all day and all night upon the Melian isle…"
A "profound and provocative" new work by the Pulitzer Prize-winning author of Disgraced and American Dervish: an immigrant father and his son search for belonging—in post-Trump America, and with each other (Kirkus Reviews). One of the New York Times 10 Best Books of the Year One of Barack Obama's Favorite Books of 2020 Finalist for the 2021 Andrew Carnegie Medal for Excellence in Fiction A Best Book of 2020 * Washington Post * O Magazine * New York Times Book Review * Publishers Weekly "Passionate, disturbing, unputdownable." —Salman Rushdie A deeply personal work about identity and belonging in a nation coming apart at the seams, Homeland Elegies blends fact and fiction to tell an epic story of longing and dispossession in the world that 9/11 made. Part family drama, part social essay, part picaresque novel, at its heart it is the story of a father, a son, and the country they both call home. Ayad Akhtar forges a new narrative voice to capture a country in which debt has ruined countless lives and the gods of finance rule, where immigrants live in fear, and where the nation's unhealed wounds wreak havoc around the world. Akhtar attempts to make sense of it all through the lens of a story about one family, from a heartland town in America to palatial suites in Central Europe to guerrilla lookouts in the mountains of Afghanistan, and spares no one—least of all himself—in the process.
NEW YORK TIMES BESTSELLER "A riveting book."—The Wall Street Journal "Essential reading."—David Brooks, New York Times From a former marine and Yale Law School graduate, a powerful account of growing up in a poor Rust Belt town that offers a broader, probing look at the struggles of America’s white working class Hillbilly Elegy is a passionate and personal analysis of a culture in crisis—that of white working-class Americans. The decline of this group, a demographic of our country that has been slowly disintegrating over forty years, has been reported on with growing frequency and alarm, but has never before been written about as searingly from the inside. J. D. Vance tells the true story of what a social, regional, and class decline feels like when you were born with it hung around your neck. The Vance family story begins hopefully in postwar America. J. D.’s grandparents were “dirt poor and in love,” and moved north from Kentucky’s Appalachia region to Ohio in the hopes of escaping the dreadful poverty around them. They raised a middle-class family, and eventually their grandchild (the author) would graduate from Yale Law School, a conventional marker of their success in achieving generational upward mobility. But as the family saga of Hillbilly Elegy plays out, we learn that this is only the short, superficial version. Vance’s grandparents, aunt, uncle, sister, and, most of all, his mother, struggled profoundly with the demands of their new middle-class life, and were never able to fully escape the legacy of abuse, alcoholism, poverty, and trauma so characteristic of their part of America. Vance piercingly shows how he himself still carries around the demons of their chaotic family history. A deeply moving memoir with its share of humor and vividly colorful figures, Hillbilly Elegy is the story of how upward mobility really feels. And it is an urgent and troubling meditation on the loss of the American dream for a large segment of this country.
Quirke—the hard-drinking, insatiably curious Dublin pathologist—is back, and he's determined to find his daughter's best friend, a well-connected young doctor April Latimer has vanished. A junior doctor at a local hospital, she is something of a scandal in the conservative and highly patriarchal society of 1950s Dublin. Though her family is one of the most respected in the city, she is known for being independent-minded; her taste in men, for instance, is decidedly unconventional. Now April has disappeared, and her friend Phoebe Griffin suspects the worst. Frantic, Phoebe seeks out Quirke, her brilliant but erratic father, and asks him for help. Sober again after intensive treatment for alcoholism, Quirke enlists his old sparring partner, Detective Inspector Hackett, in the search for the missing young woman. In their separate ways the two men follow April's trail through some of the darker byways of the city to uncover crucial information on her whereabouts. And as Quirke becomes deeply involved in April's murky story, he encounters complicated and ugly truths about family savagery, Catholic ruthlessness, and race hatred. Both an absorbing crime novel and a brilliant portrait of the difficult and relentless love between a father and his daughter, this is Benjamin Black at his sparkling best.
Traditional English poetic elegists offer both writers and readers hope. After lamenting an individual's death and confronting the mortality of all living things, these poets seek consolation from religion, philosophy, or culture for the inevitability of death. The modern prose elegy, however, follows a different path -- one that determinedly questions all possible resolutions. In The Prose Elegy, John B. Vickery continues the work he began in The Modern Elegiac Temper, which examined the form in British and American poetry. He now considers the works of American and British fiction writers from Henry James to Joan Didion and reveals how the elegy expanded into prose and why it evolved so as to deal not only with death but also with other forms of loss. Focusing on individual works, Vickery explores both the forms the elegy takes throughout the twentieth century and the skeptical and uncertain attitudes of writers struggling to confront the trauma of loss. He offers detailed interpretations of the elegiac components in the works of novelists James Joyce, William Faulkner, Virginia Woolf, and Ernest Hemingway, each of whom forged a distinctive style, as well as chroniclers of a pervasive stoicism, such as Malcolm Lowry and Joan Didion, and writers as nuanced as Sherwood Anderson, F. Scott Fitzgerald, James Agee, and Ford Madox Ford.For these writers, Vickery shows, sorrow intrudes upon the personal, intellectual, and cultural aspects of daily living. By exploring how loss touches each of these areas, their books probe intellectual boundaries and discover new elegiac themes. Truman Capote and John Updike, for example, view memory -- which can disappear quickly -- as inherently sad. They therefore elegize memory. What consoles writers of the modern elegy changes too. In place of Milton's religion or Shelley's philosophy, twentieth-century writers also seek comfort from what also saddens them: family, marriage, and ideas of the self. In The Prose Elegy, Vickery convincingly demonstrates that the elegy remains a dominant mode throughout British and American literature -- with perhaps greater pertinence to our lives than ever before.