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From The Depths of My Soul: Collection of Poetry and Songs, Gospel/Religious Version is a poetry book that a lot of people have been waiting to read. Adrienna ‘Deo’ Turner was touched by the Holy Spirit to write this poetry and songs book to reach souls longing for salvation in another form and to touch your spirit to the utmost. In addition, these were songs for songwriting purposes, but music project is on hold. However, Adrienna will send a few of these songs to Hilltop Records to see if they can be used according to God’s will. God has a plan for our lives and pray that you will be filled with the Holy Spirit or at least recognize that Jesus Christ loves you!
As if convinced that all divination of the future is somehow a re-visioning of the past, Kwame Dawes reminds us of the clairvoyance of haunting. The lyric poems in City of Bones: A Testament constitute a restless jeremiad for our times, and Dawes’s inimitable voice peoples this collection with multitudes of souls urgently and forcefully singing, shouting, groaning, and dreaming about the African diasporic present and future. As the twentieth collection in the poet’s hallmarked career, City of Bones reaches a pinnacle, adding another chapter to the grand narrative of invention and discovery cradled in the art of empathy that has defined his prodigious body of work. Dawes’s formal mastery is matched only by the precision of his insights into what is at stake in our lives today. These poems are shot through with music from the drum to reggae to the blues to jazz to gospel, proving that Dawes is the ambassador of words and worlds.
Day Begins with Christ, is an inspirational non-fiction book. It focuses on Christian men and women who want to walk a better path with Jesus Christ.What makes my book more unique than the typical inspirational book is the journey that it takes you on to become one with Christ. It is a 50 day to day journey that helps strengthen the Christian faith. This book builds each persons character, journey on their godly path to walk with God, and encourages one to see what they can work on to make a better man or woman. It is personal, challenging, and understanding the Christian walk on a daily basis. Moreover,DayBegins with Christeducates, elaborates, and explainsthe social, psychological, spiritual, and physical conditions of man/woman's relationships with God. God has placed a passion inAdrienna to write and to get His message out to the world.
There is a battle we all have to face, struggles we have to overcome, and pain we have to grow strength from! These rhymes, songs, and poems are secular. It is a doorway to open up to a mere image of me, you, and us.
The weather in Moscow is good, there's no cholera, there's also no lesbian love...Brrr! Remembering those persons of whom you write me makes me nauseous as if I'd eaten a rotten sardine. Moscow doesn't have them--and that's marvellous." —Anton Chekhov, writing to his publisher in 1895 Chekhov's barbed comment suggests the climate in which Sophia Parnok was writing, and is an added testament to to the strength and confidence with which she pursued both her personal and artistic life. Author of five volumes of poetry, and lover of Marina Tsvetaeva, Sophia Parnok was the only openly lesbian voice in Russian poetry during the Silver Age of Russian letters. Despite her unique contribution to modern Russian lyricism however, Parnok's life and work have essentially been forgotten. Parnok was not a political activist, and she had no engagement with the feminism vogueish in young Russian intellectual circles. From a young age, however, she deplored all forms of male posturing and condescension and felt alienated from what she called patriarchal virtues. Parnok's approach to her sexuality was equally forthright. Accepting lesbianism as her natural disposition, Parnok acknowledged her relationships with women, both sexual and non-sexual, to be the centre of her creative existence. Diana Burgin's extensively researched life of Parnok is deliberately woven around the poet's own account, visible in her writings. The book is divided into seven chapters, which reflect seven natural divisions in Parnok's life. This lends Burgin's work a particular poetic resonance, owing to its structural affinity with one of Parnok's last and greatest poetic achievements, the cycle of love lyrics Ursa Major. Dedicated to her last lover, Parnok refers to this cycle as a seven-star of verses, after the seven stars that make up the constellation. Parnok's poems, translated here for the first time in English, added to a wealth of biographical material, make this book a fascinating and lyrical account of an important Russian poet. Burgin's work is essential reading for students of Russian literature, lesbian history and women's studies.
This study is about how four representative African American poets in the 1960s, Langston Hughes, Umbra’s David Henderson, and the Black Arts Movement’s Sonia Sanchez, and Amiri Baraka engage, in the tradition of African griots, in poetic dialogues with aesthetics, music, politics, and Black History, and in so doing narrate, using jazz as meta-language, genealogies, etymologies, cultural legacies, and Black (hi)stories. In intersecting and complementary ways, Hughes, Henderson, Sanchez, and Baraka fashioned their griotism from theorizations of artistry as political engagement, and, in turn, formulated a Black aesthetic based on jazz performativity –a series of jazz-infused iterations that form a complex pattern of literary, musical, historical, and political moments in constant cross-fertilizing dialogues with one another. This form of poetic call-and-response is essential for it allows the possibility of intergenerational dialogues between poets and musicians as well as dialogical potential between song and politics, between Africa and Black America, within the poems. More importantly, these jazz dialogisms underline the construction of the Black Aesthetic as conceptualized respectively by the griotism of Hughes, of Henderson, and of Sanchez and Baraka.