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"Inseminating the Elephant [is] a collection of poems, often laced with humor, that examines popular culture, the limits of the human body, and the tragicomic aspects of everyday experience."—Pulitzer Prize finalist citation "These poems are tough and witty."—The New Yorker "Whoever told you poetry isn't for everyone hasn't read Lucia Perillo."—Time Out New York A 2009 Pulitzer Prize finalist, Inseminating the Elephant delivers hard-edged yet vulnerable poems that reconcile the comic impulse with the complications and tragedies of living in the eating and breathing body—what Lucia Perillo calls the "meat cage." Perillo dissects human failings and sexuality, as well as collisions between nature and the manufactured world, to create an unforgettable poetic vision. How the zoologists start is by facing the mirror of her flanks, that foreboding luscious place where the gray hide gives way to a zeroing-in of skin as vulnerable as an orchid. Which is the place to enter, provided you are brave, brave enough to insert your laser-guided camera to avoid the two false openings of her "vestibule," much like the way of entering death, of giving birth to death, calling it forth as described in the Tibetan Book. Lucia Perillo graduated from McGill University in Montreal and worked for the US Fish and Wildlife Service. She completed her MA in English at Syracuse University, and has published five books of poetry. She was a MacArthur Fellow in 2000 and finalist for the Pulitzer Prize in 2009. She lives in Olympia, Washington.
An unflinching and gritty book from MacArthur Fellow and winner of the Kingsley Tufts Award.
A compelling case for connecting with the wild, for our psychological and physical well-being and to flourish as a species We often enjoy the benefits of connecting with nearby, domesticated nature--a city park, a backyard garden. But this book makes the provocative case for the necessity of connecting with wild nature--untamed, unmanaged, not encompassed, self-organizing, and unencumbered and unmediated by technological artifice. We can love the wild. We can fear it. We are strengthened and nurtured by it. As a species, we came of age in a natural world far wilder than today's, and much of the need for wildness still exists within us, body and mind. The Rediscovery of the Wild considers ways to engage with the wild, protect it, and recover it--for our psychological and physical well-being and to flourish as a species. The contributors offer a range of perspectives on the wild, discussing such topics as the evolutionary underpinnings of our need for the wild; the wild within, including the primal passions of sexuality and aggression; birding as a portal to wildness; children's fascination with wild animals; wildness and psychological healing; the shifting baseline of what we consider wild; and the true work of conservation.
"Perillo's poetic persona is funny, tough, bold, smart, and righteous. A spellbinding storyteller and a poet who makes the demands of the form seem as natural as a handshake, she pulls readers into the beat and whirl of her slyly devastating descriptions."—Booklist "Whoever told you poetry isn't for everyone hasn't read Lucia Perillo. She writes accessible, often funny poems that border on the profane."—Time Out New York The poetry of Lucia Perillo is fierce, tragicomic, and contrarian, with subjects ranging from coyotes and Scotch broom to local elections and family history. Formally braided, Perillo gathers strands of the mythic and mundane, of media and daily life, as she faces the treachery of illness and draws readers into poems rich in image and story. When you spend many hours alone in a room you have more than the usual chances to disgust yourself— this is the problem of the body, not that it is mortal but that it is mortifying. When we were young they taught us do not touch it, but who can keep from touching it, from scratching off the juicy scab? Today I bit a thick hangnail and thought of Schneebaum, who walked four days into the jungle and stayed for the kindness of the tribe— who would have thought that cannibals would be so tender? Lucia Perillo's Inseminating the Elephant (Copper Canyon Press, 2009) was a finalist for the Pulitzer Prize and received the Bobbitt award from the Library of Congress. She lives in Seattle, Washington.
Acclaimed poet and MacArthur Foundation Fellow, Lucia Perillo, a former park ranger who loved to hike the Cascade Mountains alone and prided herself on daring solo skis down the wild slopes of Mount Rainier, was diagnosed with multiple sclerosis when she was in her thirties. I've Heard the Vultures Singing is a clear-eyed and brazenly outspoken examination of her life as a person with disabilities. In unwavering and witty prose, and without a trace of self-pity, she contemplates the bitter ironies of being unable to walk, what it’s like to experience eros as a sick person, how to lower one’s expectations for a wilderness experience, and how to deal with the vagaries of a disease that has no predictable trajectory. Masterfully written, the essays resonate with lovers of literature and nature, and with anyone who has dealt with disadvantages of the body or the hard-luck limitations of ordinary life.
The variety of contemporary American poetry leaves many readers overwhelmed. The critic, scholar, and poet Stephen Burt sets out to help. Beginning in the early 1980s, where critical consensus ends, he presents 60 poems, each with an original essay explaining how the poem works, why it matters, and how it speaks to other parts of art and culture.
A stunning debut from an award-winning poet. Populating a small town in the Pacific Northwest, the characters in Lucia Perillo’s story collection all resist giving the world what it expects of them and are surprised when the world comes roaring back. An addict trapped in a country house becomes obsessed with vacuum cleaners and the people who sell them door-to-door. An abandoned woman seeks consolation in tales of armed robbery told by one of her fellow suburban housewives. An accidental mother struggles to answer her daughter’s badgering about her paternity. And in three stories readers meet Louisa, a woman with Down syndrome who serves as an accomplice to her younger sister’s sexual exploits and her aging mother’s fantasies of revenge. Together, Happiness Is a Chemical in the Brain is a sharp-edged, witty testament to the ambivalence of emotions, the way they pull in directions that often cancel one another out or twist their subjects into knots. In lyrical prose, Perillo draws on her training as a naturalist and a poet to map the terrain of the comic and the tragic, asking how we draw the boundaries between these two zones. What’s funny, what’s heartbreaking, and who gets to decide?
"If McHugh is serious, she's anything but grim; with all her punning, bantering, and mock scolding of herself . . . she brightens the shadowy corners of her world with verbal pyrotechnics."—The New York Times Book Review "Her poems are open, resilient, invisibly twisted: part safety net, part trampoline."—Voice Literary Supplement This fast-paced, verbally dexterous book—honored as a "Book of the Year" by Publishers Weekly—"boils up and boils over" as it utilizes medical terminology and iconography to work through loss and detachment. Heather McHugh's startling rhymes and rhythms, coupled with her sarcastic self-reflection and infectious laughter, serve as both palliative and prophylactic in the face of human sufferings and ignorance. Being "upgraded to serious" from critical condition is a nod to the healing powers of poetry. "Not to Be Dwelled On" Self-interest cropped up even there, the day I hoisted three instead of the ceremonially called-for two spadefuls of loam onto the coffin of my friend. Why shovel more than anybody else? What did I think I'd prove? More love (mud in her eye)? More will to work? (her father what, a shirker?) Christ, what wouldn't anybody give to get that gesture back? She cannot die again; and I do nothing but re-live. Heather McHugh is the author of a dozen books of poetry and translation. She teaches at the University of Washington and Warren Wilson College and lives in Seattle, Washington.
Pretty much every poet in every age has written about death and dying. Along with love, it might be the most popular subject in poetry. Yet, until now, no anthology has gathered the best and most famous of these verses in one place. This collection ranges dramatically. With more than 320 poems, it goes across all of history, from the ancients straight through to today. Across countries and languages, across schools of poetry. You’ll find a plethora of approaches—witty, humorous, deadly serious, tear-jerking, wise, profound, angry, spiritual, atheistic, uncertain, highly personal, political, mythic, earthy, and only occasionally morbid. Every angle you can think of is covered—the deaths of children, lost loves, funeral rites, close calls, eating meat, serial killers, the death penalty, roadkill, the Underworld, reincarnation, elegies for famous people, death as an equalizer, death as a junk man, death as a child, the death of God, the death of death . . . . You’ll find death poetry’s greatest hits, including: “Because I Could Not Stop for Death” by Emily Dickinson “To an Athlete Dying Young” by A.E. Housman “Do not go gentle into that good night” by Dylan Thomas “When Lilacs Last in the Dooryard Bloom’d” by Walt Whitman “Annabel Lee” by Edgar Allan Poe The rest of the band includes . . .Jane Austen, Mary Jo Bang, Willis Barnstone, Charles Baudelaire, William Blake, Charlotte Brontë, Lord Byron, Lucille Clifton, Andrei Codrescu, Wanda Coleman, Billy Collins, Ralph Waldo Emerson, T.S. Eliot, Nick Flynn, Benjamin Franklin, Robert Frost, Kimiko Hahn, Homer, Victor Hugo, Langston Hughes, James Joyce, C.S. Lewis, Amy Lowell, W.S. Merwin, Edna St. Vincent Millay, Pablo Neruda, Thich Nhat Hanh, Friedrich Nietzsche, Wilfred Owen, Rainer Maria Rilke, Christina Rossetti, Rumi, Sappho, Shakespeare, Wallace Stevens, Ruth Stone, Wislawa Szymborska, W.B. Yeats, and a few hundred more.
"Hilarity transfiguring all that dread, manic overflow of powerful feeling, zero at the bone—Flies renders its desolation with singular invention and focus and figuration: the making of these poems makes them exhilarating."—James Laughlin Award citation "Reading Michael [Dickman] is like stepping out of an overheated apartment building to be met, unexpectedly, by an exhilaratingly chill gust of wind."—The New Yorker "These are lithe, seemingly effortless poems, poems whose strange affective power remains even after several readings."—The Believer Winner of the James Laughlin Award for the best second book by an American poet, Flies presents an uncompromising vision of joy and devastating loss through a strict economy of language and an exuberant surrealism. Michael Dickman's poems bring us back to the wonder and violence of childhood, and the desire to connect with a power greater than ourselves. What you want to remember of the earth and what you end up remembering are often two different things Michael Dickman was born and raised in Portland, Oregon. His first book of poems, The End of the West, appeared in 2009 and became the best-selling debut in the history of Copper Canyon Press. His poems appear frequently in The New Yorker, and he teaches poetry at Princeton University.