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This is a husband and wife team who both enjoy writing in rhyme. A retired couple who moved to Cornwall fifteen years ago, they met many new friends on their karaoke weekends. Over the years Norman has merged from a musical background to writing childrens rhyming stories. His in-between years were centred on becoming a successful song writer. He has always enjoyed writing from the early age of eleven, where his rhyming storys were rewarded and displayed on the classroom wall. But in the 1960s after an unsuccessful period with several bands he met his wife to be Julie in London; then he wished only to develop their relationship and settle down. They moved to Manchester/Salford where he was originally from. Both shared interests in singing and writing in rhyme, but it wasnt until they moved to Cornwall that they both joined a poetry group from where they decided to start their joint venture and get a book published. Julie came from Vauxhall in London and used to bunk off school at every opportunity, she rues her missed days at school leaving without the know how to create a comprehensive composition. That all changed when she met Norman. Together he would explain the art of spelling and composition and as her confidence grew she blossomed. She tells about her life with friends and family, her pets; and her religious beliefs. These are the building blocks on which she has found her joy for creative writing.
Exploring the hazy line that can exist between friendship and desire, this memoir-in-essays is a coming out story that chronicles the childhood, adolescence, and early adulthood of Julia Koets, who grows up entrenched in religion in a small town in the South.
Praise for David Kirby "Kirby is exuberant, irrepressible, maniacal and remarkably entertaining.... Okay, let me just say it: he is a wonderful poet." -- Steve Kowit, San Diego Union-Tribune "Kirby's voice and matter (teaching, literature, traveling, rock 'n' roll, everyday bozohood) are utterly personal and, despite all the laughter, ultimately moving." -- Ray Olson, Booklist "[Kirby] is a poet who peels away the layers of our skin to show us who we are: our weaknesses, our strengths, and our hilarious obsessions." -- Micah Zevin, New Pages "The world that Kirby takes into his imagination and the one that arises from it merge to become a creation like no other, something like the world we inhabit but funnier and more full of wonder and terror." -- Philip Levine, Ploughshares "These poems may be too cool for words." -- Carol Muske-Dukes, New York Times Book Review Inspired by the carpenter's biscuit joint -- a seamless, undetectable fit between pieces of wood -- David Kirby's latest collection dramatizes the artistic mind as a hidden connection that links the mundane with the remarkable. Even in our most ordinary actions, Kirby shows, there lies a wealth of creative inspiration: "the poem that is written every day if we're there / to read it." Well known for his garrulous and comic musings, Kirby follows a wandering yet calculated path. In "What's the Plan, Artists?" a girl's yawning in a picture gallery leads him to meditations on subjects as diverse as musical composition, the less-than-beautiful human figure, and "the simple pleasures / of living." The Biscuit Joint traverses seemingly random thoughts so methodically that the journey from beginning to end always proves satisfying and surprising.
Oxford University Press is one of the oldest and best-known publishing houses in the world. This history, originally published to mark 500 years of printing in Oxford, traces the transformation of the Press from a lucrative Bible house into a great national and international publishing business. Great names in the early history of the Press, like Laud, Fell, and Blackstone, laid sound foundations, but as late as the 1890s the University was censured for sanctioning the publication of the secular and profane literature of Marlowe and Shakespeare.
Virginia Woolf's career was shaped by her impression of the conflict between poetry and the novel, a conflict she often figured as one between masculine and feminine, old and new, bound and free. In large part for feminist reasons, Woolf promoted the triumph of the novel over poetry, even as she adapted some of poetry's techniques for the novel in order to portray the inner life. Woolf considered poetry the rival form to the novel. A monograph on Woolf's sense of genre rivalry thus offers a thorough reinterpretation of the motivations and aims of her canonical work. Drawing on unpublished archival material and little-known publications, the book combines biography, book history, formal analysis, genetic criticism, source study, and feminist literary history. Woolf's attitude towards poetry is framed within contexts of wide scholarly interest: the decline of the lyric poem, the rise of the novel, the gendered associations with these two genres, elegy in prose and verse, and the history of English Studies. Virginia Woolf and Poetry makes three important contributions. It clarifies a major prompt for Woolf's poetic prose. It exposes the genre rivalry that was creatively generative to many modernist writers. And it details how holding an ideology of a genre can shape literary debates and aesthetics.