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"Memories in Serenade" captures the psychic musing of a purpose-driven poet intent on embracing the world, against a backdrop of unyielding obstacles, woven into a tapestry of pain, sorrow, hope, joy and love. It also captures the poet's fascination with language as much as with life, and takes us on his journey which so often juxtaposes fantasy with reality as if second nature. This collection allows us to accompany the the poet as he takes small steps, though significant steps, along the road to understanding and responding in healthy ways to life's vicissitudes and attaining self-actualization.
Hårdkogt amerikansk roman fra 30'erne om en sanger, der indvikles i intriger, hver gang han mister stemmen
A coming-of-age memoir about a young boy in rural Arkansas who searches for himself and his distant father through soul music Growing up in rural Arkansas, young Rashod Ollison turned to music to make sense of his life. The dysfunction, sadness, and steely resilience of his family and neighbors was reflected in the R&B songs that played on 45s in smoky rooms. Steeped in the sounds, the smells, the salty language of rural Arkansas in the 1980s, Soul Serenade is the memoir of a pop music critic whose love for soul music was fostered by his father, Raymond. Drafted into the Vietnam War as a teenager, Raymond returned a changed man, “dead on the inside.” After his parents’ volatile marriage ended in divorce, Rashod was haunted by the memory of his itinerant father and his mama’s long forgotten “sunshine smile.” For six-year-old Rashod, his father’s record collection—the music of Aretha Franklin, Bobby Womack, Al Green, and others—provided solace, coherence, and escape. Moving nine times during his childhood, Rashod constantly adjusted to new schools and homes with his two sisters, Dusa and Reagan, and his mother, Dianne. Resilient and tough, while also being distant and punitive, she worked multiple jobs, striving “to make ends wave at each other if they couldn’t meet.” He spent time with his acerbic mother’s mother, Mama Teacake, and her family’s living-out-loud ways, which clashed with his father’s family—religious, discreet, and appropriate—where Rashod gravitated to Big Mama and Paw Paw, his father’s parents. Becoming aware of his same-sex attraction, Rashod felt further isolated and alone but was encouraged by mentors in the community who fostered his intelligence and talent. He became transformed through discovering the writing of Toni Morrison, Alice Walker, Nikki Giovanni, and other literary greats, and these books, along with the soulful sounds of the 1970s and 80s, enabled him to thrive in spite of the instability and harshness of his childhood. In textured and evocative language, and peppered with unexpected humor, Soul Serenade is an original and captivating coming-of-age story set to an original beat.
A lady who loves flowers finds an invader in her garden paradise.
Although the recent ‘memory boom’ has led to increasing interdisciplinary interest, there is a significant gap relating to the examination of this topic in Classics. In particular, there is need for a systematic exploration of ancient memory and its use as a critical and methodological tool for delving into ancient literature. The present volume provides just such an approach, theorising the use and role of memory in Graeco-Roman thought and literature, and building on the background of memory studies. The volume’s contributors apply theoretical models such as memoryscapes, civic and cultural memory, and memory loss to a range of authors, from Homeric epic to Senecan drama, and from historiography to Cicero’s recollections of performances. The chapters are divided into four sections according to the main perspective taken. These are: 1) the Mechanics of Memory, 2) Collective memory, 3) Female Memory, and 4) Oblivion. This modern approach to ancient memory will be useful for scholars working across the range of Greek and Roman literature, as well as for students, and a broader interdisciplinary audience interested in the intersection of memory studies and Classics.
In Deepfake Serenade, Chris Banks’s sixth poetry collection, irreverent charm, emotional distance and surprising hot takes leap off every page. He writes in the title poem, “Inside every one of us is a deepfake. A holy ghost,” suggesting people have a choice to feel either like sad imposters or, if they're brave, like survivors staring down a world both utterly familiar and strange. These poems, sometimes narrative, sometimes surreal, oscillate between these two extremes as they confront middle age, new love, renewed optimism and memories, all with Banks’s signature wit and inventiveness. This collection is for anyone who has ever wished to wear “a halo of knowing,” or to be “the sparks flying” when outer phenomena and inner impulses collide. “Earn your rewards,” Banks writes in one poem, and we do, with every turn of the page.
Chiefly historic photographs and programs, with descriptive text.
After completing a tour of duty (thirty-five missions) in B-17s, Bert Stiles transferred to a fighter squadron. Just four months later he was killed in action on an escort mission to Hanover, Germany, on November 26, 1944. Stiles’ book was written in the period between his two tours. Serenade to the Big Bird portrays the tragedy of war, and specifically the loss to the world of a fine, sensitive, talented writer who had only a short time to prove his merit. He died at twenty-three.
With a foreword by the legendary accompanist, Gerald Moore, Eric Sams' study (Faber 1961, revised 1983) is a notable landmark in the establishment of Wolf as one of the supreme masters of German song. Comprehensively revised and enlarged in 1983, the main subject matter remains the 242 published songs that Wolf wrote for voice and piano, though the Ibsen songs for voice and orchestra are also discussed. English translations are provided and the backgrounds to the original poems by Morike, Eichendorff and Goethe, as well as the Italian and Spanish sources from which the songbooks were drawn, are fully explored. Each song is dated, its keys identified and vocal range determined. 'This is the most important book in the English language on the songs of Hugo Wolf since Ernest Newman proclaimed the composer's genius in 1907 . . . To the English-speaking student this work is a treasure to which he will find himself returning again and again: it is indispensable to those of us anxious to gain a deeper knowledge of Wolf.' Gerald Moore
Film has shaped modern society in part by changing its cultures of memory. Film, Music, Memory reveals that this change has rested in no small measure on the mnemonic powers of music. As films were consumed by growing American and European audiences, their soundtracks became an integral part of individual and collective memory. Berthold Hoeckner analyzes three critical processes through which music influenced this new culture of memory: storage, retrieval, and affect. Films store memory through an archive of cinematic scores. In turn, a few bars from a soundtrack instantly recall the image that accompanied them, and along with it, the affective experience of the movie. Hoeckner examines films that reflect directly on memory, whether by featuring an amnesic character, a traumatic event, or a surge of nostalgia. As the history of cinema unfolded, movies even began to recall their own history through quotations, remakes, and stories about how cinema contributed to the soundtrack of people’s lives. Ultimately, Film, Music, Memory demonstrates that music has transformed not only what we remember about the cinematic experience, but also how we relate to memory itself.