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In 1972 Donald Lee Barnes walked into his barracks and heard an album being played. He said to himself, “That is the way music should be played.” He could hear the lyrics and music clearly. As he walked all the way to the end of the barracks, he found five or six people listening to Jackson Browne’s first album, titled Saturate Before Using. They all looked at the album, and being a country bumpkin, Donald did not understand what it meant. So a kindred person explained to him about the album cover, which referenced a desert water bag. It had to be saturated with water on the outside of the bag before you filled it with water, so the water would remain cool inside of the bag. Everyone thought the symbolization of the water bag as a cover for the album was the coolest and cleverest thing they had ever seen. Donald became a Jackson Browne fan from that moment, and in 1976 he swore he would write like Jackson Browne, in the subject matter that he writes about. He needed to explain the truth completely in what he really meant, because through writing poetry it has been a moving experience. He has uncovered many emotional feelings within himself, influenced by other people, places, and things. Donald hopes that many people will enjoy the poetry that Jackson Browne had inspired him to write. He wrote his last poem the night before he submitted his manuscript to be published.
2019 Chicago Reader's Best of Chicago - Best New Poetry Collection Winner 2019 Chicago Reader's Best of Chicago - Best Poet Runner-Up In Even the Saints Audition Raych Jackson Reconditions her body and reclaims her church. This empowering book of poems interrogates the relationship between blackness, shame, and what it is to live a life tied to the church. Rich with historical context and a deeply engaging personal narrative. This body of work is bursting with charm, wit, and pride, as it dances on the thin line between saint and sinner. Includes poems such as "Period Rules", “A Wasted Ass Shave”, and "I Ask What 'Circumcision' Means in a Full Sunday School Class" that have been watched by millions online Advance praise for Even the Saints Audition This is an important and brave book, one that keeps me asking for more. -Fatimah Asghar, Author of IF THEY COME FOR US / co-creator of BROWN GIRLS Jackson rearranges the scripture of God until it is a machine that works for her. Her bible blesses the ones who roam. -Kara Jackson, Author of BLOODSTONE / National Youth Poet Laureate This work is a sinner's diary, made of the secrets between pews, the notes beneath the hymns and the guilt writhing within desire. -Toaster, Artist
While recent works of criticism on Frank O'Hara have focused on the technical similarities between his poetry and painting, or between his use of language and poststructuralism, Frank O'Hara and the Poetics of Saying 'I' argues that what is most significant in O'Hara's work is not such much his 'borrowing' from painters or his proto-Derridean use of language, but his preoccupation with self exploration and the temporal effects of his work as artifacts. Following Pasternak's understanding of artistic inspiration as an act of love for the material world, O'Hara explores moments of experience in an effort to both complicate and enrich our experience of the material world. On the one hand, in poems such as Second Avenue, for example, O'Hara works to 'muddy' language through which experience is, in part, mediated with the use of parataxis, allusions, and absurd metaphors and similes. On the other, in his 'I do this I do that' poems, he names the events of his lunch hour in an effort, among other things, to experience time as a moment of fullness rather than as a moment of loss. The book argues, furthermore, that O'Hara's view of the self as both an expression of the creative force at work in the world and as the temporal aggregate of finite experiences, places him between so-called 'Romantic' and 'postmodern' theories of the lyric. While it is often argued that O'Hara is a forerunner of a new, critically informed, 'materialist' poetics, this study concludes that O'Hara's work is somewhat less radical in its understanding of poetic meaning than is often claimed. Moreover, while O'Hara is preoccupied with his experience in his poems, the book argues that he espouses, in some respects, a rather traditional view of love. In addition to being a metaphor for the creative act, love, for O'Hara, is the chance coming together of two entities. Yet, one of the ironies of this is that while love is, for O'Hara, a feeling that is the result of movement, or the unexpected coming together of two otherwise separate entities, and is itself characterized in his work as a moving, 'life-giving vulgarity,' it produces a feeling of peace and stillness—a feeling that will not remain because of the fact that the self changes and that love is itself a moving, living thing. Thus, love contains within itself the ominous promise of future loss and is, therefore, the highest feeling that contains within itself the seeds of the lowest.
Excerpt from An Ode on the Proclamation of President Jackson At about twelve years of age N ack wrote a tragedy; this he destroyed; but his mind at that time was in one constant dramatic effort; it was an expedient to which he resorted to get rid of the deep wretchedness he felt at being, as it were, left alone with himself to contemplate his misfortune in losing his hearing and speech. In the regions of imagination he was soothed, and warmed with all the dreamy delights to be found in such fairy land. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Focusing on the poetry and cultural practice of Frank O’Hara, the great urban poet of the New York School during the 1950s and 1960s, this books explores the interwoven relationship between his urban poetics and the urban culture of New York, seeking to shed light on poetic concept and its cultural relevance. The poetry of Frank O’Hara is deeply rooted in and nourished by his urban experience as a metropolitan and an active participant in the vibrant cultural scene of New York. Therefore, an investigation into the interactive dynamics between his poetry and the urban culture he helped shape serves as a starting point for further study on the literary representation of European and American urban culture. Across eight chapters, the authors look into the genesis, theoretical constitution, the interface with culture and aesthetics of O’Hara’s urban poetics and also their philosophical foundations, literary ethics, special expression and representation as well as his reception of modernity and postmodernity. The title will appeal to scholars, students and general readers interested in American literature, poetry and urban culture, especially Frank O’Hara and the New York School.
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