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This book in one part is about Christian Prayer Poetry based upon Christian morals and guidance of life and ultimately the hope of eternal life with an individual relationship with Jesus Christ, which is the meaning of the part of its title, "Original Poetry." Plus, it consists of one other part,"& General Lyrics," which have been designed to be directed toward human companions with respect to husbands and wives, dating couples, friends, or associates, in addition to the one part that is directed toward praying to the Creator of all life. ...and where the Spirit of the Lord is, there is liberty. -2 Corinthians 3:17
In the wake of his father’s death, the speaker in Raymond Antrobus’ The Perseverance travels to Barcelona. In Gaudi’s Cathedral, he meditates on the idea of silence and sound, wondering whether acoustics really can bring us closer to God. Receiving information through his hearing aid technology, he considers how deaf people are included in this idea. “Even though,” he says, “I have not heard / the golden decibel of angels, / I have been living in a noiseless / palace where the doorbell is pulsating / light and I am able to answer.” The Perseverance is a collection of poems examining a d/Deaf experience alongside meditations on loss, grief, education, and language, both spoken and signed. It is a book about communication and connection, about cultural inheritance, about identity in a hearing world that takes everything for granted, about the dangers we may find (both individually and as a society) if we fail to understand each other.
An astonishing collection about interconnectedness—between the human and nonhuman, ancestors and ourselves—from National Book Critics Circle Award winner and National Book Award finalist Ada Limón. “I have always been too sensitive, a weeper / from a long line of weepers,” writes Limón. “I am the hurting kind.” What does it mean to be the hurting kind? To be sensitive not only to the world’s pain and joys, but to the meanings that bend in the scrim between the natural world and the human world? To divine the relationships between us all? To perceive ourselves in other beings—and to know that those beings are resolutely their own, that they “do not / care to be seen as symbols”? With Limón’s remarkable ability to trace thought, The Hurting Kind explores those questions—incorporating others’ stories and ways of knowing, making surprising turns, and always reaching a place of startling insight. These poems slip through the seasons, teeming with horses and kingfishers and the gleaming eyes of fish. And they honor parents, stepparents, and grandparents: the sacrifices made, the separate lives lived, the tendernesses extended to a hurting child; the abundance, in retrospect, of having two families. Along the way, we glimpse loss. There are flashes of the pandemic, ghosts whose presence manifests in unexpected memories and the mysterious behavior of pets left behind. But The Hurting Kind is filled, above all, with connection and the delight of being in the world. “Slippery and waddle thieving my tomatoes still / green in the morning’s shade,” writes Limón of a groundhog in her garden, “she is doing what she can to survive.”
From the Sunday Times Young Writer of the Year 2019 Raymond Antrobus’s astonishing debut collection, The Perseverance, won both Rathbone Folio Prize and the Ted Hughes Award, amongst many other accolades; the poet’s much anticipated second collection, All The Names Given, continues his essential investigation into language, miscommunication, place, and memory. Beginning with poems meditating on the author’s surname – one which shouldn’t have survived into the modern era – Antrobus then examines the rich and fraught history carried within it. As he describes a childhood caught between intimacy and brutality, sound and silence, and conflicting racial and cultural identities, the poem becomes a space in which the poet can reckon with his own ancestry, and bear witness to the indelible violence of the legacy wrought by colonialism. The poems travel through space, shifting between England, South Africa, Jamaica, and the American South, and move fluently from family history, through the lust of adolescence, and finally into a vivid and complex array of marriage poems — with the poet older, wiser, and more accepting of love’s fragility. Throughout, All The Names Given is punctuated with [Caption Poems] partially inspired by Deaf sound artist Christine Sun Kim, which attempt to fill in the silences and transitions between the poems, as well as moments inside and outside of them. Direct, open, formally sophisticated, All The Names Given breaks new ground both in form and content: the result is a timely, humane and tender book from one of the most important young poets of his generation.
“Olivarez steps into the ‘inbetween’ standing between Mexico and America in these compelling, emotional poems. Written with humor and sincerity” (Newsweek). Named a Best Book of the Year by Newsweek and NPR. In this “devastating debut” (Publishers Weekly), poet José Olivarez explores the stories, contradictions, joys, and sorrows that embody life in the spaces between Mexico and America. He paints vivid portraits of good kids, bad kids, families clinging to hope, life after the steel mills, gentrifying barrios, and everything in between. Drawing on the rich traditions of Latinx and Chicago writers like Sandra Cisneros and Gwendolyn Brooks, Olivarez creates a home out of life in the in-between. Combining wry humor with potent emotional force, Olivarez takes on complex issues of race, ethnicity, gender, class, and immigration using an everyday language that invites the reader in, with a unique voice that makes him a poet to watch. “The son of Mexican immigrants, Olivarez celebrates his Mexican-American identity and examines how those two sides conflict in a striking collection of poems.” —USA Today
A collection of mind-bending poems with twists of wisdom throughout. Are you ready to open new doorways and reach inside your reality to develop a new conscious? Paradoxical Vista has been written to question life, death and all that resides in the middle.
In his debut collection, Jordan Windholz recasts devotional poetics and traces the line between faith and its loss. Other Psalms gives voice to the skeptic who yet sings to the silence that "swells with the noise of listening." If faith is necessary, this collection suggests, it is necessary as material for its own unmaking. Without a doubt, these are poems worth believing in, announcing, as they do, a new and necessary voice in American poetry. "Ambitious and exigent, these poems are refreshingly alert to all of the formal necessities of contemporary poetry, recognizing the inadequacy of any single measure to encompass the human longing for presence."--Averill Curdy, author of Song and Error and judge
The most inclusive single-volume anthology of Latin American poetry intranslation ever produced.
In her third collection, Indonesian American poet Cynthia Dewi Oka dives into the implications of being parents, children, workers, and unwanted human beings under the savage reign of global capitalism and resurgent nativism. With a voice bound and wrestled apart by multiple histories, Fire Is Not a Country claims the spaces between here and there, then and now, us and not us. As she builds a lyric portrait of her own family, Oka interrogates how migration, economic exploitation, patriarchal violence, and a legacy of political repression shape the beauties and limitations of familial love and obligation. Woven throughout are speculative experiments that intervene in the popular apocalyptic narratives of our time with the wit of an unassimilable other. Oka’s speakers mourn, labor, argue, digress, avenge, and fail, but they do not retreat. Born of conflicts public and private, this collection is for anyone interested in what it means to engage the multitudes within ourselves.