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This study consists of two parts. The first part offers an overview of feminism's theory of differences. The second part deals with the textual analysis of poems about 'mothering' by women from India, the Caribbean and Africa. Literary criticism has dealt with the representation of 'mothering' in prose texts. The exploration of lyrical texts has not yet come. Since the late 1970s, the acknowledgement of and the commitment to difference has been foundational for feminist theory and activism. This investigation promotes a differentiated, 'locational' feminism (Friedman). The comprehensive theoretical discussion of feminism's different concepts of 'gender', 'race', 'ethnicity' and 'mothering' builds the foundation for the main part: the presentation and analysis of the poems. The issue of 'mothering' foregrounds the communicative aspect of women's experience and wants to bridge the gap between theory and practice. This study, however, does not intend to specify 'mothering' as a universal and unique feminine characteristic. It underlines a metaphorical use and discusses the concepts of 'nurturing', 'maternal practice' and 'social parenthood'. Regarding the extensive material, this study understands itself as an explorative not concluding investigation placed at the intersections of gender studies, postcolonial and classical literary studies. Most of all, it aims at initiating a dialogue and interchange between scholars and students in the Western and the 'Third World'.
This study consists of two parts. The first part offers an overview of feminism ́s theory of differences. The second part deals with the textual analysis of poems about "mothering" by women from India, the Caribbean and Africa. Literary criticism has dealt with the representation of "mothering" in prose texts. The exploration of lyrical texts has not yet come. Since the late 1970s, the acknowledgement of and the commitment to difference has been foundational for feminist theory and activism. This investigation promotes a differentiated, "locational" feminism (Friedman). The comprehensive theoretical discussion of feminism ́s different concepts of "gender", "race", "ethnicity" and "mothering" builds the foundation for the main part: the presentation and analysis of the poems. The issue of "mothering" foregrounds the communicative aspect of women ́s experience and wants to bridge the gap between theory and practice. This study, however, does not intend to specify "mothering" as a universal and unique feminine characteristic. It underlines a metaphorical use and discusses the concepts of "nurturing", "maternal practice" and "social parenthood". Regarding the extensive material, this study understands itself as an explorative not concluding investigation placed at the intersections of gender studies, postcolonial and classical literary studies. Most of all, it aims at initiating a dialogue and interchange between scholars and students in the Western and the "Third World."
Every major airport has a three-letter code from the International Air Transport Association. In perhaps history's greatest-ever feat of armchair travel, Nasser Hussain has written a collection of poetry entirely from those codes. In a dazzling aeronautic feat of constraint-based writing, SKY WRI TEI NGS explores the relationship between language and place in a global context. Watch as words jet-set across the map, leaving a poetic flight path. See letters take flight (and leave their baggage behind).
“At the edge of the world, you’ll want to have this book. The final lines of Adam Clay’s poem, ‘Scientific Method,’ have been haunting me for weeks.” —Iowa Press-Citizen The distilled, haunting, and subtly complex poems in Adam Clay’s A Hotel Lobby at the Edge of the World often arrive at that moment when solitude slips into separation, when a person suddenly realizes he can barely see the place he set out from however long ago. He now sees he must find his connection back to the present, socially entangled world in which he lives. For Clay, reverie can be a siren’s song, luring him to that space in which prisoners will begin “to interrogate themselves.” Clay pays attention to the poet’s return to the world of his daily life, tracking the subtly shifting tenors of thought that occur as the landscape around him changes. Clay is fully aware of the difficulties of Thoreau’s “border life,” and his poems live somewhere between those of James Wright and John Ashbery: They seek wholeness, all the while acknowledging that “a fragment is as complete as thought can be.” In the end, what we encounter most in these poems is a generous gentleness—an attention to the world so careful it’s as if the mind is “washing each grain of sand.” “Poems that are in turn clear and strange, and always warmly memorable.” —Bob Hicok “These poems engage fully the natural world . . . even as they understand the individual’s exclusion from it.” —Publishers Weekly
In comical and complex poems, David Kirby examines our extraordinarily human condition through the lens of our ordinary daily lives. These keenly observant poems range from the streets of India, Russia, Turkey, and Port Arthur, Texas, to the imaginations of fellow poets Keats and Rilke, and to ruminations on the mundane side of life via the imperfect sandwich. Whether remembering girls' singing groups of the 1950s or recounting a child asking his priest if his dog would go to heaven, Kirby has the ability to make us laugh, but he can also bring us to tears through our laughter.
“A remarkable creation, a baroque opera of grief, laced with lines of haunting beauty and profundity.” —The Washington Post Now in paperback, the bold, genre-defying book that asked: What if Mary Shelley had not invented Frankenstein's monster at all but had met him when she was a girl of eight, sitting by her mother's grave, and he came to her unbidden? In a riveting mix of fact and poetic license, Laurie Sheck gives us the "monster" in his own words: recalling how he was "made" and how Victor Frankenstein abandoned him; pondering the tragic tale of the Shelleys and the intertwining of his life with Mary's (whose fictionalized letters salt the narrative, along with those of her nineteenth-century intimates); taking notes on all aspects of human striving--from Gertrude Stein to robotics to the Northern explorers whose lonely quest mirrors his own--as he tries to understand the strange race that made yet shuns him, and to find his own freedom of mind.
For the first time, Faber publish a selection from the poetry of Philip Larkin. Drawing on Larkin's four collections and on his uncollected poems. Chosen by Martin Amis. 'Many poets make us smile; how many poets make us laugh - or, in that curious phrase, "laugh out loud" (as if there's another way of doing it)? Who else uses an essentially conversational idiom to achieve such a variety of emotional effects? Who else takes us, and takes us so often, from sunlit levity to mellifluous gloom?... Larkin, often, is more than memorable: he is instantly unforgettable.' - Martin Amis
Nya, an inner-city public high school teacher, is committed to her students but desperate to give her only son Omari opportunities they’ll never have. When a controversial incident at his upstate private school threatens to get him expelled, Nya must confront his rage and her own choices as a parent. But will she be able to reach him before a world beyond her control pulls him away? With profound compassion and lyricism, Pipeline brings an urgent conversation powerfully to the fore. Morisseau pens a deeply moving story of a mother’s fight to give her son a future — without turning her back on the community that made him who he is.
A collection from the Pulitzer Prize–winning American poet with “a sharp lively wit and a tender approach to the human condition” (The Philadelphia Inquirer). Though he was also renowned as a biographer of Abraham Lincoln, Carl Sandburg was first and foremost a poet—upon his death, President Lyndon B. Johnson said “Carl Sandburg was more than the voice of America, more than the poet of its strength and genius. He was America.” In this outstanding collection of seventy-seven poems, Sandburg eloquently celebrates the themes that engaged him as a poet for more than half a century of writing—life, love, and death. Strongly lyrical, these intensely honest poems testify to human courage, frailty, and tenderness and to the enduring wonders of nature. “A poetic genius whose creative power has in no way lessened with the passing years.” —Chicago Tribune