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Although today Luis Palés Matos is virtually unknown to most American readers, the eminent U.S. poet and writer William Carlos Williams once praised his younger contemporary as "one of the most important poets out of Latin America." Palés Matos was a native, and lifelong resident, of Puerto Rico. Though he was not black, he became one of the Caribbeans leading advocates of poesía negra (black poetry). His landmark 1937 collection Tuntún de Pasa y Grifería: Poesía Afro-Antillana (Tom-Tom of Kinky Hair and Black Things: Afro-Caribbean Poetry) joyously celebrated the African aspects and sources of Puerto Ricos culture and influenced later generations of writers throughout the Western hemisphere. Translator Julio Marzán has selected the best of Palés Matoss poems from throughout his career, among them "Prelude in Boricua," "Danza Negra," "Buccaneer Winds," and "Elegy on the Duke of Marmalade." He also provides a helpful glossary of obscure terms and an introduction that locates Palés Matos in the broader cultural context of his contemporaries and poetic influences including such North American poets as Walt Whitman, Edgar Allan Poe, and Vachel Lindsay.
A Gate Enables passage between what is inside and what is outside, and the connection poetry forges between inner and outer lives is the fundamental theme of these nine essays. Nine Gates begins with a close examination of the roots of poetic craft in "the mind of concentration" and concludes by exploring the writer's role in creating a sense of community that is open, inclusive and able to bind the individual and the whole in a way that allows each full self-expression. in between, Nine Gates illumines the nature of originality, translation, the various strategies by which meaning unfolds itself in language, poetry's roots in oral memory and the importance of the shadow to good art. A person who enters completely into the experience of a poem is initiated into a deeper intimacy with life. Delving into the nature of poetry, Jane Hirshfield also writes on the nature of the human mind, perception and experience. Nine Gates is about the underpinnings of poetic craft, but it is also about a way of being alive in the world -- alertly, musically, intelligently, passionately, permeably. In part a primer for the general reader, Nine Gates is also a manual for the working writer, with each "gate" exploring particular strategies of language and thought that allow a poem to convey meaning and emotion with clarity and force. Above all, Nine Gates is an insightful guide to the way the mind of poetry awakens our fundamental consciousness of what can be known when a person is most fully alive.
Antonio Machado (1875-1939) is one of Spain’s most original and renowned twentieth-century poets and thinkers. From his early poems in Soledades. Galerías. Otros poemas of 1907, to the writings of his alter-ego Juan de Mairena of the 1930s, Machado endeavoured to explain how the Other became a concern for the self. In The Poetics of Otherness in Antonio Machado’s “Proverbios y cantares,” Nicolás Fernández-Medina examines how Machado’s “Proverbios y cantares,” a collection of short, proverbial poems spanning from 1909 to 1937, reveal some of the poet’s deepest concerns regarding the self-Other relationship. To appreciate Machado’s organizing concept of otherness in the “Proverbios y cantares,” Fernández-Medina argues how it must be contextualized in relation to the underlying Romantic concerns that Machado struggled with throughout most of his oeuvre, such as autonomy, solipsism and skepticism of absolutes. In The Poetics of Otherness in Antonio Machado’s “Proverbios y cantares,” Fernández-Medina demonstrates how Machado continues a practice of “fragment thinking” to meld the poetic and the philosophical, the part and whole, and the finite and infinite to bring light to the complexities of the self-Other relationship and its relevance in discussions of social and ethical improvement in early twentieth-century Spain.
A leading critic of contemporary Spanish poetry examines here the work of ten important poets who came to maturity in the immediate post-Civil War period and whose major works appeared between 1956 and 1971: Francisco Brines; Eladio Cabañero; Angel Crespo; Gloria Fuertes; Jaime Gil de Biedma; Angel González; Manuel Mantero; Claudio Rodríguez; Carlos Sahagún; and José Angel Valente. Although each of these poets has developed an individual style, their work has certain common characteristics: use of the everyday language and images of contemporary Spain, development of language codes and intertextual references, and, most strikingly, metaphoric transformations and surprising reversals of the reader's expectations. Through such means these poets clearly invite their readers to join them in journeys of poetic discovery. Andrew P. Debicki's is the first detailed stylistic analysis of this generation of poets, and the first to approach their work through the particularly appropriate methods developed in "reader-response" criticism.
“The revolutionary the dictatorship couldn’t kill, the trickster poet favored by the gods.” —Ben Ehrenreich, author of The Way to Spring: Life and Death in Palestine Poems of revolution by one of Latin America’s most beloved poets One of Latin America’s greatest poets, Roque Dalton was a revolutionary whose politics were inseparable from his art. Born in El Salvador in 1935, Dalton dedicated his life to fighting for social justice, while writing fierce, tender poems about his country and its people. In Poemas clandestinos / Stories and Poems of a Class Struggle, he explores oppression and resistance through the lens of five poetic personas, each with their own distinct voice. These poems show a country caught in the crosshairs of American imperialism, where the few rule the many and the many struggle to survive—and yet there is joy and even humor to be found here, as well as an abiding faith in humanity. In striking, immediate, exuberantly inventive language, Dalton captures the ethos of a people, as stirring now as when the book was first published nearly forty years ago. “I believe the world is beautiful,” he writes, “and that poetry, like bread, is for everyone.”
An anthology of political poems by 33 poets from around the world. They write on war, poverty and hunger, as well as love of fellow man and the loneliness of revolutionary life.
Rev. ed. of: The Princeton encyclopedia of poetry and poetics / Alex Preminger and T.V.F. Brogan, co-editors; Frank J. Warnke, O.B. Hardison, Jr., and Earl Miner, associate editors. 1993.
The Other Poetry of Barcelona: Spanish and Spanish-American Women Poets. Edited by Carlota Caulfield and Jaime D. Parra. Introduction by Jaime D. Parra. The present book, is dedicated to a group of Spanish and Spanish-American poets, all women, who for one reason or another have Barcelona as their point of reference. They write in Spanish or Catalan and are tightly linked, despite differences in their styles, tastes and even languages. The Other Poetry of Barcelona is a collection of these voices, which have grown and developed around Barcelona in recent years. The poets included in this anthology are: Neus Aguado, Nicole d'Amonville Alegria, Carmen Borja, Carlota Caulfield, Marga Clark, Mariana Colomer, Gemma Ferron, Concha Garcia, Rosa Lentini, Gemma Mana Delgado, M. Cinta Montagut, Ana Nuno, Teresa Pascual, Susanna Rafart, Teresa Shaw, Anabel Torres, and Esther Zarraluki. The book includes an appendix with original poems in Spanish and Catalan, and bio-bibliographies of the poets."
"Brines's seven poetry collections offer a sustained inquiry into three fundamental philosophical themes: knowledge, the present moment, and non-being. These themes, however, are presented as conflictual differences. The numerous poetic voices heard throughout his poetry continually wrestle with knowledge perpetually oscillating with ignorance, the present moment unceasingly becoming past, and human existence endlessly displaying its own finitude. In this study, the critical interpretation of these themes leads to the critical exploration of language, the signifying process of language, and the warring forces of signification. The sign is thus viewed as a structure of difference and as such it endlessly displays the duplicitous nature of language engaged in a semantic struggle with itself."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved