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‘Introducing Karen Solie, I would adapt what Joseph Brodsky said some thirty years ago of the great Les Murray [. . .] – she is the one by whom the language lives’. – Michael Hofmann, LRB The Canadian Karen Solie is rapidly establishing a reputation as one of the most important poets at work today. Her fifth book of poetry, The Caiplie Caves, is a profound and timely consideration of the nature of crisis: at its heart is the figure of St Ethernan, a seventh-century Irish missionary to Scotland who retreated to the caves of the Fife coast in order to decide whether to establish a priory on May Island or pursue a life of solitude. His decision would have been informed by realities of war, misinformation and power; Solie imagines this crisis also complicated by grief, confusion – and a faith placed under extreme duress. Woven through Ethernan’s story are poems that orbit the caves’ geographical location, and range through the recurring violences of history and myth, of personal and public record. In poems of the utmost lyric subtlety and argumentative strength, Solie addresses how we might distinguish self-delusion from belief, belief from knowledge – and how, in the frailty of our responses, we can find the courage to move forward.
The award-winning poet Karen Solie’s striking fifth collection of poetry blends the story of a seventh-century monk with contemporary themes of economic class, environmentalism, and solitude in an ever-connected world if one asks for a sign must one accept what’s given? Ethernan, an Irish missionary in the seventh century, retreated to the Caiplie Caves on the eastern coast of Scotland to consider life as a hermit. In The Caiplie Caves, Karen Solie’s fifth collection of poems, short-listed for the T. S. Eliot Prize, Solie inhabits a figure inspired by Ethernan, a man torn between the communal and the contemplative. His story is remarkable for the mysticism embedded in the ordinary; as Solie writes in her preface, Ethernan is not known for supernatural feats, but “is said to have survived for a very long time on bread and water.” Interwoven with the voice of this figure are poems whose subjects orbit the physical location of the caves and join the sharply contemporary to the mythic past: the fall of a coal-fired power station; a “druid shouting astrology” outside a liquor store, putting “the Ambien in ambience”; seabirds “frontloaded with military tech”; the dichotomous nature of the stinging nettle. These are meditations on the crisis of time and change, on class, power, and belief. Above all, these are ambitious and exhilarating poems from one of today’s most gifted poetic voices.
Karen Solie launched to prominence with her first collection of poems, Short Haul Engine (2001), finalist for the Griffin Poetry Prize and winner of many other awards and citations. She continued her upward trajectory with Modern and Normal (2005), and is now considered one of Canada's best poets. Pigeon is yet another leap forward for this singer of existential bewilderment. These poems are X-rays of our delusions and mistaken perceptions, explorations of violence, bad luck, fate, creeping catastrophe, love, and the eros of danger. Once again, Solie shows that her ear is impeccable, her poetic intelligence rare and razor-sharp.
Named a Best Book of 2020 by Slate, Electric Literature, and PopMatters F*ckface is a brassy, bighearted debut collection of twelve short stories about rurality, corpses, honeybee collapse, and illicit sex in post-coal Appalachia. The twelve stories in this knockout collection—some comedic, some tragic, many both at once—examine the interdependence between rural denizens and their environment. A young girl, desperate for a way out of her small town, finds support in an unlikely place. A ranger working along the Blue Ridge Parkway realizes that the dark side of the job, the all too frequent discovery of dead bodies, has taken its toll on her. Haunted by his past, and his future, a tech sergeant reluctantly spends a night with his estranged parents before being deployed to Afghanistan. Nearing fifty and facing new medical problems, a woman wonders if her short stint at the local chemical plant is to blame. A woman takes her husband’s research partner on a day trip to her favorite place on earth, Dollywood, and briefly imagines a different life. In the vein of Bonnie Jo Campbell and Lee Smith, Leah Hampton writes poignantly and honestly about a legendary place that’s rapidly changing. She takes us deep inside the lives of the women and men of Appalachia while navigating the realities of modern life with wit, bite, and heart.
In her fourth collection, and the first since the Griffin Poetry Prize–winning Pigeon, Karen Solie advances her extraordinary poetics of impetus and second thoughts. Ferrying the intimate self through the public realm, these poems meditate on the tensile strength of our most elemental bonds and beliefs. Consistently attuned to the demotic and the enigmatic, she returns our language to us as if new again, in a style somehow both nomadic and steady, both unpredictable and meticulously crafted. Intelligent, witty, tough-minded, and perceptive, The Road In Is Not the Same Road Out offers Solie's most exciting and captivating work to date, in poems of natural contemplation and uncertainty ranging under the aegis of lyric grace.
“Midwood makes clear and unmistakable the increasing singularity of [Jana Prikryl’s] artistry.” —Nathan Blansett, Los Angeles Review of Books Midwood is a restless and intimate volume from a poet James Wood has called “one of the most original voices of her generation.” In her third book, Jana Prikryl probes the notion of midlife, when past and future blur in the equidistance. Balancing formal innovation with deeply personal reflection, Midwood subtly but impiously explores love and sex and marriage and motherhood in plain, urgent language. Written for the most part early every morning over the course of a year, in all its changing seasons, Midwood includes a series of poems looking at and talking to trees; Prikryl’s careful attention to the ordinary world outside the window forms an alternative measure of time that leafs and ramifies. With their rapid shifts of scale and unusual directness, these poems find a new language for confronting our moment.
A pocket-sized guide that describes what is known about the history of the Picts, listing the best symbol stones and museums to visit with many illustrations and maps.
Alexander MacDonald guides us through his family’s mythic past as he recollects the heroic stories of his people: loggers, miners, drinkers, adventurers; men forever in exile, forever linked to their clan. There is the legendary patriarch who left the Scottish Highlands in 1779 and resettled in “the land of trees,” where his descendents became a separate Nova Scotia clan. There is the team of brothers and cousins, expert miners in demand around the world for their dangerous skills. And there is Alexander and his twin sister, who have left Cape Breton and prospered, yet are haunted by the past. Elegiac, hypnotic, by turns joyful and sad, No Great Mischief is a spellbinding story of family, loyalty, exile, and of the blood ties that bind us, generations later, to the land from which our ancestors came.
In this gorgeous third collection, Sandra Lim investigates desire, sexuality, and dream with sinewy intelligence and a startling freshness. Truthful, sensuous, and intellectually relentless, the poems in The Curious Thing are compelling meditations on love, art making, solitude, female fate, and both the mundane and serious principles of life. Sandra Lim’s poetry displays stinging wit and a tough-minded approach to her own experiences: She speaks with Jean Rhys about beauty, encounters the dark loneliness that can exist inside a relationship, and discovers a coiled anger on a hot summer day. An extended poem sequence slyly revolves the meanings of finding oneself astray in midlife. A steely strength courses through the volume’s myriad discoveries—Lim’s lucidity and tenderness form a striking complement to her remarkable metaphors and the emotional clamor of her material. Animated by a sense of reckoning and a piercing inwardness, these anti-sentimental poems nevertheless celebrate the passionate and empathetic subjective life.