SmithThe poems in Scriptorium are primarily concerned with questions of religious authority. The medieval scriptorium, the central image of the collection, stands for that authority but also for its subversion; it is both a place where religious ideas are codified in writing and a place where an individual scribe might, with a sly movement of the pen, express unorthodox religious thoughts and experiences. In addition to exploring the ways language is used, or abused, to claim religious authority, Scriptorium also addresses the authority of the vernacular in various time periods and places, particularly in the Appalachian slang of the author's East Tennessee upbringing. Throughout Scriptorium, the historical mingles with the personal: poems about medieval art, theology, and verse share space with poems that chronicle personal struggles with faith and doubt.

    What is form's time? Here the form of life called a poem speaks with the body's mortality, its thickness, its play. The 10 poem-sequences in 3 Summers inflect a history of textual voices — Lucretius, Marx, Aby Warburg, Deleuze, the Sogdian Sutras — in a lyricism that insists on analysis and revolt, as well as the pleasures of description. The poet explores the mysterious oddness of the body, its languor and persistence, to test how it shapes the materiality of thinking, which includes rivers and forests. But in these poems' landscapes, the time of nature is inherently political. Now only time is wild, and only time — embodied here in Lisa Robertson’s forceful cadences — can tell.‘Robertson proves hard to explain but easy to enjoy. . . . Dauntlessly and resourcefully intellectual, Robertson can also be playful or blunt. . . . She wields language expertly, even beautifully.’—The New York Times‘Robertson makes intellect seductive; only her poetry could turn swooning into a critical gesture.’— The Village VoiceLisa Robertson's books include Cinema of the Present, Debbie: An Epic, The Men, The Weather, R's Boat and Occasional Works and Seven Walks from the Office for Soft Architecture. Lisa Robertson's Magenta Soul Whip was named one of The New York Times' 100 Notable Books. She lives in France.

    'The University Poem', one of Nabokov's major poetic works, is here in English for the first time: an extraordinary autobiographical poem looking back at his time at Cambridge, with its dinners, girls and memories, it is suffused with rich description, wit and verbal dexterity. Included too are the surreally comic 'A Literary Dinner', the enchanting, 'Eve', the wryly humorous 'An Evening of Russian Poetry' and a meditation on the act of creation, 'Tolstoy', as well as verse written on America, lepidoptery, sport, love and Nabokov's Russian homeland.

    

    this impressive debut has established Hera Lindsay Bird as a good girl………with many beneficial thoughts and feelings………with themes as varied as snow and tears, the poems in this collection shine with the fantastic cream of who she is………juxtaposing many classical and modern breezesBird turns her prescient eye on love and loss, and what emerges is like a helicopter in fog………or a bejewelled Christmas sleigh, gliding triumphantly through the contemporary aesthetic desert………this is at once an intelligent and compelling fantasy of tenderness………heartbreaking and charged with trees………without once sacrificing the forest………Whether you are masturbating luxuriously in your parent’s sleepout………………or pushing a pork roast home in a vintage pram………this is the book for you………………………heroically and compulsively stupid………………………………………………………………………………whipping you once again into medieval sunlight.

    Hard to imagine that no one counts,that only things endure.Unlike the seasons, our shirts don't shed,Whatever we see does not see us,however hard we look,The rain in its silver earrings against the oak trunks,The rain in its second skin.--from "Scar Tissue II"In his new collection, the Pulitzer Prize-winning poet Charles Wright investigates the tenuous relationship between description and actuality--"thing is not an image"--but also reaffirms the project of attempting to describe, to capture the natural world and the beings in it, although he reminds us that landscape is not his subject matter but his technique: that language was always his subject--language and "the ghost of god." And in the dolomites, the clouds, stars, wind, and water that populate these poems, "something un-ordinary persists."Scar Tissue is a groundbreaking work from a poet who "illuminates and exalts the entire astonishing spectrum of existence" (Booklist).

    An explanation of reincarnation,metaphysics, karma, healing, and the reality of life, all rolled intothe most unusual love story ever told.

    

    Examining how trauma becomes a part of the language we use, Scott takes us back to our roots: childhood incidents, the violence our scars betray, forgotten forebears and histories. The hungers of sexual encounters are underscored by the risks that threaten when we give ourselves to or accept another. But the poems celebrate joy and tenderness, too, as in a sequence re-imagining the love poetry of Verlaine.The collection crescendos to Scott's tour de force, 'Oh My Soho!', where a night stroll under the street lamps of Soho Square becomes a search for true lineage, a reclamation of stolen ancestors, hope for healing, and, above all, the finding of our truest selves.

    Early posthumously published collections-some of them featuring liberally “edited” versions of the poems-did not fully and accurately represent Dickinson’s bold experiments in prosody, her tragic vision, and the range of her intellectual and emotional explorations. Not until the 1955 publication of The Complete Poems of Emily Dickinson, a three-volume critical edition compiled by Thomas H. Johnson, were readers able for the first time to assess, understand, and appreciate the whole of Dickinson’s extraordinary poetic genius.This book, a distillation of the three-volume Complete Poems, brings together the original texts of all 1,775 poems that Emily Dickinson wrote.

    Encuentra fotos de sus padres, de la calle donde jugaba de niño, del colegio donde estudiaba, de la playa donde iba de vacaciones... También encuentra algunas fotos antiguas de María, la chica de la que una vez estuvo enamorado y que hace más de veinte años que no ha visto. Son fantasmas del pasado. Y los fantasmas del pasado a veces vuelven. Learn Spanish by Reading FANTASMAS DEL PASADO is a short story specially written for students with an intermediate level of Spanish. It will help you learn, revise and consolidate the vocabulary and grammar of level B1. Reading short stories like FANTASMAS DEL PASADO is one of the most effective and pleasant ways to learn a Foreign Language. By reading, you can learn vocabulary and grammar structures in context, without memorising lists of isolated words or studying endless grammar rules. Hablar del Pasado This story was originally released as a series of short videos for the online Spanish course HABLAR DEL PASADO. The main purpose of the videos, which feature live narration of the story, was to show the use of the past tenses in context. The story appeared in the course with the original title of Juan y María: una historia del pasado.

    Poems confront craving, control, the constant battle of alcoholism and sobriety, and the questioning of the self and its instincts within the context of this never-ending fight.“In Calling a Wolf a Wolf, Kaveh Akbar exquisitely and tenaciously braids astonishment and atonement into a singular lyric voice. The desolation of alcoholism widens into hard-won insight: ‘the body is a mosque borrowed from Heaven.’ Doubt and fear spiral into grace and beauty. Akbar’s mind, like his language, is perpetually in motion. His imagery—wounded and resplendent—is masterful and his syntax ensnares and releases music that’s both delicate and muscular. Kaveh Akbar has crafted one of the best debuts in recent memory. In his hands, awe and redemption hinge into unforgettable and gorgeous poems.” —Eduardo C. Corral

    While her writings in this book radiate a fresh and new wonder, they continue to showcase Erickson's unforgettable and infectious zeal for life. The reader feels called away from the mundane and inconsequential by her trademark blend of poetic grace and electrifying enthusiasm. Rhythms and Roads will do more than enchant one's soul and inspire; it promises to awaken memories long forgotten and to breathe into them a spirit of lively possibility. This exhilarating collection is the perfect companion for anyone ready to break cages and fall into a sea of deep, soulful, courageous living.

    And in the process of building myself back up, I learned that you are allowed to leave some pieces behind-you are allowed to become the person you design yourself to be.'A collection of notes and poetic reflections, journaling how April learned to let go of everything that was holding her back in order to grow into the person she deserved to become.Bloom for Yourself II is a book you can plant in your soul and return to each time you feel ready to let go and grow.April Green's second book in the 'Bloom for Yourself' series gives readers even more help and guidance in overcoming pain and heartache. Her words are shared by thousands of people all over the world, including Jenna Dewan and Shantel Vansanten.The 'Bloom for Yourself' books are written for anyone feeling lost, alone, depressed or unworthy. They are books to be read many times over as you come to experience April's extraordinary gift for helping you understand that you are never truly alone.

    The first comprehensive selection of Kavanagh's poetry to be published, this volume offers a timely reassessment of a poet unfairly neglected outside Ireland.