You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

    Yum! I hope you like it.

    The poet has said of himself and his work: "I am not an experimentalist or an inventor, but a derivative poet, drawing my art from the resources given by a generation of masters––Stein, Williams, Pound; back of that by the generations of poets that have likewise been dreamers of the Cosmos as Creation and Man as Creative Spirit; and by the work of contemporaries: Zukofsky, Olson, Creeley and Denise Levertov."

    

    Bacovia's prose and prose poems reveal his concern for the underdog and his yearning for new ideals. His descriptions of people and places are often set against a lyrical background and linked to an internal dialogue or a rhetorical question. They are sensual with powerful visual images, which also reveal Bacovia's introspective eroticism.

    This new book takes place in Lockdown Three. This time Key can make Government-sanctioned expeditions out onto the streets of London (remember?). And it is there that the inaction takes place. Phone calls to his mother, promenades with his loyal friend, bubble-negotiations, sitting his fat arse down on benches, drinking mocha. Another three months of mind-freezing inertia. This time on the move. Conversations interspersed with poetry.

    *** About Aesop’s Fables Who was Aesop, and why are his fables famous all over the world? In fact, very little is known about this mysterious Ancient Greek figure. He is thought to have been a slave originally from Africa, but even that isn’t known for certain. But his stories, with their talking animals and simple moral lessons, have been popular for thousands of years. They have been translated into almost every language and were among the first books to be printed when the printing press was invented in the 1400s. The most famous Aesop’s Fable is probably the story of The Hare and the Tortoise, with its message that “slow and steady wins the race.” Children everywhere have grown up loving these delightful short tales, learning and growing through their bond with these timeless classics. I grew up enjoying many of Aesop’s fables and I’m excited to share them with you here in my own style, a little more contemporary and told in rhymes to make them fun to read and listen to. I hope you and your kids will love sharing these stories and learning from their messages just as much as I always have.

    The Arthurian tales of chivalry, romance, and tragedy have left a lasting impact on English literature. This collection contains Sir Gawain and the Green Knight (trans. 1898), The Lady of Shallot (1833), The Founding of the Round Table (trans. 1914), The Passing of Arthur (trans. 1914), The Morte D'arthur (1914), The Lady of the Fountain (trans. 1877), Arthurian Songs: 1. Avalon (1894), and Sir Galahad, a Christmas Mystery (1858).

    D. Soul's first collection of poetry and prose. Written for those who have ever wondered what a heart looks like outside of the human body. This book is a breath. it's that plunge into fear as your heart stops as if perhaps it won't remember how to catch the next beat (but always does). and it's wincing. biting the pillow. laughing even though you can hear your ribs cracking. this book is walking through a Weeping Willow with your fingers outstretched. lips brushed against a forehead. sticking your head out the window just to feel the day in your hair. tears drying against the soft skin beneath your chin. this book is how I save myself.

    The thought-provoking text inspires one to see the love of Gods Lamb for His children who are subsequently His little lambs. Lovely melodic lines and counter-melodies add to the intrigue and charm of this choral setting.

    NOTES ABOUT To Kill a MockingbirdNOT the book To Kill a Mockingbird by Harper Lee

    Following in the footsteps of its predecessor, Milk and Vine II expands the Vine-poetry canon to include over 100 more vines, as well as a foreword by Karl from Online, a Viner who amassed hundreds of millions of vine loops and created many viral vines like "F*ck me Jerry" and "I'm quitting vine because someone commented on my post saying that I look like a piece of broccoli so goodbye forever." Several classic vines grace these pages like oovoo javer, cam & colin, ninki minjaj, chicken strips, jessie and ari, x games, michael with a b, and more! Milk and Vine II is perfect for your coffee table, rainy days with friends, or as a gift for any teen. Grab a copy today, and RIP Vine. NOTE: Explicit language inside, as well as credit to all the viners!

    Yet for all their metaphorical suggestiveness, Dickinson’s and Whitman’s poems about the natural world neither preclude nor erase nature’s relevance as an actual living environment. In their respective poetic projects, the earth matters both figuratively, as a realm of the imagination, and also as the physical ground that is profoundly affected by human action. This double perspective, and the ways in which it intersects with their formal innovations, points beyond their traditional status as curiously disparate icons of American nature poetry. That both of them not only approach nature as an important subject in its own right, but also address human-nature relationships in ethical terms, invests their work with important environmental overtones. Dickinson and Whitman developed their environmentally suggestive poetics at roughly the same historical moment, at a time when a major shift was occurring in American culture’s view and understanding of the natural world. Just as they were achieving poetic maturity, the dominant view of wilderness was beginning to shift from obstacle or exploitable resource to an endangered treasure in need of conservation and preservation.A Place for Humility examines Dickinson’s and Whitman’s poetry in conjunction with this important change in American environmental perception, exploring the links between their poetic projects within the context of developing nineteenth-century environmental thought. Christine Gerhardt argues that each author's poetry participates in this shift in different but related ways, and that their involvement with their culture’s growing environmental sensibilities constitutes an important connection between their disparate poetic projects. There may be few direct links between Dickinson’s “letter to the World” and Whitman’s “language experiment,” but via a web of environmentally-oriented discourses, their poetry engages in a cultural conversation about the natural world and the possibilities and limitations of writing about it—a conversation in which their thematic and formal choices meet on a surprising number of levels.