African & African American Studies. "I get this pinwheel relationship to wisdom & history when I read Simone White. I'm in her dream, but it's a remarkable solidly packed one informed by the quotidian rarity of for instance a prose disquisition on lotion and skin and haircare especially in winter. Like Dana Ward's, her work sends me searching. Like what part of speech is here. As I'm wondering Simone sometimes exits first, and I even feel that a real piece of her poem is adamantly not here and that is her privacy, her power & her skill so what kind of quest is it, this beautiful complex & alive work. Here's my best guess. OF BEING DISPERSED is an ur text of the fourth wave of feminism which we come to realize is ocean and women are now standing on it and amidst this clatter of voices Simone White walks." Eileen Myles "In Simone White's poetry the action is always multiple, palpable, sounding as thought, coming forward through this highly sensitized plane, sudden and hovering, exchanging centers, afflicted and added to by company. The continuous listening company demands company including imaginary self, receding boundaries, the horseman on the night's street, the live, the loved, the drunk, the words, the turnstile, the endless destructive projections people force and the rendering of that listening into irreducible depths of tone, wit, and perception constitute much of what makes OF BEING DISPERSED a masterful book. Buzzing word-love marking time beat by beat, being the ground inside and out, makes up the rest." Anselm Berrigan "Macaronic plenitude of language instantiates places and states of mind. If Edouard Glissant says that we write in the presence of all the world's languages, then we have in Simone White's OF BEING DISPERSED, an underground stream reaching the surface of the page in lines acrobatic and limber, fluent in code switch, mood shift and modes of inquiry. I read White's volume as a poetic lens on the specificities of the diaspora and the 'dispersed, ' written with baroque skepticism, feminist vision and attention to the complications of a Black yet to be storyed any/where." Erica Hunt"

    Painted in giant whitewashed letters: 'SHARKEY IS A GRASS'. I hadn't a clue who Sharkey was, but I knew one thing. 'Sharkey's a dead man,' I said. Leo knows the value of never grassing and that you never grass on your friends. Everybody, too, knows the gang leaders in town. And you don't grass on them. Not unless you don't value your life - like Sharkey. And then Leo is unlucky enough to witness the murder of one gang leader by another, a man called Armour. Leo is petrified as he realises what he is witnessing and even more petrified when he realises that Armour has seen him. Sure that he is drawing his own last breath, Leo silently says goodbye to his family and everybody he knows. But all Armour does is wink at Leo, very slowly, and leave the scene of the crime. Leo draws a long breath of relief. He has got away with it. But he hasn't - not really. Leo will live to regret that wink and realise that Armour has an insidious hold on him and his family,which will test his family relationships, and his very sense of what is right and wrong. It will take bravery, luck and sheer daring to extricate himself from Armour's deadly web.A riveting and hard-hitting new novel from Cathy MacPhail.

    His return to the Laguna Pueblo reservation only increases his feeling of estrangement and alienation. While other returning soldiers find easy refuge in alcohol and senseless violence, Tayo searches for another kind of comfort and resolution. Tayo's quest leads him back to the Indian past and its traditions, to beliefs about witchcraft and evil, and to the ancient stories of his people. The search itself becomes a ritual, a curative ceremony that defeats the most virulent of afflictions—despair.

    The world was 'somewhere inside his skull. And it hurt.' These poems and dramatic sketches, however, delight even when they hurt" -- ROSMARIE WALDROP"BORIS BY THE SEA was born when Aesop was reading Chekhov, and Chekhov was reading Nietzsche, and Nietzsche was watching The Brother From Another Planet. Actually Matvei Yankelevich wrote this book, but 'wrote' is incomplete... he seems more to inhabit this stateless, beautiful being who uses language to move his body or erase the sea: 'Boris looked over himself and realized there were many parts of him that he could not see. And only a small part of these parts was on the surface.' BORIS BY THE SEA could be a children's fable if it weren't so freakin' real, unreal, hyper-real: 'But people need each other to open each other up and see what is inside.' This is Boris--and he, like Pinnochio--has a clever master." -- ROBERT FITTERMANMatvei Yankelevich's first full-length book, BORIS BY THE SEA, is a work of existential theater that destroys the distance between puppeteer and puppet, between ego and id, between what is real and what is absurd. Consisting of prose, poems, and plays, the book creates its own world and then confronts the loneliness of having to exist within one's own creation. Like Daniil Kharms, Yankelevich has written a children's book for only the bravest of adults.

    (It was John Findura in Verse Magazine.) She's also been compared to comedian Sarah Silverman, artist Jeff Koons, a 10-year-old who can't keep her mouth shut, and cartoonist R. Crumb. None of these equations is quite right, however. Jennifer L. Knox's work is unmistakably her own: darkly hilarious, surprisingly empathetic, utterly original. DRUNK BY NOON is the eagerly awaited sequel to Knox's first book, A GRINGO LIKE ME, which is also available from Bloof in a new edition. Jennifer L. Knox is a three-time contributor to the Best American Poetry Series and her poems have also appeared in Great American Prose Poems and Great American Erotic Poems. For more information, see www.jenniferlknox.com.

    First published by Odyssey Press in 1957, this classic edition provides Milton's poetry and major prose works, richly annotated, in a sturdy and affordable clothbound volume.

    In poems that forge their own styles and strategies, we experience dialogues between the written word and other art forms. Within this dialogue we hear Ben Jonson, we meet police K-9s, and we find children negotiating a sense of the world through a father's eyes and through their own.

    The play depicts an authoritarian regime and the play's central character, the young Antigone, mirrored the predicament of the French people in the grips of tyranny. One of the masterpieces of the modern French stage.

    This course is usually the first course taught at the undergraduate level. Marketers understand that even the best products and services will go unsold if they cannot communicate the value to the customer. Understanding this value-based approach is critical for marketing students today, and is at the forefront of this text, setting it apart. This approach is emphasized throughout the text, and demonstrated through the use of the Adding Value boxes found in each chapter. Presents a concise, impactful, and easy to read approach to Principles of Marketing. The text delivers value to both instructor and student through the engaging style and online assignment and assessment options. With monthly updates provided in a newsletter and the dynamic video program, the instructor support provided will bring marketing to life in any class setting.

    In a country where “money has won everywhere,” but the essential promise of democracy still beckons, these poems uncover our troubled psyches and show us what it might mean to be “Free Again.”

    frequently anthologized poem

    Alan S. Fredrick summarizes missing episodes and includes a translation of 'The Tale of Tristan's Madness.'One of the earliest extant versions of the Tristan and Yseut story, Beroul's French manuscript of The Romance of Tristan dates back to the middle of the twelfth century. It recounts the legend of Tristan, nephew of King Mark of Cornwall, and the king's Irish wife Yseut, who fall passionately in love after mistakenly drinking a potion. Their illicit romance remains secret for many years, but the relentless suspicion of the king's barons and the fading effects of the magic draught eventually lead to tragedy for the lovers. While Beroul's work emphasizes the impulsive and often brutal behaviour of the characters, its sympathetic depiction of two people strug1150gling against their destiny is one of the most powerful versions of this enduringly popular legend.

    Based on more than thirty years of scholarly research and classroom teaching, editors Ed Hindson, Elmer Towns, and scholars from Liberty University provide a visually engaging, practical, readable, and insightful overview of God’s Word and its eternal message. Ideally suited for undergraduate students, laymen, and pastors, this volume features:• More than 200 full-color photographs, maps, charts, and illustrations• Introductions to each book of the Bible, including background, date, author, outline, and message• Introductory chapters on the themes of the Bible, how we got our Bible, and the people and places of the Bible• Sidebars on the unique features, beneficial insights, and practical applications of biblical truths• Study questions and recommended further readingECPA Gold Medallion award winners Hindson and Towns draw from a lifetime of teaching more than 100,000 students. They represent quality evangelical scholarship, along with a passion to make the Scriptures come to life as they open windows of insight into the biblical text. This exciting survey highlights the key elements of the literature, history, archaeology, and wisdom of the biblical text with an eye on the practical application of its timeless truths, moral principles, and theological insights so desperately needed in today’s world.

    – Shubhangi Swarup (Latitudes of Longing)

    Michael Theune's breakthrough concept encourages students, teachers, and writers to use structure as a tool to see the fundamental affinities between strikingly different kinds of poetry and radically different literary eras. The book includes examination of the mid-course turn and the elegy, as well as the ironic, concessional, emblem, and retrospective-prospective structures, among others. In addition, 14 contemporary poets provide an example of and commentary on their own work.