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It is, at its core, an ode to the majesty of the public library, and a must-read for all who share that love. In Spanish, a retablo is an altarpiece; Octavio Solis describes it as a painting on an "old beaten tin" on which "a dire event is depicted, [ The fragments of Solis's memoir do similar, impressive work: Each depicts the details of a life lived along the Mexico—US border — sometimes chaotic, sometimes tragic, often poignant — but presents a host of "divine intercessions" as understood in retrospection: survival by family, imagination, and faith.

Still, it's hard not to consider the border itself as a representation of a "terrible rift," a split between homes, communities, identities, generations. While reading this generous and eye-opening account, it's easy to see how, for the country at large, the rift has only deepened. In many ways, it is a paean to nature itself, to the peace in knowing it's both part of us and greater than us — especially when everything else in the world can seem like it's falling apart. In Michael Donkor's immensely readable debut, year-old Ghanian housegirl Belinda is moved from one wealthy family's home to another — the former in Ghana, the latter in London.

Belinda settles into her new home, adjusting her expectations of both her role in the family and the glamour of London, and the result is a refreshing story about coming of age in spite of conflicting ideas of what "growing up" means. Brian Phillips' Impossible Owls is an absolute blast. It's always exciting to read a writer who so clearly loves what he's doing, and this debut essay collection — where Phillips writes about, among other subjects, the Iditarod, sumo wrestling, and people who believe they've been abducted by aliens — delivers just that.

Yes, he might second-guess his decisions say, to learn how to fly a plane , but Phillips manages to explore subculture without othering his subjects. He is able to navigate extraordinary circumstances with curiosity, playfulness, and humility, and his enthusiasm is best seen in his extensive research within these communities and their histories. And this is why I couldn't get enough of this book: Phillips is the perfect adventure guide — down for anything, talented enough to translate the experience.

There are no rules in Gina Apostol's inventive, genre-bending novel Insurrecto. The book follows two women on a trip through the Philippines — one an American filmmaker researching a uprising of Filipino revolutionaries against American occupiers, the other a Filipino writer and translator, working on her own version of the same story. But piecing together historical events that have been long omitted or glossed over is tricky, and Apostol's storytelling mirrors the disorientation such a task can create.

Insurrecto comes together as a sort of collage — chapters are numbered but out of order, truth and fiction are blended, and the format varies. It's that kind of magnificent book that begs for a second reading. Lydia Kiesling's The Golden State follows Daphne — an exhausted mother whose husband is stuck indefinitely in his home country, Turkey, after being pressured into surrendering his green card — over the course of her frantic escape from San Francisco to the abandoned family house in rural Northern California.

There is a breathless, antsy energy propelling us through these nine days. The reader chases Kiesling's rambling, comma-less sentences like Daphne scrambles after baby Honey, who is always sliding, writhing, tumbling out of reach. It is enough, almost, to embody Daphne — to feel, along with her, how close she is to her wit's end. So, too, do we feel the relief of her unlikely friendship with the year-old Alice, who briefly joins the duo, and whose unimaginable hardships push Daphne to take stock of her circumstances and figure out what she can do about them — in other words, to reckon with what she controls and what she doesn't.

In heartrending prose, Kiesling weaves through an exploration of the political and the private, fear and love, survival and obligation, loneliness and longing. The short story collection probes the lives of second-generation Chinese American women, especially focused on dating and sex — their disruptive hookups, tiring long-term relationships, their search for something meaningful.

The Proposal is a joy from the get-go; I was utterly enamored of protagonist Nikole before the opening scene in which a proposal goes very, very wrong was over. The fun doesn't end there. Nik swears off men of course but then she can't ignore the man who, with his sister, rescued her from that disastrous proposal, who of course is also hot and funny and kind and a doctor. They promise each other they'll keep it casual, but that so rarely goes as planned.

With sharp banter, a well-rounded cast of characters, and plenty of swoony scenes, Jasmine Guillory defends her position as one of the most exciting rom-com writers out there. Abby Geni's The Wildlands looks at the McCloud family, aka the "saddest family in Mercy," as they're dubbed after a tornado destroys their home and leaves them orphaned. Sisters Cora, Jane, and Darlene are struggling to survive on their limited means, and after a local factory which experimented on animals is bombed, their luck gets even worse. The bomber is their estranged brother Tucker — who was radicalized by the tornado and is now a believer in the soon-to-come extinction of mankind — and he returns to home to kidnap 9-year-old Cora and bring her on the lam, stopping here and there to perform more acts of destruction in the name of his cause.

What follows is Cora's heartbreaking account of love, danger, and disillusionment; alongside Darlene's frantic quest to rescue her. It is a moving exploration of humanity: not only the danger of our belief in our supremacy and our power to control our environment, but also the unique power of our love for each other. Thomas Page McBee's Amateur — which chronicles his training to be the first transgender man to box at Madison Square Garden — is a no-holds-barred examination of masculinity.

McBee describes the journey as a way of grappling with his newish place in the world of toxic and privileged masculinity, by placing himself in the center of an environment that, from an outsider's point of view at least, is its pinnacle: an environment of concentrated violence, toughness, anger. It is a way of examining the effects of this culture from within it, but, too, it's a way of feeling out the boundaries of McBee's own masculinity and facing his doubts about its limits. It's also a compassionate look at what it means to be a man and the circumstances that have engendered our expectations.

It is in many ways a happy dismantling of these expectations, an opening of masculinity to make room for love, support, and tenderness — something McBee is pleasantly surprised to find along the way. This version is seen from the perspectives of three characters, each blessed with or burdened by a supernatural gift: There's seemingly immortal Gbessa, named a witch and exiled from her home; June Dey, the product of a miraculous birth and holding otherworldly strength; and Norman Aragon, the son of a black mother and the white man who enslaved her, who can disappear.

Each is drawn to Monrovia — where Africans, both indigenous tribes and those emancipated from enslavement — maintain autonomy. Connecting them all is a mysterious, omniscient spirit, who pushes them toward each other and their destination with gusts of wind. Reading She Would Be King is like being carried by that wind, too, and whisked into a darkly magical world. What to do with Lolita in the MeToo era?

12222 Titles — by Date of Publication

Technically brilliant, as thematically reprehensible dare I say In a riveting blend of true crime, historical investigation, and literary analysis, Sarah Weinman adds another another dimension to this already complicated context: the fact that Lolita is a story based on the very real abduction of year-old Sally Horner in by a man who claimed, for a year, to be her father. In The Real Lolita , Weinman honors the girl whose trauma fell into the shadow of a literary masterpiece, by placing her at the center — drawing her out, through evidence and inference, as a fully fleshed person rather than a cautionary tale, or a piece of inspiration.

In Never Ran, Never Will , Albert Samaha zooms into the pressing, complicated conversations around privilege, gentrification, and anti-blackness in America by examining them within the context of a boys football team in the high-crime and close-knit Brooklyn neighborhood Brownsville. The book follows the Mo Better Jaguars — the coaches, led by Chris Legree, and the preteen players — over the course of five years. And while the games drive the narrative, it's the way the team shapes the boys' trajectories that is most compelling. Samaha gets at this by weaving in the history of the town and its residents, the persistence of gang violence and the circumstances that enabled it, and the nationwide threats on the lives of black boys and men.

That Samaha is able to give such an intimate view of this large cast of characters is a testament to his dogged reporting and his deep investment in their right to tell their stories. The result is a captivating book that will make you feel like you're right at the sidelines, breath held, rooting for the team. Katya Apekina's breathtaking debut looks at the effects of a parent's mental illness on their children, examining it from two perspectives — as experienced during childhood, and as remembered during adulthood.

In , after year-old Edith finds and saves her mother moments she attempts suicide, she and her younger sister Mae are sent to New York to live with their father, a successful writer who abandoned them more than a decade earlier and who is now trying to revive their relationship but, perhaps, for not-so-honorable reasons. Alongside this timeline, we see the period as recalled by Mae. The differences between the two accounts are illuminating — we see how alliances can be formed based on what we need for survival, how forgiveness is directly related to our sense of loss, and how one's felt role in a family differs from or aligns with the role our family has given us.

With The Deeper the Water the Uglier the Fish , Apekina establishes herself as a formidable voice in fiction — a writer to keep on your radar. Barbara Kingsolver's latest novel looks at one New Jersey suburb through two alternating timelines — the current day, as seen from the perspective of Willa Knox, a woman trying to keep her family healthy and afloat; and the s as seen from progressive science teacher Thatcher Greenwood, who's struggling to teach Darwinism in a community that rejects it.

In both, Kingsolver examines the human tendency to fear that which challenges our beliefs. How infuriating to see those who burned effigies of Darwin, knowing what we know now and even more infuriating when we consider the ongoing resistance of the theory of evolution, and climate change, and science in general , but she invites us to challenge that fury, too — to consider the spectrum of fear of change. We root for Willa, even though she's clinging to the midth-century American dream, but she's resisting progress, too.

Referring to the Fulton Ferry, curiously identified with his life in Brooklyn and New York, he writes:—"Almost daily I crossed in the boats, often up in the pilot-houses, where I could get a full sweep, absorbing shows, accompaniments, surround- ings. What oceanic currents, eddies, underneath; the great tides of humanity also, with ever shifting movements. Indeed, I have always had a passion for ferries; to me they afford inimitable, streaming, never-failing, living poems.

The river and bay scenery, all about New York island, any time of a fine day—the hurrying, splashing seat-tides—the changing panorama of steamers. To this tumultuous wealth of experience succeeds naturally the preparation, and then at last the publication, of the Leaves of Grass volume, which marks memorably the year A great deal of the matter found in the present volume has been added since the issue of this first edition—a thin royal octavo, generally described as a quarto, of ninety-four pages; but the significance of Whit- man's departure from the old routine of poetry was marked in it in a way that no further addition could make more striking.

It is not strange, therefore, that the book gained scant recogni- tion. It was not until Emerson sent to Walt Whitman what was really his first recognition from the literary world, the now famous letter of greeting, that the book became at all known. A characteristic passage or two from this letter may be given:—"I am not blind to the worth of the wonderful gift of Leaves of Grass.

I find it the most extraordinary piece of wit and wisdom that America has yet contributed. I give you joy of your free and brave thought. I have great joy in it. I find incomparable things,. But at the war's end it was not the same robust, virile man who came out of that hospital tent. Bucke, "from a young to an old man. Under the constant and intense moral strain to which he was subjected. The doctors called his complaint "hospital malaria,' and perhaps it was; but that splendid physique was sapped by labour, watching, and still more by the emotions, dreads, deaths, uncertainties of three.

There is no need perhaps to dwell here upon the story of his stupid dismissal from one office by a certain benighted official because of the alleged immorality of Leaves of Grass , though it was this that provoked W. O'Connor to his remarkable, if rather combative, manifesto on the poet's behalf, entitled "The Good Grey Poet. It must be kept in mind, however, that this was only an extreme instance of the social and literary persecution which was levelled at him from the first.

Breathing Water: Meditations on the Plain and the Profound a Book of Poems by Marina Martin

But there were critics who, instead of meeting with courtesy this poetic attempt to raise noble functions, long ignobly tainted with obscenity, to their true dignity and natural relation in the great scheme of earth and heaven, attacked him with incredible viciousness and rancour. As, however, considerations of Mrs. Grundy have caused the omission of the poems objected to in the present volume, there is no need to dwell further upon the matter here. There are many delightful glimpses to be got in John Burroughs's Notes , and in his capital little.

In spite of light heart and cheery temper his ill-health increased upon him, and culminated at last in a parylitic seizure, in February , from which he had almost recovered when in May the same year his mother died somewhat suddenly in Camden, New Jersey, in his presence. He left Washington for good, and took up. A briefest backward glance through the history of letters teaches another conclusion; constantly, it will be found, the order of poetic expression is changing and developing. But we do not need to make any far historical excursion for light on the subject: the experience of almost every poet will show us the simple rationale of the matter.

The first literary instinct of the young writer is always to transcend the traditional means of utter- ance; the conventional forms have lost their vital response to the subject, he feels; they want re-adjusting, renewing. As he goes on he reconciles in time the new need with the old equipment, bringing in as much fresh force and quality as his genius and energy can satisfactorily compass. This achievement of renovated modes of utterance is of course largely dependent upon the new condi- tions of life, and therefore of literary subject-matter, amid which he is placed.

But what must be specially remarked, it is not usually from too ardent a renascence of words and their art forms that a writer fails in the translation of life, but usually from his being overawed by tradition. Convention is the curse of poetry, as it is the curse of every- thing else, in which at a second remove the outward show can be made to pass muster for the inward reality.

Now, the hastiest glimpse at the conditions under which a poet who has attempted to deal with the whole scope of the new civilisation, and with all that it implies of new science, new philosophy,. Poetry of the last few decades in England has occupied itself mainly with archaic or purely ideal subjects, with specialist experiments in psychology and morbid anatomy, or the familiar stock material of fantasy and sentiment.

For these a certain art- glamour, so to speak,—a certain metrical remove, —is required as a rule, which can be best attained, perhaps, by the fine form and dainty colour of rhyming verse. And there will always, let us hope, be those who will continue to supply this artistic poetry, bringing as it does so much inestimable enchantment to the everyday life. Up to the pre- sent it may be that this poetry has fairly satisfied the need of the time,—a time occupied too much with its processes of material civilisation and wealth-acquirement to attend very truly to the ideal.

But standing now on the verge of a new era—an era of democratic ascendancy—it may be well to ask ourselves, even in conserva- tive England, whether, seeing the immense poetic need of a time dangerously possessed of new and tremendous forces, this poetry of archaic form and. It may seem that a dangerous comparison has been invited in these instances, but it is one that must be faced straightforwardly. The name of Burns suggests a solution of the whole matter. He at any rate sang out of an abounding sympathy with, and knowledge of, the popular need of his day,—.

Not to-day is to justify me and answer what I am for,. But you, a new brood, native, athletic, continental, greater. I myself but write one or two indicative words for the. I but advance a moment only to wheel and hurry back in. Thinking on this suggestion, first of all from its purely literary side, we are brought face to face at once with problems of extreme difficulty, which have been suggestively treated by William Sloane Kennedy and other American writers recently, but which it will be rather attempted to roughly state than to solve here.

The whole of Whitman's depart- ure in poetry is concerned with the vexed question of prose and verse, and the proper functions of the two modes of expression. Absolutely stated, prose is the equivalent of speech in all its range; verse, of song. But it is evident at once that the matter does not rest here. In a hundred ways needs arise which cannot be met by a strict adherence to this line of demarcation, as when, for instance, an elevation of utterance is required that yet does not, properly speaking, arise into pure song.

In the right adjustment then of the relations betwixt prose and verse lies the difficult secret of the art of words. Whitman noting in his literary work the restricting effect of exact rhyme measures, sought to attain a new poetic mode by a return to the rhythmic move- ment of prose, with what signal result may be seen by a sympathetic dive almost anywhere into. Thinking on Walt Whitman's initiative in the larger sense, and turning over the Leaves of Grass. The pleasures of heaven are with me and the pains of. The first I graft and increase upon myself, the latter I. I will plant companionship thick as trees along all the.

I will make inseparable cities with their arms about each. Nothing was greater there than the quality of robust. It was seen every hour in the actions of the men of that. It is not possible here to go much into detail in speaking of the great wealth of poetry to be found in Leaves of Grass. Perhaps it is best for the uninitiated reader to begin with the "Inscriptions," then turn to the section called "Calamus," Calamus being a sort of American grass which is used here to typify comradeship and love! Proceeding then, turn to the more simply tuneful summons of "Pioneers!

O Pioneers! Many of Whitman's most characteristic poems have necessarily been omitted from a volume like the present, intended for an average popular English audience—an audience which, be it confessed, from the actual experiment of the present editor, is apt to find much of Leaves of Grass as unintelli- gible as Sordello , not without a certain excuse haply in some instances.

The method of selection adopted in preparing the volume has certainly not been scientific or very profoundly critical. The limitations of the average run of readers have been, as far as they could be surmised, the limitations of the book, and upon the head of that unaccountable class, who have in the past been guilty of not a few poets' and prophets' maltreatment, rest any odium the thorough-paced disciple of Walt Whitman may attach to the present venture.

For those who wish to thoroughly apprehend the Leaves of Grass it will be necessary, let it be said at once, to study them in their complete forms, which is to be obtained in the edition of Messrs. Maurice Bucke, mentioned in these pages. The Specimen Days. At last, in thinking on all that might have been said to aid the true apprehension of one of the few true books that have appeared in the present generation, these jottings of comment and sug- gestion seem, on looking over them, more or less futile and beyond the mark.

But it would be im- possible for any writer, and especially for a young writer, to speak at all finally and absolutely in dealing with a nature so unprecedented and so powerful. All that he can hope to do is to suggest and facilitate the means of approach. Else there is a great temptation to dwell upon many matters left untouched, and specially to enlarge with enthusiasm on certain of the poetic qualities of the book.

Of Whitman's felicitous power of words at his best; of his noble symphonic movement in such poems as the heroic funeral-song on President Lincoln,—. Apart from any mere literary qualities or excel- lences, what needs lastly to have all stress laid upon it, is the urgent, intimate, personal influence that Walt Whitman exerts upon those who approach him with sympathy and healthy feeling. There are very few books that have this fine appeal and stimulus; but once the personal magnetism of Walt Whitman has reached the heart, it will be found that his is a stimulus unlike any other in its natural power.

His influence is peculiarly individual, and therefore, from his unique way of relating the individual to the universal, peculiarly organic and potent for moral elevation. Add to this, that he is passionately contemporary, dealing always with the ordinary surroundings, facing directly the apparently unbeautiful and unheroic phenomena of the everyday life, and not asking his readers away into some airy outer-where of pain- ful return, and it will be found that the new seeing he gives is of immediate and constant effect, making perpetually for love and manliness and natural life.

With this seeing, indeed, the com- monest things, the most trifling actions, become. It is the younger hearts who will thrill to this new incitement,—the younger natures, who are putting forth strenuously into the war of human liberation. Older men and women have established their mental and spiritual environment; they work according to their wont.

They, many of them, look with something of derision at this san- guine devotion to new ideals, and haply utter smiling protests against the deceptive charms of all things novel. But if the ideals informing Leaves of Grass. Demand the copious and close companionship of men. Your horizon rises, I see it parting away for more. I see not America only, not only, Liberty's nation but. I see tremendous entrances and exits, new combinations,. I see that force advancing with irresistible power on the. Your dreams, O years, how they penetrate through me!

The perform'd America and Europe grow dim, retiring. The unperform'd, more gigantic that ever, advance,. Around the idea of thee the war revolving, With all its angry and vehement play of causes, With vast results to come for thrice a thousand years, These recitatives for thee,—my book and the war are. And that is the theme of War, the fortune of battles, The making of perfect soldiers.

Bear forth to them folded my love, dear mariners, for. And so will some one when I am dead and gone write As if any man really knew aught of my life, Why even I myself I often think know little or nothing. The pennant is flying aloft as she speeds she speeds so. Nationality, I leave in him revolt, O latent right of insurrection! And why should I not speak to you? I will put in my poems that with. States must be their religion, Otherwise there is just no real and permanent grandeur; Nor character nor life worthy the name without religion, Nor land nor man or woman without religion.

These ostensible realities, politics, points? Your ambition or business whatever it may be? Land of wheat, beef, pork! Land of the pastoral plains, the grass-fields of the world!

Se relier au coeur ? – Connect to the heart !

Land of the eastern Chesapeake! Land of Ontario, Erie, Huron, Michigan! Land of the Old Thirteen! Massachusetts land! Vermont and Connecticut! Land of the ocean shores! Land of boatmen and sailors! Inextricable lands!


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The side by side! The great women's land! Far breath'd land! Arctic braced! Mexican breez'd! The Pennsylvanian! O I at any rate include you all with perfect love! I cannot be discharged from you! O death! O for all that, I am yet of you unseen this. Must not Nature be persuaded many times? I harbinge glad and sublime, And for the past I pronounce what the air holds of the.

See in arriere, the wigwam, the trail, the hunter's hut,. Presidents, emerge, drest in working dresses, See, lounging through the shops and fields of the States,. O a word to clear one's path ahead endlessly! O something ecstatic and undemonstrable! O music wild! O now I triumph—and you shall also; O hand in hand—O wholesome pleasure—O one more. O to haste firm holding—to haste, haste on with me. With the life-long love of comrades. By the manly love of comrades. I reserve, I will give of it, but only to them that love as I myself.

How often I think neither I know, nor any man knows,. I am silent, I require nothing further, I cannot answer the question of appearances or that of. Christ the divine I see, The dear love of man for his comrade, the attraction of. Do you think it so easy to have me become your lover?

Sam Sax - "Learning to Breathe Water" (NPS 2014)

Do you think the friendship me would be unalloy'd. Do you think I am trusty and faithful? Do you suppose yourself advancing on real ground. Have you no thought O dreamer that it may be all. Frost-mellow'd berries and Third-month twigs offer'd. Louisiana solitary in a wide in a wide flat space, Uttering joyous leaves all its life without a friend a lover. Only I will establish in the Mannahatta and in every.

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The splendours of the past day? Or the vaunted glory and growth of the great city. You friendly boatmen and mechanics! You twain! Then separate, as disembodied or another born, Ethereal, the last athletic reality, my consolation, I ascend, I float in the regions of your love O man, O sharer of my roving life. Be not too certain but I. You light that wraps me and all things in delicate. You paths worn in the irregular hollows by the roadsides! I believe you are latent with unseen existences, you are. You porches and entrances! You windows whose transparent shells might expose so.

You doors and ascending steps! You gray stones of interminable pavements! Here is adhesiveness, it is not previously fashion'd, it is. Do you know what it is as you pass to be loved by Do you know the talk of those turning eye-balls? Why are there men and women that while they are nigh. Why when they leave me do my pennants of joy sink. Why are there trees I never walk under but large and. I think they hang there winter and summer on those. What with some driver as I ride on the seat by his side? What with some fisherman drawing his seine by the. What gives me to be free to a woman's and man's good-.

Nature is rude and incomprehensible at first, Be not discouraged, keep on, there are divine things well. I and mine do not convince by arguments, similes,. They too are on the road—they are the swift and majestic. Let the paper remain on the desk unwritten, and the. Let the tools remain in the workshop!

Let the school stand! Let the preacher preach in his pulpit! On the ferry-boats the hundreds and hundreds that cross,. Nor is it you alone who know what it is to be evil, I am he who knew what it was to be evil,. The cheating look, the frivolous word, the adulterous. River and sunset and scallop-edg'd waves of flood-tide? The sea-gulls oscillating their bodies, the hay-boat in the. What is more subtle than this which ties me to the.

Which fuses me into you now, and pours my meaning. What the study could not teach—what the preaching. Frolic on, crested and scallop-edg'd waves! Gorgeous clouds of the sunset! Cross from shore to shore, countless crowds of passengers! Stand up, tall masts of Mannahatta! Throb baffled and curious brain! Sound out, voices of young men! Live, old life! Consider, you who peruse me, whether I may not in. Come on, ships from the lower bay! Flaunt away, flags of all nations!

Appearances, now or henceforth, indicate what you are, You necessary film, continue to envelop the soul, About my body for me, and your body for you, be hung. The words of true poems are the tuft and final applause. O for the dropping of raindrops in a song! O for the sunshine and motion of waves in a song! It is not enough to have this globe or a certain time, I will have thousands of globes and all time. To push with resistless way and speed off in the distance. I join the group of clam-diggers on the flats, I laugh and work with them, I joke at my work like a.

I know the buoys, O the sweetness of the Fifth-month morning upon the. O something pernicious and dread! Something far away from a puny and pious life! Something unproved! Something escaped from the anchorage and driving free. To behold his calmness—to be warm'd in the rays of his. To go to battle—to hear the bugles play and the drums To hear the crash of artillery—to see the glittering of. To see men fall and die and not complain!

To taste the savage taste of blood—to be so devilish! To gloat so over the wounds and deaths of the enemy! There—she blows! Again I spring up the rigging to look with the rest—we descend, wild with excitement,. What attractions are these beyond any before? What beauty is this that descends upon me and rises out. Iowan's, Kansian's, Missourian's, Oregonese' joys! To rise at peep of day and pass forth nimbly to work, To plough land in the fall for winter-sown crops, To plough land in the spring for maize, To train orchards, to graft the trees, to gather apples in.

Joy of the glad light-beaming day, joy of the wide-. Joy of sweet music, joy of the lighted ball-room and the. Joy of the plenteous dinner, strong carouse and drinking? Joys of the solitary walk, the spirit bow'd yet proud, the. The agonistic throes, the ecstasies, joys of the solemn. Joys of the thought of Death, the great spheres Time and. Joys all thine own undying one, joys worthy thee O. To look strife, torture, prison, popular odium, face to. To be a sailor of the world bound for all ports, A ship itself, see indeed these sails I spread to the sun.

Long varied train of an emblem, dabs of music, Fingers of the organist skipping staccato over the keys. Or hotels of granite and iron? Where are your jibes of being now? Where are your cavils about the soul now? Hindustanee, Served the mound-raiser on the Mississippi, served those. Whom have you slaughter'd lately European headsman? Whose is that blood upon you so wet and sticky? Rivals, traitors, poisoners, disgraced chieftains and the. Lawrence, or north in Kanada, or.

Nor yield we mournfully majestic brothers, We who have grandly fill'd our time; With Nature's calm content, with tacit huge delight, We welcome what we wrought for through the past, And leave the field for them. For them predicted long, For a superber race, they too to grandly fill their time, For them we abdicate, in them ourselves ye forest kings!

In them these skies and airs, these mountain peaks,. Shasta, Nevadas, These huge precipitous cliffs, this amplitude, these valleys,. Time and Space, You hidden national will lying in your abysms, conceal'd. Colorado south, Lands bathed in sweeter, rarer, healthier air, valleys and. For we cannot tarry here, We must march my darlings, we must bear the brunt of.

O you youths, Western youths, So impatient, full of action, full of manly pride and. Have the elder races halted? All the past we leave behind, We debouch upon a newer mightier world, varied world, Fresh and strong the world we seize, world of labour. We detachments steady throwing, Down the edges, through the passes, up the mountains. We primeval forests felling, We the rivers stemming, vexing we and piercing deep.

Colorado men are we, From the peaks gigantic, from the great sierras and the. From Nebraska, from Arkansas, Central inland race are we, from Missouri, with the. A more unified work than its companion, Altazor —also published in , but longer in gestation—this might owe more to its style of delivery: an ecstatic outpouring of words that largely revolve around the themes of love, sex and death. The poem is also a sustained lyric effusion of a kind that Huidobro had never produced before, and it marks the point at which his work moves on from the barnstorming avant-garderie of his younger years to a more mature style, albeit one influenced by surrealism, a movement which Huidobro had previously attacked.

It is also the last time that Huidobro was to adopt the god-like narrative persona that occurs in his earlier work. Translated from Spanish and French by Tony Frazer. In any event, this is his longest Spanish-language volume up to this point, and marks a significant breakthrough, bringing as it does the latest French innovations into Spanish for the first time. Translated from French and Spanish by Tony Frazer. Many of his early French-language manuscripts show signs of corrections by his friends at the time—the French poet, Pierre Reverdy and the Spanish artist, Francis Picabia, among them.

Swinburne's first collection, Poems and Ballads , generated a storm of critical and public controversy, being attacked for licentiousness and anti-theism. His publisher withdrew the book within days of publication, and the author was forced to transfer his works to another house. Translated from Spanish by Terence Dooley. Poetry Book Society Recommended Translation.

The Year of the Crab tells the story of an endless seaside summer, or perhaps a series of summers spent in the same place. It is a musical interplay of emotions and ideas, with recurring motifs and characters, often very funny, often profound, with a sense of childhood discovery remembered in maturity, an idyll with the background voices of fear, illness and death never far away, but also with strong intimations of love, nostalgia and happiness. It is a magical poem. It is a beautiful, marvellous tale of love and terror.

Published February Uncommon Place is a book rooted in Scotland's mountains and open spaces, its fenced enclosures and mined ground. It develops from earlier books what Tom Leonard has called "the most intelligent debate between technology and nature in poetry that I know. Through rivers, weather and wild creatures, as well as through industrial landscapes and urban spaces, the poems explore a core preoccupation, that of how we experience being in place, the relationship of the walker with the shifting nature of the place through which she walks. My recollection is that little from the book had been published elsewhere previously.

This was partly because it was written and published very quickly. Its writing was accelerated by the personal events which at first appeared to interrupt my initial ideas about what I thought I was doing. The interruption became the real subject in various guises and my first introduction to such parabasis. The Red and Yellow Book was my second book to be published but in one sense it was the first. It was the first I wrote as a book rather than as a collection of poems.


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Chapbook, 32pp, 8. Maldon is a version of the Anglo-Saxon epic fragment usually known as The Battle of Maldon , which tells the tale of a battle between the Anglo-Saxons and the invading Vikings which took place ca. It is recognisably the same poem as the original: it has its linguistic density and compelling narrative pull, but it is free from the mildewed quaintness that sometimes hangs around translation from Old English.

Published March The poet here becomes mother to both, she rises up in need to save both, to spin these new and much needed psalms. Shone upon by a tradition of humanism and compassion, Back dares to ask the famous questions first articulated by Fanny Howe: 'Where did the days go? Where to now? Paperback, pp, 8. Flying School is a book of beautifully crafted poems about the contrivances by which we attempt to enrich or repair our lives.

One dominant image is flight and, more specifically, parachutes — reflecting an aspiration to come to terms with our hardest challenges, including the reality of death. The common factor is a vividly observed aliveness, often inflected with wit. Saxton has conjured a teeming imaginative world that never fails to convince, entertain or move.

What really moves me here is the way we hedge our disappointment, play our joy against our self-awareness. She had a home on Exmoor and this landscape is reimagined through a combination of science and poetics, also part of a collaboration with visual poet Tilla Brading, ADADA:landescape. Ada loved birds, especially song birds, and studied the theory of flight. To recognise such moments is to ensure we are party to an intrigue more about delight and imagination than dissecting or, heaven help us, directing a life. The mind is vulnerable, matter is contrary, life is in a state of flux.

Are you English? Taking his life and poem as their starting point, the stories in this collection of poems move outward from the legendary arrival of the Trojans in Britain, finding echoes and similarities in stories from Angevin England and Ireland, the prehistoric tin trade and the arrival of the first English as raiders and migrants in a fading Roman Britain.

Translated from Galician by Lorna Shaughnessy. English only.


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For Manuel Rivas, words are the most sensitive of creatures. In the same way that frogs or glow-worms are the first to manifest signs of pollution in the natural environment, words suffer as a result of corruption in the socio-political sphere. In his work as journalist, writer of fiction, poetry or essays, he is consistent in his role as custodian of all sensitive creatures; his writings document historical damage and alert us to potential future harm to our natural, linguistic and political eco-systems.

With the same level of attention that a naturalist dedicates to minute indicators of change — the briefest of absences, the apparently insignificant break of behavioural patterns in a micro-environment — Rivas observes the signs and listens to the sounds that emerge from the mouth of earth. Like all his literary publications, this collection of poems was written in Galician, and first published in by the Galician language publishing house, Xerais, as A boca da terra.

Translated from Spanish by Lawrence Schimel. The open mouth of the Orcus, in the front-cover photograph, represents an entrance to the underworld, according to all the symbolism embedded in the Gardens of Bomarzo, built in the 16th Century, in central Italy. And this book actually seems to play with different strata of reality and perception, as well as different states of the mind — as well as the soul.

It proceeds from the concrete to the oneiric; from the past, constantly weighting down the present, to the timeless moment that perhaps in the final poems gives meaning to — or annihilates — all the dense phantasmagoria that courses through its pages. Published April The quivering luminosity of Islander is the rippling movement of the sea in sunlight, reflecting at once here, at once there, and then dissolving the distinctions. From Scotland to the Antipodes and back again, Davidson maps the prosaic alongside the sacred, inviting us into a gentle dissolution of place-based story, towards a more non-dual perspective of being in the world.

In this book of richly dense sonnets John Mateer presents us with the experiences of someone who travels the world, like so many of us, to understand himself and his place in a shared, global history. This volume presents the 4 chapbooks published by Huidobro in and offers, at first glance, an odd mixture. The last two publications from this period, Hallali and Tour Eiffel— both marked by textual experimentation—were important for the rising wave of the new Spanish avant-garde.

Translated from Spanish by Warre Bradley Wells Second Edition. The result is a very readable, if slightly arch, version of the story, at times looking back to 19th-century romantic historical fiction, while at other times nodding towards more modern approaches. Style aside, the book can be read a straightforward tale of derring-do that sits happily alongside the epic movie that starred Heston and Loren and had thousands of extras. The translation by Wells appeared quickly, in in London and a year later in New York, and this reprint offers the original version with only some minor edits, together with an afterword and an extensive glossary to aid with figures, both legendary and genuine, from Old Spain.

His steady gaze is well worth following.