Empfehlungen basierend auf "Lawrence Booth's Book of Visions"

“if you read this after I am deadIt means I made it”-“The Creation Coffin”The People Look like Flowers at Last is the last of five collections of never-before published poetry from the late great Dirty Old Man, Charles Bukowski.In it, he speaks on topics ranging from horse racing to military elephants, lost love to the fear of death. He writes extensively about writing, and about talking to people about writers such as Camus, Hemingway, and Stein. He writes about war and fatherhood and cats and women. Free from the pressure to present a consistent persona, these poems present less of an aggressively disruptive character, and more a world-weary and empathetic person.

Whitman's most beloved poem, "Song of Myself," illustrated, illuminated, and presented like never before. Walt Whitman’s iconic collection of poems, Leaves of Grass, has earned a reputation as a sacred American text. Whitman himself made such comparisons, going so far as to use biblical verse as a model for his own. So it’s only appropriate that artist and illustrator Allen Crawford has chosen to illuminate―like medieval monks with their own holy scriptures―Whitman’s masterpiece and the core of his poetic vision, “Song of Myself.” Crawford has turned the original sixty-page poem from Whitman’s 1855 edition into a sprawling 234-page work of art. The handwritten text and illustrations intermingle in a way that’s both surprising and wholly in tune with the spirit of the poem―they’re exuberant, rough, and wild. Whitman Illuminated: Song of Myself is a sensational reading experience, an artifact in its own right, and a masterful tribute to the Good Gray Poet.

The essential poems of Emily Dickinson selected and introduced by Joyce Carol Oates“Between them, our great visionary poets of the American nineteenth century, Emily Dickinson and Walt Whitman, have come to represent the extreme, idiosyncratic poles of the American psyche. . . .Dickinson never shied away from the great subjects of human suffering, loss, death, even madness, but her perspective was intensely private; like Rainer Maria Rilke and Gerard Manley Hopkins, she is the great poet of inwardness, of the indefinable region of the soul in which we are, in a sense, all alone.” —from the introduction by Joyce Carol Oates

From the author of The Arsonists’ City and The Twenty-Ninth Year, a new collection of poetry that traces the fragmentation of memory, archive, and family–past, present, future–in the face of displacement and war.A diaspora of memories runs through this poetry collection—a multiplicity of voices, bodies, and houses hold archival material for one another, tracing paths between Brooklyn, Beirut, and Jerusalem. Boundaries and borders blur between space and time and poetic form—small banal moments of daily life live within geopolitical brutalities and, vice versa, the desire for stability lives in familiarity with displacement.These poems take stock of who and what can displace you from home and from your own body—and, conversely, the kind of resilience, tenacity, and love that can bring you back into yourself and into the context of past and future generations. Hala Alyan asks, What stops you from transforming into someone or something else? When you have lived a life in flux, how do you find rest?

Edited by Abel Debritto, the definitive collection of poems from an influential writer whose transgressive legacy and raw, funny, and acutely observant writing has left an enduring mark on modern culture.Few writers have so brilliantly and poignantly conjured the desperation and absurdity of ordinary life as Charles Bukowski. Resonant with his powerful, perceptive voice, his visceral, hilarious, and transcendent poetry speaks to us as forcefully today as when it was written. Encompassing a wide range of subjects—from love to death and sex to writing—Bukowski’s unvarnished and self-deprecating verse illuminates the deepest and most enduring concerns of the human condition while remaining sharply aware of the day to day.With his acute eye for the ridiculous and the troubled, Bukowski speaks to the deepest longings and strangest predilections of the human experience. Gloomy yet hopeful, this is tough, unrelenting poetry touched by grace.This is Essential Bukowski.

An impassioned call for a return to reading poetry and an incisive argument for poetry’s accessibility to all readers, by critically acclaimed poet Matthew Zapruder In Why Poetry, award-winning poet Matthew Zapruder takes on what it is that poetry—and poetry alone—can do. Zapruder argues that the way we have been taught to read poetry is the very thing that prevents us from enjoying it. In lively, lilting prose, he shows us how that misunderstanding interferes with our direct experience of poetry and creates the sense of confusion or inadequacy that many of us feel when faced with it.    Zapruder explores what poems are, and how we can read them, so that we can, as Whitman wrote, “possess the origin of all poems,” without the aid of any teacher or expert. Most important, he asks how reading poetry can help us to lead our lives with greater meaning and purpose.  Anchored in poetic analysis and steered through Zapruder’s personal experience of coming to the form, Why Poetry is engaging and conversational, even as it makes a passionate argument for the necessity of poetry in an age when information is constantly being mistaken for knowledge. While he provides a simple reading method for approaching poems and illuminates concepts like associative movement, metaphor, and negative capability, Zapruder explicitly confronts the obstacles that readers face when they encounter poetry to show us that poetry can be read, and enjoyed, by anyone.

National Humanities Medalist and U.S. Poet Laureate Joy Harjo examines the power of words and how poetry summons us toward justice and healing "Her enduring message--that writing can be redemptive--resonates: 'To write is to make a mark in the world, to assert "I am."' The result is a rousing testament to the power of storytelling."--Publishers Weekly "Harjo writes as if the creative journey has been the destination all along."--Kirkus Reviews In this lyrical meditation about the why of writing poetry, Joy Harjo reflects on significant points of illumination, experience, and questioning from her fifty years as a poet. Composed of intimate vignettes that take us through the author's life journey as a youth in the late 1960s, a single mother, and a champion of Native nations, this book offers a fresh understanding of how poetry functions as an expression of purpose, spirit, community, and memory--in both the private, individual journey and as a vehicle for prophetic, public witness. Harjo insists that the most meaningful poetry is birthed through cracks in history from what is broken and unseen. At the crossroads of this brokenness, she calls us to watch and listen for the songs of justice for all those America has denied. This is an homage to the power of words to defy erasure--to inscribe the story, again and again, of who we have been, who we are, and who we can be.

The winning volume in the 1994 Yale Series of Younger Poets competition is Living in the Resurrection by T. Crunk. As James Dickey, distinguished poet and judge of the competition, says in the foreword, "Here is that rare phenomenon, a writer of instinctive formal vision. His real reverence for the simple objects of the everyday world, their ability to present cup, tree, and hand both as they seem and as they are with a kind of mystical iconic starkness, is a quality uniquely Mr. Crunk's. That this starkness eventually begins to warp into the surreal and ultimately windows into the Luminous Beyond, is additional sanction for gratitude." Reliquaria1. Found Hand-Painted on a Tin Flue CoverRibbon of black crapedraped on a door knob like broken stringshanging from a loom with the words: Weep not.What do I need of this world? 2. S. P. Dinsmoor Describes His TombI have made myself a coffin with a glass lid.By the door of my grave house I have set a cement angel and a stone jug.When I see the host coming down, the lid will--fly open and I will sail out into the air like a locust.If I am called above, the angel will help me--on my way. If I have to go below, I will grab my jugand fill it with water somewhere on the road down. Meantime, every day I pray--O Lordteach me that I am but earth, a hollow vessel of clay, only a wisp of thy breath against my emptiness. 3.They have yet to figure out the name of the church two men diving in Barkley Lakearound Cain's Mill a few years ago found the whole steeple of cross and all half-buried in the mud shallows.

Announcing the 2008 recipient of the Yale Younger Poets prize Arda Collins is the 2008 winner of the annual Yale Series of Younger Poets competition. Mesmerizing and electric, her poems seem to be articulated in the privacy of an enclosed space. The poems are concrete and yet metaphysically challenging, both witty and despairing. Collins' emotional complexity and uncommon range make this debut both thrillingly imaginative and ethical in its uncompromising attention to detail. In her Foreword, contest judge Louise Gl ck observes, "I know no poet whose sense of fraud, the inflated emptiness that substitutes for feeling, is more acute." Gl ck calls Collins' volume "savage, desolate, brutally ironic . . . a book of astonishing originality and intensity, unprecedented, unrepeatable."

Katherine Larson is the winner of the 2010 Yale Series of Younger Poets Competition. With Radial Symmetry, she has created a transcendent body of poems that flourish in the liminal spaces that separate scientific inquiry from empathic knowledge, astute observation from sublime witness. Larson's inventive lyrics lead the reader through vertiginous landscapes—geographical, phenomenological, psychological—while always remaining attendant to the speaker's own fragile, creaturely self. An experienced research scientist and field ecologist, Larson dazzles with these sensuous and sophisticated poems, grappling with the powers of poetic imagination as well as the frightful realization of the human capacity for ecological destruction. The result is a profoundly moving collection: eloquent in its lament and celebration.Metamorphosis [excerpt]We dredge the stream with soup strainers and separate dragonfly and damselfly nymphs-their eyes like inky bulbs, jaws snappingat the light as if the world was full oftiny traps, each hairpin mechanismtripped for transformation. Such a ricochetof appetites insisting life, life, life againstthe watery dark, the tuberous reeds.the watery dark, the tuberous reeds.the watery dark, the tuberous reeds.the watery dark, the tuberous reeds.the watery dark, the tuberous reeds.