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Never Be the Horse depicts the world of a postmodern Dark Dorothy whose attempts to return home are foiled when she falls into the Garden of Eden, into the underworld with Walt Whitman, into mysterious versions of her own childhood. The poems evoke this nighttime within the self haunted by mythic and shadow-paradises--of home, homeland, the original garden--where "every story is made to hide / the others." Here, Adam slips on a piece of Eve's clothing, a child falls in love with the bomb, and a mourner watching the whores chased from the cemetery laments. It is also a world of erotic disguises. Still, it remains recognizably this world. The parent lies to the child about death, and the child lies to the parent about death. In the journey between those lies, as in the journey taken by the horse of the title, language becomes the place of refuge. It is there that "one world is always beginning." From "willingness . . . speaking its motherese," to the devil's "gossamer gibber," the voices in these poems discover that to be human is, as Heidegger said, "to be a conversation."
What happens when love is replaced by romance? In Nothing Fatal, Sarah Perrier presents us with a variety of answers to this question. Wise, sly, sexy, and sad, Perrier's poems not only court the reader, but flirt with each other, resulting in a collection that rejoices in, and even reconfigures, the notion of modern love.
Transformation of Edinburgh's Underworld in the Early Nineteeth Century
The year 1828, when William Burke, William Hare, and their wives murdered nearly a score of Edinburgh's poor and sold their bodies, offers us many more examples of entrepreneurial criminals in Edinburgh's Old Town. Young thieves ransacked a warehouse for tea, women pretending to be prostitutes lifted gentlemen's watches, and fine linens disappeared from washerwomen's houses. What Symonds reveals here is a shadow economy where the most numerous of all criminals and thieves practice their trade not out of poverty and misery, but because it is their trade. Symonds argues that the trade of thievery, far from being either static or a symptom of misery and sign of revolt, was a very lively economic sector, the freest market of all, and one that shifted and shadowed the larger legitimate economy. The community of laborers and petty fiddles, especially of visitors like drovers, might be tolerated, if done cleverly, but murder and theft, especially from local business, was more unsettling. But the entrepreneurial spirit was never more alive, or perhaps more valued, because it could easily substitute for capital in the shadow economy.
Paradigm Lost and Paradigm Gained
There is a general consensus among the North American archaeologists specializing in the Middle Woodland period (ca 100B.C. to ca A.D. 400) that the Ohio Hopewell was a rather straight forward complex of small-scaled peer polity communities based on simple gardening and extensive foraging practices and occupying dispersed habitation locales loosely clustered around major earthworks. This book challenges this general consensus by presenting a radically alternative view. It argues that the Ohio Hopewell episode can be better and more coherently characterized by treating it as a complex social system based on dual and mutually autonomous social networks of clan alliances and world renewal cults, and that this dual clan-cult social system was, in fact, the culmination of such social systems that were widely dispersed across the Eastern Woodlands. The cults were devoted to treating their deceased members and/or dependants as sacrificial offerings to enhance the sacred powers of nature and the clans were devoted to transforming their deceased into ancestors and the stresses these opposing mortuary practices generated underwrote the dynamics of the Ohio Hopewell and brought about the monumental earthworks as sacred locales of world renewal cults.
The All-Ohio Space Shuttle Mission
The desire to beat gravity is a Buckeye tradition. After all, Orville and Wilbur Wright were Dayton, Ohio, boys who went to Kitty Hawk in 1903 to get things off the ground. When space became the next frontier, John Glenn, who was born in Cambridge, Ohio, on July 18, 1921, became the first American to orbit the earth in his Friendship 7 spacecraft. A Wapakoneta, Ohio, resident, Neil Armstrong, born in 1930, followed in the footsteps of Glenn by being the first human to step onto the moon’s surface during the summer of 1969. Don Thomas, a Cleveland native, saw other Ohioans in space and set his sights on becoming an astronaut. After years of hard work and dedication, he became part of the 1995 All-Ohio space shuttle Discovery mission. Orbit of Discovery provides a first-hand account of this mission. Written by Thomas with the assistance of journalist, Mike Bartell, the book is a lively and entertaining must read for individuals who want to experience a ride into space. Orbit of Discovery is augmented with a foreword by astronaut and Senator John Glenn and an introduction by Senator George Voinovich.
Orphan, Indiana is a collection of spontaneous outbursts framed by reticence and the guiding mania of the subconscious. Profane and poignant, accidental-seeming but soaring with satirical intent, David Dodd Lee's poems capture a verisimilitude that's phenomenological, and yet of the moment.
Attempting to repair the fissures of everyday life, Brian Brodeur negotiates the psychological distances between desire and disgust, humor and catastrophe, banality and dream. The poems of Other Latitudes begin in the realm of personal experience, and expand into larger territories of cultural narcissism and political blindness. These poems meditate on the tenuous relationship between artist and subject, the curiosities of self-inflicted wounds, and the presence of hope in a landscape that is intrinsically scarred. Brodeur’s debut illustrates the conflict between inner lives and their outward appearances, with an eye turned to the unforgiving natural world.
A Petersburg Album
Wrestling with the questions of travel, memory, and perception, Pictures at an Exhibition: A Petersburg Album is, at its core, an unrequited love song to St. Petersburg. The fever dream of Peter the Great, Pushkin, Dostoyevsky, Gogol, and Akhmatova, St. Petersburg is the occasion for a broader meditation on all we come to love and lose. Pictures began as a journal notebook in 2002, as the poet tried to capture this spectacle-rich and memory-laden city that he had visited ten years before. Scored to the movements of Modest Mussorgsky's legendary suite-a work of art elegizing a lost friend, the artist Hartmann-Pictures marks, and sometimes sings, the incommensurability of word and world.
Mothering in New English Poetry by Women
This study consists of two parts. The first part offers an overview of feminism’s theory of differences. The second part deals with the textual analysis of poems about ‘mothering’ by women from India, the Caribbean and Africa. Literary criticism has dealt with the representation of ‘mothering’ in prose texts. The exploration of lyrical texts has not yet come. Since the late 1970s, the acknowledgement of and the commitment to difference has been foundational for feminist theory and activism. This investigation promotes a differentiated, ‘locational’ feminism (Friedman). The comprehensive theoretical discussion of feminism’s different concepts of ‘gender’, ‘race’, ‘ethnicity’ and ‘mothering’ builds the foundation for the main part: the presentation and analysis of the poems. The issue of ‘mothering’ foregrounds the communicative aspect of women’s experience and wants to bridge the gap between theory and practice. This study, however, does not intend to specify ‘mothering’ as a universal and unique feminine characteristic. It underlines a metaphorical use and discusses the concepts of ‘nurturing’, ‘maternal practice’ and ‘social parenthood’. Regarding the extensive material, this study understands itself as an explorative not concluding investigation placed at the intersections of gender studies, postcolonial and classical literary studies. Most of all, it aims at initiating a dialogue and interchange between scholars and students in the Western and the ‘Third World’.
Poems by and about Lowell A. Levant
Lowell A. Levant had the twin vocations of poet and truck driver. He rose to prominence in Berkeley in the 60’s as a member of the Artists, Musicians, Poets, and Sympathizers Local of the I.W.W., whose work was collected in Poems Read in the Spirit of Peace and Gladness. Readers will notice four main qualities of his poems. First, as observed by his mentor, Pulitzer Prize-winning poet Gary Snyder, there is “… the complex depth of his writing about work, machinery, trucks, equipment, repair, maintenance—all in a deceptively slightly befuddled voice that masks the surprising competence of what's being actually done.” Second, there is attunement with nature, characteristic of “Deep Ecology” poetry. Third, there is music, which he also created when he played a Jew’s harp, sang, or strummed his guitar. Finally, Lowell’s poetry often took the form of the unfiltered, unfettered, free-associative declarations of the Beat Poets of his time, particularly those of Allen Ginsberg, whom Lowell admired.