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The Portable Harlem Renaissance Reader
by David LewisShort selections from the prominent writers of this movement.
Portable Legacies: Fiction, Poetry, Drama, Nonfiction (1st Edition)
by Jan Zlotnik Schmidt Lynne CrockettThe book engages students with the best selection of fiction, poetry, drama, and nonfiction in a single anthology and involves them in literary and cultural traditions from 500 B.C. to the first decades of the twenty-first century. Designed for the Literature for Composition course, the selections ranging from the most popular traditional and contemporary authors at home to masterpieces of world literature encourage students to question, observe, probe, connect, and critique.
The Portable Milton
by John Milton Douglas BushThe Portable Milton is an authoritative grand tour through the imagination of this prodigal genius. <P><P>In the course of his forty-year career, John Milton evolved from a prodigy to a blind prophet, from a philosophical aesthete to a Puritan rebel, and from a poet who proclaimed the triumph of reason to one obsessed with the intractability of sin. Throughout these transformations, he conceived his work as a form of prayer, written in the service of the supreme being.
The Portable Poetry Workshop
by Jack MyersThis "breakthrough" book clearly, comprehensively, and practically informs any student of poetry about the techniques of their craft using the workshop method.
The Portable Thoreau
by Henry David Thoreau Jeffrey S. CramerHenry David Thoreau dedicated his life to preserving his freedom as a man and an artist. Nature was the fountainhead of his inspiration and his refuge from what he considered the follies of society. Heedless of his friends’ advice to live in a more orthodox manner, he determinedly pursued his own inner bent, which was that of a poet-philosopher, in prose and verse. Carl Bode brings together the best of Thoreau’s works in The Portable Thoreau, a comprehensive collection of the writings of a unique and profoundly influential American thinker. The complete texts of Thoreau’s classic works Walden and “Civil Disobedience,” as well as selections from The Maine Woods, Cape Cod, the Journal, and eighteen poems are included. Bode’s introduction rounds out this compact volume, offering a thorough and informative analysis of Thoreau and the forces that shaped his life and writing. “This compact book, containing infinite riches in a little room, is a simple setting for sound sense, nugget-like thought, the refined essences of a point of view” — St. Louis Post-Dispatch .
The Portable Walt Whitman
by Walt Whitman Michael WarnerWhen Walt Whitman self-published Leaves of Grass in 1855 it was a slim volume of twelve poems and he was a journalist and poet from Long Island, little-known but full of ambition and poetic fire. To give a new voice to the new nation shaken by civil war, he spent his entire life revising and adding to the work, but his initial act of bravado in answering Ralph Waldo Emerson's call for a national poet has made Whitman the quintessential American writer. This rich cross-section of his work includes poems from throughout Whitman's lifetime as published on his deathbed edition of 1891, short stories, his prefaces to the many editions of Leaves of Grass, and a variety of prose selections, including Democratic Vistas, Specimen Days, and Slang in America. .
The Portable William Blake
by William BlakeIncludes Songs of Innocence and Songs of Experience complete; the best of the "prophetic books"; a selection of his other great lyrics; representative prose pieces from A Descriptive Catalogue, Public Address and A Vision of the Last Judgement; complete drawings for the Book of Job; and selected letters.
PORTAL (Phoenix Poets)
by Tracy FuadA poetry collection exploring inheritance and reproduction through the lenses of parenthood, etymology, postcoloniality, and climate anxiety. Tracy Fuad’s second collection of poems, PORTAL, probes the fraught experience of bringing a new life into a world that is both lush and filled with gloom. A baby is born in a brutalist building; the planet shrinks under the new logic of contagion; roses washed up from a shipwreck centuries ago are blooming up and down the cape. PORTAL documents a life that is mediated, even at its most intimate moments, by flattening interfaces of technology and in which language—and even intelligence—is no longer produced only by humans. The voices here are stalked by eco-grief and loneliness, but they also brim with song and ecstasy, reveling in the strangeness of contemporary life while grieving losses that cannot be restored. Through Fuad’s frank, honest poetry, PORTAL vibrates with pleasure and dread. Peeling back the surfaces of words to reveal their etymologies, Fuad embraces playfulness through her formal range, engaging styles from the tersely lineated to the essayistic as she intertwines topics of replication, reproduction, technology, language, history, and biology.
Portami al mare
by Daniela Giovannetti Mois BenarrochAcclamato come uno dei principali poeti israeliani, la poesia di Mois Benarroch è stata pubblicata in decine di lingue, tra cui urdu e cinese. Julia Uceda ritiene Benarroch il detentore della memoria del mondo con la sua poesia, mentre Jose Luis Garcia Martin pensa che i suoi componimenti siano al di là della poesia, un vero e proprio documento.
Portrait of the Artist as a White Pig: Poems
by Jane GentryThese rich, lyrical poems, written by Jane Gentry over ten years, register the resonance between the poet's inner being and the outer world's everyday events. Moments of insight -- gained while watching a roofer at work next door, napping with the cat, reading on the porch, carrying the laundry, or strolling the aisles of Sam's Club -- expose the bright bones of the swiftness of time's passage, reminding us to stay attentive. Gentry's poems are deeply grounded in the continuity of family and homeplace yet also embrace new experiences. The juxtaposition of the ordinary and the beautiful, the paradox of the mundane and the artistic -- whether in nature, in relationships, in memories, or in the body -- are the hallmarks of her second collection.The years took our house, cool and dark,generous as a healthy heart, where in Septembera cricket sang under the kitchen hearth.They took my mother with her red hairand her creamy skin, and my fatherwhose laughing head shone with the fireof summer as he shoveled corn to his pigs.When I awoke one day, my bloomwas past. Those who loved me first were dead,and promises had blown away like chaffor clouds, which dazzle now only in the momentof their height and roll.The years have given back the thing itself. -- from "My Life Story"
A Portrait of the Self as Nation: New And Selected Poems
by Marilyn ChinA rich, illuminating compilation of selected and new poems from Marilyn Chin, "a poet of contradictions, poignant sentiment, beat-your-ass toughness, and unexpected humor" (Los Angeles Review of Books). Spanning thirty years of dazzling work—from luminous early love lyrics to often-anthologized Asian American identity anthems, from political and subversive hybrid forms to feminist manifestos—A Portrait of the Self as Nation is a selection from one of America’s most original and vital voices. Marilyn Chin’s passionate, polyphonic poetry travels freely from the personal to the mythic, from the political to the spiritual. Deeply engaged with the complexities of cultural assimilation, feminism, and the Asian American experience, she spins precise, beautiful metaphors as she illuminates hard-hitting truths. A Portrait of the Self as Nation celebrates Chin’s innovative activist poetry: her fearless and often confrontational early collections, Dwarf Bamboo and The Phoenix Gone, the Terrace Empty; the rebellious, vivid language of Rhapsody in Plain Yellow; and the erotic elegies of Hard Love Province. Also included are excerpts from Chin’s daring novel, Revenge of the Mooncake Vixen, and a vibrant chapter of new poems and translations. In poems that are direct and passionately charged, Marilyn Chin raises her voice against systems of oppression even as her language shines with devastating power and beauty. Image after image, line by line, Chin’s masterfully reinvented quatrains, sonnets, allegories, and elegies are unforgettable.
Portraits without Frames: Selected Poems
by Robert Chandler Boris Lev OzerovIsaac Babel, Dmitry Shostakovich, and Anna Akhmatova star in this series of portraits of some of the greatest writers, artists, and composers of the twentieth century."We stopped and Shklovsky told me / quietly, but clearly, / 'Remember, we are on our way out. / On our way out.' And I recalled / ... the wall of books, / all written by a man / who lived / in times that were hard to bear." Lev Ozerov’s Portraits Without Frames offers fifty shrewd and moving glimpses into the lives of Soviet writers, composers, and artists caught between the demands of art and politics. Some of the subjects—like Anna Akhmatova, Isaac Babel, Andrey Platonov, and Dmitry Shostakovich—are well-known, others less so. All are evoked with great subtlety and vividness, as is the fraught and dangerous time in which they lived. Composed in free verse of deceptively artless simplicity, Ozerov’s portraits are like nothing else in Russian poetry.
Portuguese: Poems
by Brandon ShimodaThe first book in a series of collaborations between Tin House and Octopus Books, Brandon Shimoda's Portuguese introduces a powerful new voice in American poetry. The poems in Portuguese began while Brandon rode city buses around Seattle, and were inspired by his fellow passengers—their voices and their minds, their faces and their bodies, their exuberances and infirmities, and the ways in which they enlivened and darkened the days at once. It was with and within these people that poetry seemed most alive. At the same time, they began as responses to the words and writings of visual artists, mostly painters, whom Brandon was reading while riding the bus, especially Etel Adnan, Eugène Delacroix, Alberto Giacometti, Paul Klee, and Joan Mitchell, all of whom appear in the book. It was with and within these people, also, that poetry seemed most alive. In both senses, Portuguese is a work of color. Portuguese owes also a debt to a visit to Beirut, Lebanon (2009); six months spent in a cabin in the woods of western Maine (2010-2011); and the Japanese poets Kazuko Shiraishi, Ryuichi Tamura and Minoru Yoshioka, and their translators. It was written primarily in Seattle, Washington; Beirut, Lebanon; and Weld, Maine, though revised in Albany, California; Beacon, New York; and St. Louis, Missouri. In that sense, Portuguese is a travelogue, as well as a work of restlessness. Throughout writing the poems that became Portuguese, the presiding struggle was with poetry itself—the form and its impulses—voice and mind, face and body, exuberance and infirmity—as well as with the act of writing. The book actually began in the early 1980s, while on the bus to elementary school in a small town in New England, when Brandon was taunted for being “Portuguese.” In that sense, Portuguese returns its author to this moment in which he felt challenged to become what he was being called, however falsely, and despite feeling confused, flushed and afraid. In that sense, Portuguese is a work of crossdressing. However, Portuguese is both more and less than all these things. It was—and is—a way to keep up with life in the form of drawing observations and feelings on paper, and to give form to the energy making up some part of memory. It is the fourth book in a series that began with The Alps, The Girl Without Arms, and O Bon. In this sense—and in all those above—it is an act of preservation, and therefore a work for his friends, his family, and for love.
Portulans (Phoenix Poets)
by Jason SommerTaking inspiration from medieval sea charts—portulans—the poems in Jason Sommer’s collection bring a fresh variation to the ancient metaphor of life as a journey. Creating a coordinate system charting paths between ports and the dangers that surrounded them, portulans offered webs of routes and images through which sailors could navigate. These maps—both accurate and beautifully illustrated—guided mariners from port to port weaving paths at the threshold of the open sea. Similarly, the course of these poems navigates familiar mysteries and perennial questions through times of unbelief, asking whether consciousness is anchored in the transcendent, if inward travel can descend past the self, and if the universe can be accounted for by physics alone. Is there more to the story that you remember and hesitate to say? Your eyes, though, scanning upward in their sockets, do seem to search memory, but for what may be gone already, gone to where it goes—wherever it came from—gone as can be imagined, down into things, in past flesh and bark, marrow and pith, and down, down into molecule, atom, particle, vanishing into theory. Through this collection, Sommer takes us to the ocean floor, into the basement, out the front door, through multiverses, and in and out of dreams. Along the way, he considers whether art—the beauty of the map—can provide momentary meaning against a backdrop of oblivion. Drawing on history and myth, the voices in these poems consider what can and cannot be known of the self and the other, of our values, and of what we insist has permanence. These are poems of searching. Like ancient cartographers who lent lavish decoration to their maps, the poems in Portulans illuminate possibilities of beauty in each journey.
Portulans (Phoenix Poets)
by Jason SommerTaking inspiration from medieval sea charts—portulans—the poems in Jason Sommer’s collection bring a fresh variation to the ancient metaphor of life as a journey. Creating a coordinate system charting paths between ports and the dangers that surrounded them, portulans offered webs of routes and images through which sailors could navigate. These maps—both accurate and beautifully illustrated—guided mariners from port to port weaving paths at the threshold of the open sea. Similarly, the course of these poems navigates familiar mysteries and perennial questions through times of unbelief, asking whether consciousness is anchored in the transcendent, if inward travel can descend past the self, and if the universe can be accounted for by physics alone. Is there more to the story that you remember and hesitate to say? Your eyes, though, scanning upward in their sockets, do seem to search memory, but for what may be gone already, gone to where it goes—wherever it came from—gone as can be imagined, down into things, in past flesh and bark, marrow and pith, and down, down into molecule, atom, particle, vanishing into theory. Through this collection, Sommer takes us to the ocean floor, into the basement, out the front door, through multiverses, and in and out of dreams. Along the way, he considers whether art—the beauty of the map—can provide momentary meaning against a backdrop of oblivion. Drawing on history and myth, the voices in these poems consider what can and cannot be known of the self and the other, of our values, and of what we insist has permanence. These are poems of searching. Like ancient cartographers who lent lavish decoration to their maps, the poems in Portulans illuminate possibilities of beauty in each journey.
Possessed by Memory: The Inward Light of Criticism
by Harold BloomIn arguably his most personal and lasting book, America's most daringly original and controversial critic gives us brief, luminous readings of more than eighty texts by canonical authors-- texts he has had by heart since childhood.Gone are the polemics. Here, instead, in a memoir of sorts--an inward journey from childhood to ninety--Bloom argues elegiacally with nobody but Bloom, interested only in the influence of the mind upon itself when it absorbs the highest and most enduring imaginative literature. He offers more than eighty meditations on poems and prose that have haunted him since childhood and which he has possessed by memory: from the Psalms and Ecclesiastes to Shakespeare and Dr. Johnson; Spenser and Milton to Wordsworth and Keats; Whitman and Browning to Joyce and Proust; Tolstoy and Yeats to Delmore Schwartz and Amy Clampitt; Blake to Wallace Stevens--and so much more. And though he has written before about some of these authors, these exegeses, written in the winter of his life, are movingly informed by "the freshness of last things."As Bloom writes movingly: "One of my concerns throughout Possessed by Memory is with the beloved dead. Most of my good friends in my generation have departed. Their voices are still in my ears. I find that they are woven into what I read. I listen not only for their voices but also for the voice I heard before the world was made. My other concern is religious, in the widest sense. For me poetry and spirituality fuse as a single entity. All my long life I have sought to isolate poetic knowledge. This also involves a knowledge of God and gods. I see imaginative literature as a kind of theurgy in which the divine is summoned, maintained, and augmented."
Possessive: Poems
by Sally Van DorenSally Van Doren's imaginative new collection offers bold and beguiling poems. Uttered in intense lyrical bursts that reflect the poet's command of language both familiar and strange, the visually dramatic moments gathered here probe the time-honored themes of love and death with candor and intimacy. The poems range in tone from a tongue-twisting search for identity to a plea to engage others in the refutation of pain: "My discreet sorrow / Hides in the dichotomy / Of your duplicitous palm / Offer me your hand / Our patty-cake will / Clap away antipathy." Drawing from sources as varied as the Bible, pop music, American politics, Italian Renaissance architecture, and poetry from Catullus to Wallace Stevens to OuLiPo, the poems unite in their unabashed examination of the uncertainties of life. In several poems, the voice of Eve reimagines the repercussions of original sin. In others, Van Doren chronicles vehicles of present-day suffering, "e-mailed poultices," "day-glo ambulances," and being "drafted against our will into kinetic wilderness." Throughout the collection, recognitions of despair are counterbalanced by assertions of hope: "we dug for glory / for healing not / born from pain."
Possibility of Being: A Selection of Poems
by Rainer Maria RilkePossibility of Being is a selection of poems by one of the most moving and original writers of this century, Rainer Maria Rilke (1857-l926). The title (taken from one of the Sonnets to Orpheus, ''Ibis is the Creature") reflects the central concern of both Rilke's life and art: the achievement of "being," which this most spiritual yet least doctrinaire of modern German poets defined as "the experiencing of the completest possible inner intensity.'' The eighty-four poems included in this small volume will serve as a sound and inviting introduction to Rilke's strategies in the pursuit of "being." And just as the unicorn in "This Is the Creature" has an eternal "possibility of being" but only becomes visible in the mirror held by a virgin, so can our own possibilities become manifest in the mirror held by the sensitive artist. The poems are chosen from The Book of Hours (1899-1903), The Book of Images (1902 and 1906), New Poems (1907 and 1908), Requiem (1909), Duino Elegies (1923), Sonnets to Orpheus (1923), and the posthumous Poems 1906-26. This selection was made by Professor Theodore Ziolkowski of Princeton University, who drew from the various New Directions volumes of Rilke's work translated by J. B. Leishman.
A Possible Landscape
by Maureen HarrisMaureen Harris’s first volume of poetry evokes “a possible landscape,” where the stories that subtly shape us blend with the moments that we are. Here is an Eden where Eve longs for the serpent’s “green quiver,” his “sibilant caress,” where a snake tires of his lover “wearing/the same skin day-out, day-in.” The poems in the first section of this book are sharp new takes on old stories, at once angry, witty and thoughtful. With grace, compassion and sparkle, the rest of the book explores the self in the world of the late twentieth century, the seeming contradictions of the third world, and the ordinary magic of an evening spent with friends.
A Possible World
by Kenneth Koch"For the last thirty years or more, Kenneth Koch has been writing the most exuberant poems in America. In an arena where such good spirits are rare, he has become a national treasure. In his book of personal addresses to what has mattered most in his seventy-plus years on the planet, there is a dimension of pathos and joy rare in the poetry of any era." --National Book Award (2000) finalist citation for New AddressesThe three long poems -- "Bel Canto," "Possible World," and "A Memoir" -- in this brilliant successor to New Addresses are ambitious attempts at rendering the complete story of a life. Taken together they present a dazzling picture of the pleasures and confusions of existence, as well as the pleasures and difficulties of expressing them. Other poems bring Koch's questioning, lyrical attention to more particular aspects of experience, real and imagined--a shipboard meeting, the Moor not taken, or the unknowable realm of mountaintops. As in all of Koch's work, one hears the music of unconquerable exuberance in stormy conflict with whatever resists it--death, the injustice of power, the vagaries of life in Thailand, China, or Rome. Thomas Disch has written in the Boston Book Review that "Koch is the most capable technician on the American scene, the brightest wit, and the emeritus most likely to persist into the next millennium . . . His work is full of ribaldry and wit, musicianship, pitch-perfect mimicry of the Great Tradition, and the celebration of pleasure for its own sunlit sake."The ebullience and stylistic variety that one has come to expect of this protean poet is everywhere present in this scintillating collection.From the Hardcover edition.
Post-: Poems
by Wayne MillerThe poems of this fourth collection from Wayne Miller exist in the wake of catastrophe. It is a world populated by rogue gunmen on shooting sprees, a world where the only inheritance a father has to pass on is his debt. In this world, every box could be a bomb and what comes after is what is lived. And yet, this painful past is not set in stone. The past becomes the present, yielding toward an immediate future.The collection coalesces around a series of "post-elegies" triggered by three occurrences: the birth of his child, the death of his father, and his experience of the seeming explosion of sociohistorical and political conflict and violence over the past decade. Throughout this series, Miller processes grief, but also cuts through pain to open up a way forward in the aftermath of shared loss. Post- thrums with pathos and humor, pain and the beauty of living.
Post-Romantic Aesthetics in Contemporary British and Irish Poetry (Routledge Studies in Comparative Literature)
by Stefanie JohnThis book demonstrates the legacies of Romanticism which animate the poetry and poetics of Eavan Boland, Gillian Clarke, John Burnside, and Kathleen Jamie. It argues that the English Romantic tradition serves as a source of inspiration and critical contention for these Irish, Welsh, and Scottish poets, and it relates this engagement to wider concerns with gender, nation, and nature which have shaped contemporary poetry in Britain and Ireland. Covering a substantial number of works from the 1980s to the 2010s, the book discusses how Boland and Clarke, as women poets from the Republic of Ireland and Wales, react to a male-dominated and Anglocentric lyric tradition and thus rework notions of the Romantic. It examines how Burnside and Jamie challenge, adopt, and revise Romantic aesthetics of nature and environment. The book is the first in-depth study to read Boland, Clarke, Burnside, and Jamie as post-Romantics. By disentangling the aesthetic and critical conceptions of Romanticism which inform their inheritance, it develops an innovative approach to the understanding of contemporary poetry and literary influence.
Postais do Exílio
by Carmen AvilaImagens poéticas que descrevem a estadia da autora em cidades estrangeiras, obra permeada de sentimentos como a saudade e o desejo de estar em dois lugares ao mesmo tempo. Nostalgia de um exílio voluntário no qual questiona as cidades enfrentando-as em sua própria escuridão, beleza e assombro, a partir da solidão que provoca ser estrangeira em outra terra.
Postcards from the Interior (American Poets Continuum)
by Wyn CooperPostcards from the Interior is a collection of postcard poems written from different geographical locations and varied states of heart and mind. The first section, "Postcards from Vermont," is composed of poems about Vermont towns and historical landmarks. The second section, "Postcards from the Interior," stretches to include poems from far-flung places, real and imagined. Adroit at juxtaposing the exterior weather of landscapes and the interior weather of the human condition, Cooper writes poetry with the heft of a Romantic meditation and the breezy ease of contemporary song lyrics.Wyn Cooper has published three previous poetry collections. A poem from his first book was turned into lyrics for Sheryl Crow’s Grammy-winning song "All I Wanna Do." He lives in Battleboro, Vermont.
Postcolonial Love Poem: Poems
by Natalie DiazPostcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality. Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—in it, a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.