Empfehlungen basierend auf "Brand New Ancients"

In Just Kids, Patti Smith’s first book of prose, the legendary American artist offers a never-before-seen glimpse of her remarkable relationship with photographer Robert Mapplethorpe in the epochal days of New York City and the Chelsea Hotel in the late sixties and seventies. An honest and moving story of youth and friendship, Smith brings the same unique, lyrical quality to Just Kids as she has to the rest of her formidable body of work—from her influential 1975 album Horses to her visual art and poetry.

Here are poems to take you on a journey from the 'suddenly' of love at first sight to the 'truly, madly, deeply' of infatuation and on to the 'eternally' of love that lasts beyond the end of life, along the way taking in flirtation, passion, fury, betrayal and broken hearts. Bringing together the greatest love poetry from around the world and through the ages, ranging from W.H. Auden to William Shakespeare, John Donne to Emily Dickinson, Robert Browning to Roger McGough, this new anthology will delight, comfort and inspire anyone who has ever tasted love - in any of its forms.

Over the course of his short life, John Keats (1795-1821) honed a raw talent into a brilliant poetic maturity. By the end of his brief career, he had written poems of such beauty, imagination and generosity of spirit, that he had - unwittingly - fulfilled his wish that he should ‘be among the English poets after my death’. This wide-ranging selection of Keats’s poetry contains youthful verse, such as his earliest known poem ‘Imitation of Spenser’; poems from his celebrated collection of 1820 - including ‘Lamia’, ‘Isabella’, ‘The Eve of St Agnes’, ‘Ode to a Nightingale’ and ‘Hyperion’ - and later celebrated works such as ‘La Belle Dame sans Merci’. Also included are many poems considered by Keats to be lesser work, but which illustrate his more earthy, playful side and superb ear for everyday language.

The Beauty Of The Husband is an essay on Keats’s idea that beauty is truth, and is also the story of a marriage. It is told in 29 tangos. A tango (like a marriage) is something you have to dance to the end.This clear-eyed, brutal, moving, darkly funny book tells a single story in an immediate, accessible voice–29 “tangos” of narrative verse that take us vividly through erotic, painful, and heartbreaking scenes from a long-time marriage that falls apart. Only award-winning poet Anne Carson could create a work that takes on the oldest of lyrical subjects–love–and make it this powerful, this fresh, this devastating.

A rich collection of poems from not only “one of the great short story writers of our time” (The Philadelphia Inquirer), but one of America’s most large-hearted and affecting poets.Like Raymond Carver’s stories, the more than 300 poems in All of Us are marked by a keen attention to the physical world; an uncanny ability to compress vast feeling into discreet moments; a voice of conversational intimacy, and an unstinting sympathy.This complete edition brings together all the poems of Carver’s five previous books, from Fires to the posthumously published No Heroics, Please. It also contains bibliographical and textual notes on individual poems; a chronology of Carver’s life and work; and a moving introduction by Carver’s widow, the poet Tess Gallagher.

An acute and deeply insightful book of essays exploring poetic form and the role of instinct and imagination within form—from former poet laureate, Pulitzer Prize and National Book Award winning author Robert Hass.Robert Hass—former poet laureate, winner of the National Book Award, and recipient of the Pulitzer Prize—illuminates the formal impulses that underlie great poetry in this sophisticated, graceful, and accessible volume of essays drawn from a series of lectures he delivered at the renowned Iowa Writers' Workshop.A Little Book on Form brilliantly synthesizes Hass's formidable gifts as both a poet and a critic and reflects his profound education in the art of poetry. Starting with the exploration of a single line as the basic gesture of a poem, and moving into an examination of the essential expressive gestures that exist inside forms, Hass goes beyond approaching form as a set of traditional rules that precede composition, and instead offers penetrating insight into the true openness and instinctiveness of formal creation.A Little Book on Form is a rousing reexamination of our longest lasting mode of literature from one of our greatest living poets.

The collection of prose poems known as Le Spleen de Paris is an important, puzzling, and yet relatively neglected area of Baudelaire's work. This is the first study in English that is exclusively concerned with these texts. Approaching the poems chronologically, Hiddleston focuses primarily on the position of the artist and his attitude towards his art, the often enigmatic and contradictory moral message the poems purpose to convey and, above all, the relationship between prose and poetry in this hybrid and, by the poet's own admission, "dangerous" genre.

For the poet, even the most minute details of the natural world are starting points for flights of the imagination, and the pages of this collection celebrating the four seasons are brimming with an extraordinary range of observation and imagery.Here are poets past and present, from Chaucer, Shakespeare, and Wordsworth to Whitman, Dickinson, and Thoreau, from Keats, Blake, and Hopkins to Elizabeth Bishop, Ted Hughes, Amy Clampitt, Mary Oliver, and W. S. Merwin. Here are poems that speak of the seasons as measures of earthly time or as states of mind or as the physical expressions of the ineffable. From Robert Frost’s tribute to the evanescence of spring in “Nothing Gold Can Stay” to Langston Hughes’s moody “Summer Night” in Harlem, from the “stopped woods” in Marie Ponsot’s “End of October” to the chilling “mind of winter” in Wallace Stevens’s “The Snow Man,” the poems in this volume engage vividly with the seasons and, through them, with the ways in which we understand and engage the world outside ourselves.

This book of poems has the cumulative impact of a good novel. It has the richness variety and compactness of true poetry. It is a book to read and remembered. Sexton is an accomplished lyricist. She can combine the straightforwardness of playing on his speech with the saddle with the control, tight formal structure, and brilliantly effective imagery. But she makes her singular claim on our attention by the fact that she has important things to tell us and tells them dramatically.

The text of Eliot’s 1922 masterpiece is accompanied by thorough explanatory annotations as well as by Eliot’s own knotty notes, some of which require annotation themselves. For ease of reading, this Norton Critical Edition presents The Waste Land as it first appeared in the American edition (Boni & Liveright), with Eliot’s notes at the end. "Contexts" provides readers with invaluable materials on The Waste Land’s sources, composition, and publication history. "Criticism" traces the poem’s reception with twenty-five reviews and essays, from first reactions through the end of the twentieth century. Included are reviews published in the Times Literary Supplement, along with selections by Virginia Woolf, Gilbert Seldes, Edmund Wilson, Elinor Wylie, Conrad Aiken, Charles Powell, Gorham Munson, Malcolm Cowley, Ralph Ellison, John Crowe Ransom, I. A. Richards, F. R. Leavis, Cleanth Brooks, Delmore Schwartz, Denis Donoghue, Robert Langbaum, Marianne Thormählen, A. D. Moody, Ronald Bush, Maud Ellman, and Tim Armstrong. A Chronology and Selected Bibliography are included.