Empfehlungen basierend auf "One Way to Reconstruct the Scene"

A gorgeously jacketed hardcover collection that draws on a wide variety of translations of Rumi’s deeply moving, sensually vibrant poetry.The poetry of the medieval Persian sage Rumi combines lyrical beauty with spiritual profundity, a sense of rapture, and acute awareness of human suffering in ways that speak directly to contemporary audiences.Trained in Sufism—a mystic tradition within Islam—Rumi founded the Sufi order known to us as the Whirling Dervishes, who use dance and music as part of their spiritual devotion. Many of Rumi’s poems speak of a yearning for ecstatic union with the divine Beloved. But his images bring the sacred and the earthy together in startling ways, describing divine love in vividly human terms.Everyman's Library pursues the highest production standards, printing on acid-free cream-colored paper, with full-cloth cases with two-color foil stamping, decorative endpapers, silk ribbon markers, European-style half-round spines, and a full-color illustrated jacket.

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.

A collection of transcendent, lyrical essays on life in the American West, the classic companion to Gretel Ehrlich’s new book, Unsolaced“Wyoming has found its Whitman.” —Annie DillardPoet and filmmaker Gretel Ehrlich went to Wyoming in 1975 to make the first in a series of documentaries when her partner died. Ehrlich stayed on and found she couldn’t leave. The Solace of Open Spaces is a chronicle of her first years on “the planet of Wyoming,” a personal journey into a place, a feeling, and a way of life.Ehrlich captures both the otherworldly beauty and cruelty of the natural forces—the harsh wind, bitter cold, and swiftly changing seasons—in the remote reaches of the American West. She brings depth, tenderness, and humor to her portraits of the peculiar souls who also call it home: hermits and ranchers, rodeo cowboys and schoolteachers, dreamers and realists. Together, these essays form an evocative and vibrant tribute to the life Ehrlich chose and the geography she loves.Originally written as journal entries addressed to a friend, The Solace of Open Spaces is raw, meditative, electrifying, and uncommonly wise. In prose “as expansive as a Wyoming vista, as charged as a bolt of prairie lightning” (Newsday), Ehrlich explores the magical interplay between our interior lives and the world around us.

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.

“yrsa daley-ward’s bone is a symphony of breaking and mending. . . . she lays her hands on the pulse of the thing. . . . an expert storyteller. of the rarest. and purest kind.” —nayyirah waheed, author of salt.From the celebrated poet Yrsa Daley-Ward, a poignant collection of poems about the heart, life, and the inner self.Foreword by Kiese Laymon, author of Heavy: An American MemoirBone. Visceral. Close to. Stark.The poems in Yrsa Daley-Ward’s collection bone are exactly that: reflections on a particular life honed to their essence—so clear and pared-down, they become universal.From navigating the oft competing worlds of religion and desire, to balancing society’s expectations with the raw experience of being a woman in the world; from detailing the experiences of growing up as a first generation black British woman, to working through situations of dependence and abuse; from finding solace in the echoing caverns of depression and loss, to exploring the vulnerability and redemption in falling in love, each of the raw and immediate poems in Daley-Ward’s bone resonates to the core of what it means to be human.“You will come away bruised.You will come away bruisedbut this will give you poetry.”

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.

Richard Kenney's The Evolution of the Flightless Bird, the winning volume in the 1983 Yale Series of Younger Poets competition, was selected from among 650 entries in this annual competition. All of one species whose origin is the sonnet, Kenney's poems ring many changes through that form, reflecting, as they do, a personal evolution in the poet's life. "The Hours of the Day"--the first of four chapters--is a long meditative sequence set in Vermont; here the square-shaped poems become the crown glass windowpanes of the farmhouse itself. "First Poems" follows next, a group of eight lyrics, ending with the poem that titles the book. "Heroes," a narrative quartet, with two poems from history and two from life, concerns itself with the shaping of all tales, from source to first telling. Finally, "Notes from Greece" chronicles certain thoughts and adventures there, notably a visit to the Byzantine monastic communities that ring the peninsula of Mt. Athos. Born in Glens Falls, New York, in 1948, Richard Kenney received his B.A. from Dartmouth College in 1970. His poems have appeared in numerous magazines, including The New Yorker, The Atlantic Monthly, Hudson Review, American Scholar, Poetry, The Yale Review, Carolina Quarterly, and New England Review.

Announcing the 2005 recipient of the prestigious Yale Younger Poets prizeJay Hopler’s Green Squall is the winner of the 2005 Yale Series of Younger Poets competition. As Louise Glück observes in her foreword, “Green Squall begins and ends in the garden”; however, Hopler’s gardens are not of the seasonal variety evoked by poets of the English lyric—his gardens flourish at lower, fiercer latitudes and in altogether different mindscapes. There is a darkness in Hopler’s work as deep and brutal as any in American poetry. Though his verbal extravagance and formal invention bring to mind Wallace Stevens’s tropical extrapolations, there lies beneath Green Squall’s lush tropical surfaces a terrifying world in which nightmare and celebration are indistinguishable, and hope is synonymous with despair.

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.