Зарубежные стихи
Различные книги в жанре Зарубежные стихиSing with me
In this volume of poetry we have brought together poets from all over the world to speak with one voice for peace, humanity, hope and love.
Pflanzenwortklänge
Die hier vorgestellten Gedichte wollen dem Leser das Wesen und die Wirkungsweise der ausgewählten Heilpflanzen in poetisch abgewandelter Form nahe bringen. Das Buch ist durchgehend farbig bebildert.
Herzmut
Jenny Bofferding führt Dich auf eine wunderbare Reise einfühlsamer Poesie. Das Buch inspiriert zum Nachdenken und gibt Dir Mut, verschlossene Türen mit dem Herzen zu öffnen. Die Autorin möchte Dir Vertrauen schenken, deine eigene Wahrheit zu leben und deiner inneren Stimme zu folgen. Das Buch führt Dich über grenzenlose Wege voller Lichtblicke. Jenny Bofferding versteht es, sich in Stimmungen und Emotionen anderer Menschen hinein zu versetzen und diese mit ihren eigenen Gefühlen zu verbinden. Daraus entstehen authentische und berührende Texte über Liebe, Mut, Verbundenheit, Trauer, Hoffnung und Zuversicht.
Poems, 1957–1967
<P>This volume represents, under one cover, the major work of the man whom critics and readers have designated the authentic poet of his American generation. For this collection, James Dickey has selected from his four published books all those poems that reflect his truest interests and his growth as an artist. He has added more than a score of new poems –; in effect, a new book in themselves –; that have not previously been published in volume form.</P><P>Specifically, Poems 1957-1967 contains 15 of the 24 poems that were included in his first book, Into the Stone (1960); 25 of the 36 that made up Drowning With Others (1962); 22 of the 24 in Helmets (1964); the entire 22 in the National Book Award winner Buckdancer's Choice (1965); and, under the titles Sermon and Falling, the exciting new poems mentioned above. Seldom can the word «great» be used of the work of a contemporary in any art. But surely it applies to the poems of James Dickey.</P>
What Is Amazing
<P>Inspired by a voracious curiosity about humans and other subjects, the poems in Heather Christle's What Is Amazing describe and invent worlds in an attempt to understand through participation. The book draws upon the wisdom of foolishness and the logic of glee, while simultaneously exploring the suffering inherent to embodied consciousness. Speakers play out moments of bravado and fear, love and mortality, disappointment and desire. They socialize incorrigibly with lakes, lovers, fire, and readers, reasoning their way to unreasonable conclusions. These poems try to understand how it is that we come to recognize and differentiate objects and beings, how wholly each is attached to its name, and which space reveals them. What Is Amazing delights in fully inhabiting its varied forms and voices, singing worlds that often coincide with our own.</P>
The Eagle’s Mile
<P>A book of new poems by a major writer is an event. A book of new poems that marks a different, more powerful approach is cause for celebration. «What I looked for here,» James Dickey tells us about The Eagle's Mile, «was a flicker of light &#8216;from another direction,' and when I caught it –; or thought I did –; I followed where it went, for better or worse.» In this new work, Dickey edges away from the narrative-based poems of his previous books and gives instead more primacy to the language in which he writes. His poetry gains flexibility, and his poetic power becomes even surer and more clearly expressed. «I have experimented,» Dickey writes, «and look forward to experimenting more.»</P>
Money Shot
<P>The poems in Money Shot are forensic. Just as the money shot in porn is proof of the male orgasm, these poems explore questions of revelation and concealment. What is seen, what is hidden, and how do we know? Money Shot's investigation of these questions takes on a particular urgency because it occurs in the context of the suddenly revealed market manipulation and subsequent «great recession» of 2008–;2009. In these poems, Rae Armantrout searches for new ways to organize information. What can be made manifest? What constitutes proof? Do we «know it when we see it»? Looking at sex, botany, cosmology, and death through the dark lens of «disaster capitalism,» Armantrout finds evidence of betrayal, grounds for rebellion, moments of possibility, and even pleasure, in a time of sudden scarcity and relentless greed. This stunning follow-up to Versed—winner of the Pulitzer Prize and the National Book Critics Circle Award, and a finalist for the National Book Award—is a wonderfully stringent exploration of how deeply our experience of everyday life is embedded in capitalism.</P>
Fauxhawk
<P>A politico-linguistic problem, a conflicted hairstyle, and a conflict-bound drone, Fauxhawk works in the space where dissent becomes materialized, ironized, and commodified. Engaging drone optics, redactions, renditions, comedy, and cinema, Ben Doller wrenches exuberant music from the drone of the everyday. The citizens in these poems are fraught in their passivity, both ashamed of being and of being surveyed. Occupied by the material forces conspiring against poetry, Fauxhawk takes on the economics of writing, university bureaucracies, and complicit injustice. The poems in Doller's thrilling new collection attempt to find their own tone amid the blare via formal innovation, carving a space where presence is signified, in hopeful and clarifying resistance. An online reader's companion is available at http://bendoller.site.wesleyan.edu.</P>
Practical Water
<P><B>Winner of the Los Angeles Times Book Award for Poetry (2009)</B><BR><B>Runner-up for the Northern California Book Award for Poetry (2009)</B></P><P>Practical Water is, like Brenda Hillman's previous two books, Cascadia and Pieces of Air in the Epic, both an elemental meditation and an ecopoetics; this time her subject is water: Taoist water, baptismal water, water from the muses' fountains, the practical waters of hydrology from which we draw our being—and the stilled water in a glass in a Senate chamber. Not since Allen Ginsberg tried to levitate the Pentagon has American poetry seen the likes of the hallucinatory wit and moral clarity that Hillman brings to Washington in her poems about Congressional Hearings on the Iraq War. Here also—because it is about many kinds of power—is a sequence of twinned lyrics for the moon, governess of tides and night vision, for visible and invisible faces. Violence and the common world, fact and dream, science and magic, intuition and perception are reconfigured as the poet explores matters of spirit in political life and earthly fate. If it is time to weep by the waters of Babylon, it is also time to touch water's living currents. No one is reimagining the possibilities of lyric poetry with more inventiveness; this is masterful work by one of our finest poets.</P>