Altri libri che potrebbero interessarti

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  A Ballad of Death - A poetic...

  Algernon Charles Swinburne

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  Algernon Charles Swinburne was born on April 5th, 1837, in London, into a wealthy Northumbrian family.  He was educated at Eton and at Balliol College, Oxford, but did not complete a degree.  
  In 1860 Swinburne published two verse dramas but achieved his first literary success in 1865 with Atalanta in Calydon, written in the form of classical Greek tragedy. The following year "Poems and Ballads" brought him instant notoriety. He was now identified with "indecent" themes and the precept of art for art's sake.  
  Although he produced much after this success in general his popularity and critical reputation declined. The most important qualities of Swinburne's work are an intense lyricism, his intricately extended and evocative imagery, metrical virtuosity, rich use of assonance and alliteration, and bold, complex rhythms.  
  Swinburne's physical appearance was small, frail, and plagued by several other oddities of physique and temperament. Throughout the 1860s and 1870s he drank excessively and was prone to accidents that often left him bruised, bloody, or unconscious. Until his forties he suffered intermittent physical collapses that necessitated removal to his parents' home while he recovered.  
  Throughout his career Swinburne also published literary criticism of great worth. His deep knowledge of world literatures contributed to a critical style rich in quotation, allusion, and comparison. He is particularly noted for discerning studies of Elizabethan dramatists and of many English and French poets and novelists. As well he was a noted essayist and wrote two novels. 
  In 1879, Swinburne's friend and literary agent, Theodore Watts-Dunton, intervened during a time when Swinburne was dangerously ill. Watts-Dunton isolated Swinburne at a suburban home in Putney and gradually weaned him from alcohol, former companions and many other habits as well.  
  Much of his poetry in this period may be inferior but some individual poems are exceptional; "By the North Sea," "Evening on the Broads," "A Nympholept," "The Lake of Gaube," and "Neap-Tide."  
  Swinburne lived another thirty years with Watts-Dunton. He denied Swinburne's friends access to him, controlled the poet's money, and restricted his activities. It is often quoted that 'he saved the man but killed the poet'.  
  Swinburne died on April 10th, 1909 at the age of seventy-two.

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  Magnet Ass––And The Stone Cold...

  Will Cunningham

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  Magnet Ass and the Stone-Cold Truck Hunters is a Vietnam war memoir about Captain Alan "Magnet Ass" Milacek, the "man who flew his plane on one wing". It is a war story. But it is also not a war story. It has everything to do with a white-hot mission over the Plain of Jars in 1970, for which 10 men earned The Mackay Trophy, one of history's most coveted aviation awards - and at the same time, it has nothing to do with any of that at all.Magnet Ass is gritty and it is holy, sometimes full of shit and shrapnel - and at other times as demure as a duck flying over a pond in the dead of winter. Flashing between 1970 Asia and present day Oklahoma, Magnet Ass is poignantly written, meticulously researched, and narratively gripping. This incredible moment in the annals of air force history becomes a story about the power of kindness, courage, and tenacity in the face of uncertainty and fear. It becomes the story of two men pondering the past and finding themselves not only in remembering, but in relationship. Magnet Ass is at once a potent war story, a lushly written memoir, and a tale of the power of the everyday impossible, which any of us can strive to achieve.

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  Bad Weather Mammals - Poems

  Ashley-Elizabeth Best

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  “The sick should be good. / It is a kind of undoing,” Ashley-Elizabeth Best writes in her second collection. Bad Weather Mammals navigates the devastations and joys of living in a disabled and traumatized body. By taking a backward glance, she traces how growing up under the maladaptive bureaucracy of social services with a single disabled mother and five younger siblings led her to a precarious future in which she is also disabled and living on social assistance. In poems that explore a variety of formal constraints, such as the suite “ODSP 1, 2, & 3,” which infuses government forms with lyric poetry, she suggests all the ways the medical and bureaucratic systems can dehumanize and traumatize our most vulnerable citizens. By digging deep into her own experiences, Best has archived the ways we fail each other in our most desperate times — while at the same time outlining how we can show up to revel in disabled joy and community. Bad Weather Mammals disassembles dominant narratives about how disabled individuals should be and reconceptualizes the embodied experiences that recenter us in our own narrative.

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  I Feed The Cat - thoughts on...

  Keith Whiting

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  “Scribire iussit amor” 
  Ovid 
  (“Love compelled me to write”) 
  As with most art, the words in this book were inspired by love. 
  Inspired by women I have loved and one in particular, who I may have loved before. 
  The woman who inspired many of these words is one of the very few truly spiritual people I’ve ever known. In spite of a life often tormented by cruelty and neglect, she retained a rare spirituality and compassion. 
  She enriched my life and for that I will never forget her. 
  These are some of the poems. 
  Written over the past couple of years (something creative came out of the COVID lockdown). Some describe experiences and feelings directly related to my relationships and circumstances. Some figments of my imagination. 
  This book is divided into three sections: 
  Life, Love, and Loss 
  You can start reading from the beginning through to the end, or you can pick a section depending on your mood, or dip in and out at random. 
  Links, info and news about my other projects, both musical and literary can be found at www.risingopus.com  
  http://Instagram.com/Rising_Opus 
  If you enjoy this book and would like to follow and help fund future creative endeavours you can become a supporter atwww.Patreon.com/RisingOpus 
  And I’d love to hear from you if you enjoyed my words (or even if you didn’t!). 
  Email me: keithwhiting2020@gmail.com

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  National Gallery

  Jonathan Ball

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  A poetic collage of art in the modern world: from Rilkean elegies for an iPhone to a meditation on Melville's classic
  Jonathan Ball's fourth poetry book, the first in seven years, swirls chaos and confession together. At the book's heart is a question: Why create art? A series of poetic sequences torment themselves over this question, offering few answers and taking fewer prisoners. Loose sonnets that consider the artistic creations of Leatherface, monster-killer from The Texas Chain Saw Massacre, sit alongside Rilkean elegies for an iPhone. Surreal meditations on the collage work of Guy Maddin are followed by all of the lines from Melville's Moby-Dick that mention "salt." Politicians and painters jostle while absurdist humour crashes into stark admissions of vulnerability in the wake of having children. A startling diversity of styles and subjects feed into the maelstrom of The National Gallery, and its dark currents will draw you in to drown.

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  The Ride Down Mt Morgan

  Arthur Miller

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  Lyman Felt has it all. Wealth, success, power and the kind of good solid wife he needs. Oh, and he also has another wife, the kind of earthy, sexy woman he wants. Lyman juggles his artful lie until a car accident on the slippery slope of Mt. Morgan lands him in a hospital bed and the two wives in the waiting room. But really, is there any such thing as "just an accident?" 
   
  Includes an interview with Robert M. Collins, author of Transforming America: Politics and Culture During the Reagan Years. 
   
  Recorded before a live audience at the Skirball Cultural Center, Los Angeles in May 2005. 
   
  Directed by Richard Masur 
  Producing Director: Susan Albert Loewenberg 
   
  An L.A. Theatre Works full cast performance featuring: 
  Brian Cox as Lyman Felt 
  Saidah Arrika Ekulona as Nurse Logan 
  Gregory Itzin as Tom Wilson 
  Jenny O'Hara as Theo Felt 
  Amy Pietz as Leah Felt 
  Kirsten Potter as Bessie Felt 
   
  Recording Engineer/Sound Designer/Editor: Mark Holden  
  Stage Manager and Live Sound Effects: Leora Wien and Jode Ryskiewicz

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