This edition is a revised translation by D. C. H. Rieu of the translation done by his father, E. V. Rieu, in the first Penguin Classic to be published. Contains a preface by D. C. H. Rieu and an introduction by Peter Jones. Also includes a map, explanatory footnotes, a combined glossary and index, as well as suggestions for further reading of acclaimed criticisms and references.
Adam Nicolson sees the Iliad and the Odyssey as the foundation myths of Greek—and our—consciousness, collapsing the passage of 4,000 years and making the distant past of the Mediterranean world as immediate to us as the events of our own time.
Why Homer Matters is a magical journey of discovery across wide stretches of the past, sewn together by the poems themselves and their metaphors of life and trouble. Homer's poems occupy, as Adam Nicolson writes "a third space" in the way we relate to the past: not as memory, which lasts no more than three generations, nor as the objective accounts of history, but as epic, invented after memory but before history, poetry which aims "to bind the wounds that time inflicts."
The Homeric poems are among the oldest stories we have, drawing on deep roots in the Eurasian steppes beyond the Black Sea, but emerging at a time around 2000 B.C. when the people who would become the Greeks came south and both clashed and fused with the more sophisticated inhabitants of the Eastern Mediterranean.
The poems, which ask the eternal questions about the individual and the community, honor and service, love and war, tell us how we became who we are.
Have you ever enjoyed a slam or two and thought, "I could do this," but felt apprehensive staring at that empty mic—or worse, you climbed up on stage and struggled?
Let Marc Kelly Smith, the founder of Slam Poetry, teach you everything you need to be a confident performer, from writing a powerful poem, to stage techniques, to going on tour (if that's where your muse leads you).
Take the Mic is filled with insider tips, backstage advice, and tons of examples of slam poems that wake up an audience. With this book, you'll also be able to link to the PoetrySpeaks.com community to listen to samples, meet poets, and unearth inspirations for your next performance.
The Ultimate Guide to Writing and Performing with Power
Take the Mic is an essential guide for lifting your poetry from the page to the stage. Marc Kelly Smith (So What!), grand founder of the Slam movement, serves as you personal coach, showing you how to craft stage-worthy verse and deliver a poetry performance that shakes the rafters and sparks thunderous applause. In Take the Mic, you discover how to...Pen poetry that's conducive to on-stage performance Overcome stage fright Practice powerful performance techniques Rehearse like a pro Shape a loose collection of poems into a killer set Connect with your audience — heart and soul Master the art of self-promotion Schedule your own slam poetry tour Transform your hobby into paying gigs Act professional to establish a solid reputation in the Slam community
Take the Mic is packed with practical exercises you can do alone or in class to hone your skills and transform your body, mind, voice, verse, and spirit into an engaging stage presence.
You'll also find a brief history of slam, the rules and regulations that govern official slam competitions, and a list of PSI (Poetry Slam, Inc.) Certified Slams, so no matter where you are, you always have a place to Take the Mic!
For Wallace Stevens, "Poetry is the scholar's art." Susan Howe—taking the poet-scholar-critics Charles Olson, H.D., and William Carlos Williams (among others) as her guides—embodies that art in her 1985 My Emily Dickinson (winner of the Before Columbus Foundation Book Award). Howe shows ways in which earlier scholarship had shortened Dickinson's intellectual reach by ignoring the use to which she put her wide reading. Giving close attention to the well-known poem, "My Life had stood—a Loaded Gun," Home tracks Dickens, Browning, Emily Brontë, Shakespeare, and Spenser, as well as local Connecticut River Valley histories, Puritan sermons, captivity narratives, and the popular culture of the day. "Dickinson's life was language and a lexicon her landscape. Forcing, abbreviating, pushing, padding, subtracting, riddling, interrogating, re-writing, she pulled text from text...."
Poetry For Dummies is a great guide to reading andwriting poems, not only for beginners, but for anyone interested inverse. From Homer to Basho, Chaucer to Rumi, Shelley toGinsberg, it introduces you to poetry’s greatestpractitioners. It arms you with the tools you need to understandand appreciate poetry in all its forms, and to explore your owntalent as a poet. Discover how to:Understand poetic language and formsInterpret poemsGet a handle on poetry through the agesFind poetry readings near youWrite your own poemsShop your work around to publishers
Don’t know the difference between an iamb and a trochee?Worry not, this friendly guide demystifies the jargon, and itcovers a lot more ground besides, including:Understanding subject, tone, narrative; and poeticlanguageMastering the three steps to interpretationFacing the challenges of older poetryExploring 5,000 years of verse, from Mesopotamia to the globalvillageWriting open-form poetryWorking with traditional forms of verseWriting exercises for aspiring poetsGetting published
From Sappho to Clark Coolidge, and just about everyone inbetween, Poetry For Dummies puts you in touch with thegreats of modern and ancient poetry. Need guidance on composing aghazal, a tanka, a sestina, or a psalm? This is the book foryou.
"Poetry is a vocal, which is to say a bodily, art," Robert Pinsky declares in The Sounds of Poetry. "The medium of poetry is the human body: the column of air inside the chest, shaped into signifying sounds in the larynx and the mouth. In this sense, poetry is as physical or bodily an art as dancing."
As Poet Laureate, Pinsky is one of America's best spokesmen for poetry. In this fascinating book, he explains how poets use the "technology" of poetry--its sounds--to create works of art that are "performed" in us when we read them aloud.
He devotes brief, informative chapters to accent and duration, syntax and line, like and unlike sounds, blank and free verse. He cites examples from the work of fifty different poets--from Shakespeare, Donne, and Herbert to W. C. Williams, Frost, Elizabeth Bishop, C. K. Williams, Louise Glück, and Frank Bidart.
This ideal introductory volume belongs in the library of every poet and student of poetry.
"In his work a continent awakens to consciousness." So wrote the Swedish Academy in awarding the Nobel Prize to Pablo Neruda, the author of more than thirty-five books of poetry and one of Latin America's most revered writers, lionized during his lifetime as "the people's poet."
This selection of Neruda's poetry, the most comprehensive single volume available in English, presents nearly six hundred poems, scores of them in new and sometimes multiple translations, and many accompanied by the Spanish original. In his introduction, Ilan Stavans situates Neruda in his native milieu as well as in a contemporary English-language one, and a group of new translations by leading poets testifies to Neruda's enduring, vibrant legacy among English-speaking writers and readers today.
This anthology embraces a wide variety of compositions: it ranges from song-poems of the Pele and Hiiaka cycle and the pre-Christian Shark Hula for Ka-lani-opuu to postmissionary chants and gospel hymns. These later selections date from the reign of Ka-mehameha III (1825-1854) to that of Queen Liliu-o-ka-lani (1891-1893) and comprise the major portion of the book. They include, along with heroic chants celebrating nineteenth-century Hawaiian monarchs, a number of works composed by commoners for commoners, such as Bill the Ice Skater, Mr. Thurston's Water-Drinking Brigade, and The Song of the Chanter Kaehu. Kaehu was a distinguished leper-poet who ended his days at the settlement-hospital on Molokai.
After the agony of witnessing her mothers multiple—and ultimately successful—suicide attempts, Linda Gray Sexton, daughter of the acclaimed poet Anne Sexton, struggles with an engulfing undertow of depression. Here, with powerful, unsparing prose, Sexton conveys her urgent need to escape the legacy of suicide that consumed her family—a topic rarely explored, even today, in such poignant depth.
Linda Gray Sexton tries multiple times to kill herself—even though as a daughter, sister, wife, and most importantly, a mother, she knows the pain her act would cause. But unlike her mother’s story, Linda’s is ultimately one of triumph. Through the help of family, therapy, and medicine, she confronts deep-seated issues and curbs the haunting cycle of suicide she once seemed destined to inherit.
“This book looks into the workings of the suicidal mind in a way that isn’t easily forgotten, raising provocative questions about how we approach and treat the severely mentally ill.” —The New York Times Book Review
“With brutal honesty and total lack of self-pity or sentimentality, Linda Sexton has dared to explore a subject more taboo than almost any other: not only suicide, but what comes after, for its survivors. This is a book that will speak to anyone touched by the suicide of someone we knew or loved—as so many of us have been.” —Joyce Maynard, New York Times bestselling author
In his introduction, James Fenton dicusses the early publication and critical reception of Lawrence's poems, his develpoments as a poet and his use of free verse. This edition also includes a chronology, further reading and appendices, including Lawrence's comments on the work of Walt Whitman.
Describing Dante's descent into Hell with Virgil as a guide, Inferno depicts a cruel underworld in which desperate figures are condemned to eternal damnation for committing one or more of seven deadly sins. As he descends through nine concentric circles of increasingly agonising torture, Dante encounters many doomed souls before he is finally ready to meet the ultimate evil in the heart of Hell: Satan himself.
This new edition of Inferno includes explanatory notes and an illustration of Dante's plan of hell. Robin Kirkpatrick's masterful translation is also available in a bilingual Penguin edition, with the original Italian on facing pages, and in a complete edition of The Divine Comedy with an introduction and other editorial materials.
Dante Alighieri was born in 1265. He studied at the university of Bologna, married at the age of twenty and had four children. His first major work was La Vita Nuova (1292), a tribute to Beatrice Portinari, the great love of his life who had died two years earlier. In 1302, Dante's political activism resulted in his being exiled from Florence. After years of wandering, he settled in Ravenna and in about 1307 began writing The Divine Comedy. Dante died in 1321.
Robin Kirkpatrick is a poet and widely-published Dante scholar. He has taught courses on Dante's Divine Comedy in Hong Kong, Dublin and Cambridge, where is Fellow of Robinson College and Professor of Italian and English Literatures.
'The perfect balance of tightness and colloquialism...likely to be the best modern version of Dante' - Bernard O'Donoghue
“Two roads diverged in a yellow wood . . .” One hundred years after its first publication in August 1915, Robert Frost’s poem “The Road Not Taken” is so ubiquitous that it’s easy to forget that it is, in fact, a poem. Yet poetry it is, and Frost’s immortal lines remain unbelievably popular. And yet in spite of this devotion, almost everyone gets the poem hopelessly wrong.
David Orr’s The Road Not Taken dives directly into the controversy, illuminating the poem’s enduring greatness while revealing its mystifying contradictions. Widely admired as the poetry columnist for The New York Times Book Review, Orr is the perfect guide for lay readers and experts alike. Orr offers a lively look at the poem’s cultural influence, its artistic complexity, and its historical journey from the margins of the First World War all the way to its canonical place today as a true masterpiece of American literature.
“The Road Not Taken” seems straightforward: a nameless traveler is faced with a choice: two paths forward, with only one to walk. And everyone remembers the traveler taking “the one less traveled by, / And that has made all the difference.” But for a century readers and critics have fought bitterly over what the poem really says. Is it a paean to triumphant self-assertion, where an individual boldly chooses to live outside conformity? Or a biting commentary on human self-deception, where a person chooses between identical roads and yet later romanticizes the decision as life altering?
What Orr artfully reveals is that the poem speaks to both of these impulses, and all the possibilities that lie between them. The poem gives us a portrait of choice without making a decision itself. And in this, “The Road Not Taken” is distinctively American, for the United States is the country of choice in all its ambiguous splendor.
Published for the poem’s centennial—along with a new Penguin Classics Deluxe Edition of Frost’s poems, edited and introduced by Orr himself—The Road Not Taken is a treasure for all readers, a triumph of artistic exploration and cultural investigation that sings with its own unforgettably poetic voice.
Gregory Orr draws from a generous array of sources. He weaves discussions of work by Keats, Dickinson, and Whitman with quotes from three-thousand-year-old Egyptian poems, Inuit songs, and Japanese love poems to show that writing personal lyric has helped poets throughout history to process emotional and experiential turmoil, from individual stress to collective grief. More specifically, he considers how the acts of writing, reading, and listening to lyric bring ordering powers to the chaos that surrounds us. Moving into more contemporary work, Orr looks at the poetry of Sylvia Plath, Stanley Kunitz, and Theodore Roethke, poets who relied on their own work to get through painful psychological experiences.
As a poet who has experienced considerable trauma--especially as a child--Orr refers to the damaging experiences of his past and to the role poetry played in his ability to recover and survive. His personal narrative makes all the more poignant and vivid Orr's claims for lyric poetry's power as a tool for healing. Poetry as Survival is a memorable and inspiring introduction to lyric poetry's capacity to help us find safety and comfort in a threatening world.
Sometimes the most important messages come from the most unlikely places. Mattie J.T. Stepanek, a 13-year-old boy, made a difference before he died with his Heartsongs poetry. He continues to impact the world through Just Peace. This poet, best-selling author, peace activist, and prominent voice for the Muscular Dystrophy Association fervently believed in and promoted world peace not just as a concept, but as a reality.
Mattie was working on this manuscript with Jimmy Carter when he died in June 2004. His mother, Jeni, who edited the material and wrote a preface for the book has published it at her son's request. Just Peace explores Mattie's concept of the world and all people as a unique mosaic of gifts. War and injustice shatter the mosaic, which can only be made whole again by planning and actively pursuing peace. The young visionary's essays, poetry, and photographs appear throughout the book. Jimmy Carter has written a special foreword for the book.
Just as important to the book and enlightening to the reader are Mattie's many correspondences. Central to these are his personal e-mails to and from former president Jimmy Carter, Mattie's peace "hero" and role model. The Nobel Peace Prize winner met Mattie, considered him an angel, messenger, and hero in his own right, and was genuinely affected by Mattie's passion and drive. Just Peace is an intimate portrait of a president, a young man of hope, and peace itself.
-- John SturrockFrench StudiesClearly a landmark study. It seems certain to provoke a great deal of productive debate among those concerned with any of the many issues it raises.
-- Comparative Literature
The literary self-portrait, often considered to be an ill- formed autobiography, is receiving more attention as a result of the current obsession with personal narrative, but little progress has been made toward an understanding of its specific features. With Poetics of the Literary Self-Portrait, Michel Beaujour reveals the hidden ambitions of this genre. From St. Augustine to Montaigne, from Nietzsche to Malraux, Leiris and Barthes, individual self-portraits are analyzed jointly with the enduring cultural matrix from which self-portrayal derives its disconcerting non-narrative structure, and many of its recurrent topics.
“How lucky the young poet who discovers this wisest and most lighthearted of manuals.”—James Merrill
“Marvelously comprehensive, clarifying and useful, and a delight to read.”—John Reardon, Los Angeles Times Book Review
“A virtuoso performance and a mandatory text for poetry readers and practioners alike.”—ALA Booklist