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Gwendolyn MacEwen: Volume 1 by Gwendolyn MacEwen Pdf
Her poetry is both groundbreaking and unforgettable. Now you can enjoy the powerful first works of this poet in The Poetry of Gwendolyn MacEwen, Volume One: The Early Years. These poems show the beginnings of a poetic style that inspired other poets and amazed readers for years. Her poetic voice is in turns playful, melancholy and daring; this is a must-read for all fans of MacEwen and poetry lovers that want an introduction to this important writer.
The Poetry of Gwendolyn MacEwen by Gwendolyn MacEwen Pdf
Margaret Atwood presents a selection of poetry by Gwendolyn MacEwen, who first met Atwood in a Toronto coffee shop. MacEwen's poetry is by turns playful, extravagant, melancholy, daring and profound. Her work takes its inspiration from subjects as hard-hitting as the Hiroshima bombing and as humble as the peanut butter sandwich. It springs from a deep involvement with self and world.
Gwendolyn MacEwen: Volume 2 by Gwendolyn MacEwen Pdf
Her ascent to the top of the literary world is well known. Now you can enjoy the great works of this formidable writer in The Poetry of Gwendolyn MacEwen, Volume Two: The Later Years. Readers will gain a solid understanding of MacEwen's works, as these poems represent her strongest poetic voice, developed from years of writing. Her unique voice is both playful and melancholy, all the while being a daring addition to her genre. This book is a great introduction to the works of MacEwen.
King of Egypt, King of Dreams by Gwendolyn MacEwen Pdf
The Insomniac Library is proud to reissue Gwendolyn MacEwen's second novel, more than thirty years after its original appearance in 1971. The novel bears important resemblances to MacEwen's earlier Julian the Magician. Writing to poet Al Purdy, MacEwen confessed she wanted her second novel to be ''bulky, readable, and not overly mysterious.'' Unlike in Julian, however, here MacEwen sets out to write a deeply serious novel that also functions as entertaining historical fiction. The novel's hero is Akhenaton, Pharaoh of Egypt's Eighteenth Dynasty, who was the first ruler to introduce the idea of monotheism. As Rosemary Sullivan remarks in her biography of MacEwen, he was, like Julian, ''one more human being filled with the god-lust.'' Akhenaton's single-mindedness in his quest for his own brand of reason is a powerfully paradoxical distillation of the artistic temperament: originality, fertility and beauty set against death and despair and an inability to love.
"MacEwen described what she set out to achieve as a "sort of powerful poetic mad half-abandoned prose somewhere between [Kenneth] Patchen and Virginia Woolf." Set in a medieval past that has distinctly modern overtones, the novel is about Julian, a young man who believes he is Christ. Wandering the countryside in a horse-drawn wagon, Julian learns "to suspend logic like a whale on a thread." He becomes a master of alchemy, performing "miracles" like curing the mad and changing water into wine. When his rapt audiences begin to lose faith, Julian must pay with his life. MacEwen skillfully implies a relationship between alchemy, miracles and belief, and the art forms she is engaged in herself, poetry and prose. What is the price the writer-magician must pay to engender belief in her audience? Is something true merely because we believe it? With an afterword by the author's sister."--Jacket
The T.E. Lawrence Poems is Gwendolyn MacEwen's most integrated, complete and respected work. It is now recognized as her signature poetic achievement."In 1962, I was staying in a hotel in Tiberias, Israel; the tall, white-haired proprietor invited me downstairs one evening and served me syrupy tea and a plate of fruit. He showed me a series of old sepiatone photographs which lined the walls - photographs of blurred riders on camels riding to the left into some uncharted desert just beyond the door. Some of them were signed.'It's Lawrence isn't it?' I asked, walking up to one.'Yes, ' said my host, offering me a huge section of an orange. 'I rode with him once a long time ago. I see you always carry a pen and paper to write things down. I thought you'd be interested; I thought you'd like to know.'These poems were written some twenty years later."
Parabolist: noun (1) one who speaks in parables. (2) a member of a splinter group of disaffected young poets in Mexico City c. 1975. (3) a practitioner of the art of concentrating multiple sources of energy into a single focus, illuminating or, if left unchecked, destroying everything in its path. Part comedy, part mystery, The Parabolist is a novel about murder, sex, the medical establishment, poetry and vigilante justice on the streets of Toronto in 1975. Told through interlacing narratives, the story funnels towards the eye of an unsolved crime: on a rainy summer night, a woman is raped and very nearly murdered, but for the intervention of two drunken vigilantes who kill her attacker before fleeing the scene. The only clue the police have about their identities is a slab of Crisco shortening found on the victim. The unforgettable cast of characters includes a charismatic Mexican poet, a libido-driven first-year medical student, a runaway teen turned prostitute, a raven-haired beauty, a sinister psychiatrist, and a donated corpse that is dissected - from skin to muscle to bone - as layer by layer, the inscrutable mysteries of anatomy, love, literature and life are poignantly revealed. This is a funny, satirical, searing, dangerous and tender story of earnest youth and their ardent desire for love, acceptance and fulfillment.
Elements of history and the poems explore the many complexities of a lifetime defined by hardship and intense emotion that was influenced by the invasion of Poland, World War II, refuge, displacement, and loss.
The first anthology to focus on the rich tradition of Canadian nature poetry in English, Open Wide a Wilderness is a survey of Canada’s regions, poetries, histories, and peoples as these relate to the natural world. The poetic responses included here range from the heights of the sublime to detailed naturalist observation, from the perspectives of pioneers and those who work in the woods and on the sea to the dismayed witnesses of ecological destruction, from a sense of terror in confrontation with the natural world to expressions of amazement and delight at the beauty and strangeness of nature, our home. Arranged chronologically, the poems include excerpts from late-eighteenth-century colonial pioneer epics and selections from both well-known and more obscure nineteenth- and twentieth-century writers. A substantial section is devoted to contemporary writers who are working within and creating a new ecopoetic aesthetic in the early twenty-first century. Don McKay’s introductory essay, “Great Flint Singing,” explores in McKay’s inimitable way the thorny issues of Canadian poets’ representations of nature over the past 150 years. Focusing on key texts by Duncan Campbell Scott, Charles G.D. Roberts, Earle Birney, Dennis Lee, and others, the essay traces Wordsworthian influences in a New World context, celebrates Canadian poets’ love of natural history observation, and finds a way through a rich and contradictory tradition to current trends in ecopoetics.
