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Poems of the Divided Self by Gary William Crawford Pdf
A book of truly bizarre and fascinating horror poems. . . Highly recommended. --Dumars Reviews. A succession of nightmares and ruminations ... stemming from a soul tortured beyond human imagination. --Star*Line150 copies of this book have been printed, of which this is number 124.
Shelley's detractors since Hazlitt have noticed a division in the 'self' of his poems. A central reasoning core fears the passions surrounding it and distrusts the language expressing it. A few of his admirers offer an alternative view of the poems as symbolical pointers to a non-linguistic reality transcending passion; most miss the point, justifying their admiration by referring to the poems' systems of thought. This reading of Shelley's major poems and critical prose finds the adverse case more convincing.
'Graeme Hetherington's ninth collection of poems portrays the poet's troubled journey to escape an 'afflicted self' shadowed with loneliness and paranoia. During the journey, the poet feels 'twisted and deformed' as he confronts a personal sense of psychological dislocation - a divided personality and confused sexual identity. Such feelings are the poet's 'demons of despair' that prompt in him a sense of complete dispossession, emptiness and rejection of humankind. No matter how long the journey and how far from the past the poet travels, he is trapped and haunted by these demons whose power colours the diction and imagery of his poetry. Tautly crafted short stanzas with references and images connoting blackness, punishment and curse, such as Mount Black's shadows on Tasmania's West Coast, the cat-o'-nine-tails, Coleridge's albatross and the scourge of Christ's crucifixion, convey the depth of the poet's despair. Despite the poet's desire to escape the 'darkness of the past', the reader senses that the power of his personal psychological drama will challenge his search for transcendence. The poet will certainly continue to seek poems that 'soar beyond' the theatre of the self, but they will provide perhaps only temporary respite as he continues to experience personal uncertainties and pain.' - Ralph Spaulding
The complete Dream Songs--hypnotic, seductive, masterful--as thrilling to read now as they ever were John Berryman's The Dream Songs are perhaps the funniest, saddest, most intricately wrought cycle of oems by an American in the twentieth century. They are also, more simply, the vibrantly sketched adventures of a uniquely American antihero named Henry. Henry falls in and out of love, and is in and out of the hospital; he sings of joy and desire, and of beings at odds with the world. He is lustful; he is depressed. And while Henry is breaking down and cracking up and patching himself together again, Berryman is doing the same thing to the English language, crafting electric verses that defy grammar but resound with an intuitive truth: "if he had a hundred years," Henry despairs in "Dream Song 29," "& more, & weeping, sleepless, in all them time / Henry could not make good." This volume collects both 77 Dream Songs, which won Berryman the Pulitzer Prize in 1965, and their continuation, His Toy, His Dream, His Rest, which was awarded the National Book Award and the Bollingen Prize in 1969. The Dream Songs are witty and wild, an account of madness shot through with searing insight, winking word play, and moments of pure, soaring elation. This is a brilliantly sustained and profoundly moving performance that has not yet-and may never be-equaled.
This work demonstrates that twentieth-century Nicaraguan poetry can not be comprehended in its fullest dimension without an understanding of the literary traditions of France and the United States. Ever since Ruben Dario established Hispanic America's literary independence from Spain in the nineteenth century with his modernista revolution, poets in Nicaragua actively have engaged in a dialogue with the works of French and North American authors as a means of assimilating and transforming them and thereby inventing a profoundly Nicaraguan literary identity. This process has resulted in what might be called a double genealogy in Nicaraguan poetry: certain poets attracted to the alchemical properties of the poetic word and a transcendent, mythic, meta-reality seem to have descended from French literary forebears; others, interested in an expansive, poeticized version of history and verisimilitude, have roots that might be traced to North American soil. This division is a provisional, experimental means of grouping Nicaraguan poets based not on the traditional compartmentalization of literary generations, but on the "family resemblances" of poetic affinities. Presented here is an effective analysis of the "familial" nature of the Nicaraguan poets achieving their own literary independence by taking into account socio-political and historical considerations, common literary themes, as well as the intertextual relations that form the basis of international literary dialogues. This rigorous, but flexible, approach to modern Nicaraguan poetry enables the reader to accompany the poets on their journeys toward God and the end of the world; into a timeless Nicaraguan landscape invaded by U.S. Marines; beyond a contemporary urban portrait of Los Angeles; through the horrifying European battlefields of World War I and the trenches of Nicaragua's revolution against the Somoza dictatorship. The English-speaking reader probably will be unfamiliar with most of the seven preeminent Nicarguan poets whose works are the subject of this book, but it is hoped that the reader will realize that the poetry of Nicaraguans Alfonso Cortes, Salomon de la Selva, Jose Coronel Urtecho, Pablo Antonio Cuadra, Joaquin Pasos, Carlos Martinez Rivas, and Ernesto Cardenal is worthy of serious study. Furthermore, the poems of these authors take on a richer meaning when they are studied as co-presences in relation to certain texts by Baudelaire, Rimbaud, Mallarme, and Supervielle, or - in an "American" context - by poets such as Whitman, Pound, Eliot, and Masters. A relatively small country with a rich, diverse tradition in poetry, Nicaragua has maintained high literary standards generation after generation and has produced poets of a world-class stature whose time has come for greater recognition.
Robert Penn Warren's reputation as a poet, though always considerable, has soared in the last decade, as indicated by his recent selection as America's first poet laureate. The Braided Dream is one of the first book-length studies of the poetry that has led to Warren's recent rise to eminence and the first to consider his final collection, Altitudes and Extensions. In a communicable, jargon-free style that will appeal to the nonacademic reader as well as the serious scholar, Randolph Paul Runyon provides a detailed and illuminating guide to a body of poetry that, despite its greatness, has until now seemed resistant to full understanding. Every poem of Warren's last four sequences—Now and Then, Being Here, Rumor Verified, and Altitudes and Extensions—is given a close reading, with a precise laying-out of words, phrases, and recurring images that not only enrich the texture of the poetry but are themselves the texture. Runyon demonstrates the relevance of Freud's concept of the dream work of the unconscious to a reading of this tightly interwoven poetry. He shows how Warren's poems assume additional meanings by the poet's very arrangement of them, deepening his thesis by arguing that "poems eat poems" as each reuses and reconceptualizes the imagery of its predecessor, frequently with ironic or parodic effect.
First published in 1960, this watershed work aimed to make madness comprehensible, and in doing so revolutionized the way we perceive mental illness. Using case studies of patients he had worked with, psychiatrist R. D. Laing argued that psychosis is not a medical condition but an outcome of the 'divided self', or the tension between the two personas within us: one our authentic, private identity, and the other the false, 'sane' self that we present to the world.
American Poets and Poetry [2 volumes] by Jeffrey Gray,Mary McAleer Balkun,James McCorkle Pdf
The ethnically diverse scope, broad chronological coverage, and mix of biographical, critical, historical, political, and cultural entries make this the most useful and exciting poetry reference of its kind for students today. American poetry springs up out of all walks of life; its poems are "maternal as well as paternal...stuff'd with the stuff that is coarse and stuff'd with the stuff that is fine," as Walt Whitman wrote, adding "Of every hue and caste am I, of every rank and religion." Written for high school and undergraduate students, this two-volume encyclopedia covers U.S. poetry from the Colonial era to the present, offering full treatments of hundreds of key poets of the American canon. What sets this reference apart is that it also discusses events, movements, schools, and poetic approaches, placing poets in their social, historical, political, cultural, and critical contexts and showing how their works mirror the eras in which they were written. Readers will learn about surrealism, ekphrastic poetry, pastoral elegy, the Black Mountain poets, and "language" poetry. There are long and rich entries on modernism and postmodernism as well as entries related to the formal and technical dimensions of American poetry. Particular attention is paid to women poets and poets from various ethnic groups. Poets such as Amiri Baraka, Nathaniel Mackey, Natasha Trethewey, and Tracy Smith are featured. The encyclopedia also contains entries on a wide selection of Latino and Native American poets and substantial coverage of the avant-garde and experimental movements and provides sidebars that illuminate key points.
Stylistic Innovation, Conscious Experience, and the Self in Modernist Women's Poetry by Kristina Marie Darling Pdf
Stylistic Innovation, Conscious Experience, and the Self in Modernist Women's Poetry examines representations of philosophical discourses in Modernist women's writing. Philosophers argued in the early twentieth century for an understanding of the self as both corporeal and relational, shaped and reshaped by interactions within a community. The once clear distinction between self and other was increasingly called into question. This breakdown of boundaries between self and world often manifested in the style of early twentieth-century literary works. Modernist poetry, like stream of consciousness fiction, used metaphor, sound, and a revision of received grammatical structures to blur the boundaries between the individual and collective. This book explores the ways that feminist writers like Mina Loy, H.D., Gertrude Stein, and Marianne Moore used style and technique to respond to these philosophical debates, reclaiming agency over a predominantly male philosophical discourse. While many critics have addressed the thematic content of these writers' work, few scholars have taken up this question while focusing on the style of the writing. This book shows how these feminist poets used seemingly small stylistic choices in poetry to make necessary contributions to contemporary philosophical discourses, ultimately rendering these philosophical conversations more inclusive.
This volume traces the modern critical and performance history of this play, one of Shakespeare's most-loved and most-performed comedies. The essay focus on such modern concerns as feminism, deconstruction, textual theory, and queer theory.
Six Modernist Moments in Poetry by David Young Pdf
"Along with the four poems written in English, the two non-English poems are presented and discussed in Young's own translations. He describes the provenance of each of the six poems, puts it in the context of its time and the poet's career, and surrounds it with references to other poems that are quoted generously. In this way, each poem is not only fully explicated but also presented as a kind of preeminent example representing other poems of its type. Combining close reading with contextual discussion, this book is a significant contribution to the fields of poetry and modernism."--BOOK JACKET.
