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The poems in James Najarian’s debut collection are by turns tragic and mischievous, always with an exuberant attention to form. Najarian turns his caprine eye to the landscapes and history of Berks Country, Pennsylvania, and to the middle east of his extended Armenian family. These poems examine our bonds to the earth, to animals, to art and to desire. “In blank verse, free verse, stanzas and syllabics rhymed with delicate quirkiness, the poems of The Goat Songs are sure-footed and nimble.”—A.E. Stallings, author of Olives and judge
The poems in James Najarian's debut collection are by turns tragic and mischievous, always with an exuberant attention to form. Najarian turns his caprine eye to the landscapes and history of Berks Country, Pennsylvania, and to the middle east of his extended Armenian family. These poems examine our bonds to the earth, to animals, to art and to desire. From "Goat Song" I start up in my wide suburban bed, patting the mattress, hoping they are real, and call the names that seem to be for strippers: Candy, Ceffie, Bambi, Serenade. Just as the names come out, I understand them decades--caprine generations--gone, leaving me only with a kind surmise: that somewhere their uncountable-great grandkids are cramming their mouths with rose and thistle, breaking out of other pastures, with some other boy. "In blank verse, free verse, stanzas and syllabics rhymed with delicate quirkiness, the poems of The Goat Songs are sure-footed and nimble."--A.E. Stallings, author of Olives and judge
In a wind-battered Mayo cottage, playwright Jack Ferris tries to salvage something from his broken love affair with Catherine Adams. Drink and despair drove her away; can his imagination call her back? But as he summons up her past, Jack finds he has also called up Catherine's RUC father and a whole dangerous world of opposed traditions.
Acclaimed novelist Brad Kessler lived in New York City but longed for a life on the land where he could grow his own food. After years of searching for a home, he and his wife, photographer Dona Ann McAdams, found a mountain farmhouse on a dead-end road, with seventy-five acres of land. One day, when Dona returned home with fresh goat milk from a neighbor's farm, Kessler made a fresh chèvre, and their life changed forever. They decided to raise dairy goats and make cheese. Goat Song tells about what it's like to live intimately with animals who directly feed you. As Kessler begins to live the life of a herder -- learning how to care for and breed and birth goats -- he encounters the pastoral roots of so many aspects of Western culture. Kessler reflects on the history and literature of herding, and how our diet, our alphabet, our religions, poetry, and economy all grew out of a pastoralist milieu among hoofed animals. Kessler and his wife adapt to a life governed by their goats and the rhythm of the seasons. And their goats give back in immeasurable ways, as Kessler proves to be a remarkable cheesemaker, with his first tomme of goat cheese winning lavish praise from America's premier cheese restaurants. In the tradition of Thoreau's Walden and Annie Dillard's Pilgrim at Tinker Creek, Goat Song is both a spiritual quest and a compelling and beautiful chronicle of living by nature's rules.
The engaging and familiar poems in Muskox and Goat Songs explore those brief moments in life where conjunction or coincidence reveal the true heart of things.
"Three Goat Songs" is a series of variations on a theme. It is divided into three novellas, each about a man who sits on a rocky coast by the seashore, contemplating. Herbs of goats come there to graze. The man is a husband and father of two children. "Three Goat Songs" is an exploration into the existential boundaries, in the "sea-bounded goat world." It is a philosophical look at the essential sameness and, at the same time, the diversity of all stories. It has in common with the other books of Michael Brodsky the theme of the protagonist's struggle to survive, and more than that, to comprehend. Together, this body of work has led critics to compare the writing of Michael Brodsky to that of the masters like Dostoevsky, Becket, Joyce.
Poet, critic, and hybrid-genre artist Johnson tracks the use of trouble in word, concept, and practice in this debut of brief, elliptical, lyric essays. He moves through a wide swath of 20th- and 21st-century music, always alert to a sense of melancholy shared among songwriters, their songs, and their listeners in the ever-growing web of popular music. "When we say 'trouble,' we refer to the history of trouble whether or not we have it in mind. When we sing trouble, we sing (with) history," Johnson writes. "A Trouble Song is a complaint, a grievance, an aside, a come-on, a confession, an admission, a resignation, a plea. It's an invitation-to sorrow." The effect of all this trouble is dizzying. Highly annotated-often to personal, humorous, and hidden effects-the book weaves among genres, chronologies, and various forms of trouble to ask "Where are we in song? Who are we in song?" Johnson suggests that an answer lies somewhere in the locus of singer, song, and listener-the "essential relations in the Trouble Song." Detouring into philosophy, cultural theory, and verse, Johnson works multilaterally to explore what trouble in popular music does to connect listeners, embolden them, and open a space from which trouble can be addressed across time.
Impeccable scholarship and lavish illustration mark this landmark study of American railroad folksong. Norm Cohen provides a sweeping discussion of the human aspects of railroad history, railroad folklore, and the evolution of the American folksong. The heart of the book is a detailed analysis of eighty-five songs, from "John Henry" and "The Wabash Cannonball" to "Hell-Bound Train" and "Casey Jones," with their music, sources, history, and variations, and discographies. A substantial new introduction updates this edition.
A single full-length play loosely based on the Greek myth of Dionysos and encompassing a whole range of European dramatic traditions. The play deals with the contrast of man as beast (our essential nature) and as civilised being (embracing morals, nature and decorum).
The Goat: A Natural History offers a complete overview of this captivating creature, from the goatish Greek god Pan, to their cognitive capacity and typical milk yields. It is no secret that goats are highly intelligent. They are also curious, gentle, independent, very social, and full of character. They hate to get wet and will avoid puddles. Among the first domesticated animals, goats are a common character in western mythology. In ancient Greece, Crete, and Egypt, goats even received divine honours. Goats are increasingly appreciated for their high adaptability to a wide variety of environmental conditions, and will thrive in the warmer, dryer world of the future. This book reveals everything you need to know about the natural history of a fascinating animal.