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Lapwing (Pavilion Poetry)
by Hannah CopleyPoetry Book Society Recommendation Summer 2024 Migrating across voices and blurring the divide between bird and human, self and other, Hannah Copley’s Lapwing explores restlessness, love, and ecological and personal grief in a vivid and incantatory sequence of poems. A lyrical biography of a bird and a fragmented study of a flawed and mutable creature bearing its name, Copley’s second collection takes inspiration from John Gower’s brid falseste of alle and its many literary guises. At the heart of the book are the shifting figures of Lapwing and Peet, two creatures whose overlapping narratives echo the double note of the bird’s cry. In Lapwing, known by countless names, migratory, and slowly disappearing beneath addiction, Copley examines a life in a slow tumble, as we are transported into a world shaped by real and imagined predators. Running alongside Lapwing is the searching voice of Peet, a daughter left to understand her father’s vanishing while trying to make a life in a habitat no longer fit for survival. Bold, exacting, and deeply personal, Copley’s poems call out from empty nests, drained wetlands, and ploughed fields to create a soundscape of endangerment and wonder. *Lapwing *asks that we consider how, like the bird itself, we must all dissemble to survive.
Lapwing (Pavilion Poetry)
by Hannah CopleyPoetry Book Society Recommendation Summer 2024 Migrating across voices and blurring the divide between bird and human, self and other, Hannah Copley’s Lapwing explores restlessness, love, and ecological and personal grief in a vivid and incantatory sequence of poems. A lyrical biography of a bird and a fragmented study of a flawed and mutable creature bearing its name, Copley’s second collection takes inspiration from John Gower’s brid falseste of alle and its many literary guises. At the heart of the book are the shifting figures of Lapwing and Peet, two creatures whose overlapping narratives echo the double note of the bird’s cry. In Lapwing, known by countless names, migratory, and slowly disappearing beneath addiction, Copley examines a life in a slow tumble, as we are transported into a world shaped by real and imagined predators. Running alongside Lapwing is the searching voice of Peet, a daughter left to understand her father’s vanishing while trying to make a life in a habitat no longer fit for survival. Bold, exacting, and deeply personal, Copley’s poems call out from empty nests, drained wetlands, and ploughed fields to create a soundscape of endangerment and wonder. *Lapwing *asks that we consider how, like the bird itself, we must all dissemble to survive.
Lark in the Morning: The Verses of the Troubadours, a Bilingual Edition
by Ezra Pound Robert Kehew W. D. SnodgrassAlthough the troubadours flourished at the height of the Middle Ages in southern France, their songs of romantic love, with pleasing melodies and intricate stanzaic patterns, have inspired poets and song writers ever since, from Dante to Chaucer, from Renaissance sonneteers to the Romantics, and from Verlaine and Rimbaud to modern rock lyricists. Yet despite the incontrovertible influence of the troubadours on the development of both poetry and music in the West, there existed no comprehensive anthology of troubadour lyrics that respected the verse form of the originals until now. Lark in the Morning honors the meter, word play, punning, and sound effects in the troubadours' works while celebrating the often playful, bawdy, and biting nature of the material. Here, Robert Kehew augments his own verse translations with those of two seminal twentieth-century poets—Ezra Pound and W. D. Snodgrass—to provide a collection that captures both the poetic pyrotechnics of the original verse and the astonishing variety of troubadour voices. This bilingual edition contains an introduction to the three major periods of the troubadours—their beginning, rise, and decline—as well as headnotes that briefly put each poet in context. Lark in the Morning will become an essential collection for those interested in learning about and teaching the origins of Western vernacular poetry.
Larkin, Ideology and Critical Violence: A Case of Wrongful Conviction
by J. OsborneThis volume combines a theoretical critique of the biographical method that dominates Larkin studies with a revolutionary interpretation of his works that better accounts for their profound influence upon leading Postmodernists like Ian McEwan, David Mitchell, Carol Ann Duffy, Damien Hirst - and the creators of Jerry Springer - the Opera .
Larkin: The Whitsun Weddings and The Less Deceived (Bloomsbury Master Guides)
by Andrew SwarbrickThis ebook is now available from Bloomsbury Academic. Bloomsbury Academic publish acclaimed resources for undergraduate and postgraduate courses across a broad range of subjects including Art & Visual Culture, Biblical Studies, Business & Management, Drama & Performance Studies, Economics, Education, Film & Media, History, Linguistics, Literary Studies, Philosophy, Politics & International Relations, Religious Studies, Social Work & Social Welfare, Study Skills and Theology. Visit bloomsbury.com for more information.
Larkin’s Travelling Spirit: The Place, Space and Journeys of Philip Larkin
by Alex HowardThis book examines Larkin’s evocation of place and space, along with the opportunities for self-discovery offered by the act and thought of travel. From his canonical verse to his lesser-known juvenilia and dream diaries, this title unveils a new Larkin; a man whose religious, political and ontological affiliations are often as wide-ranging and experimental as the very form and symbolic licence used to express them. Whether exploring Larkin’s fondness for deictics (‘pointing’ words, like here/there), his fascination with death, or his interest in the sexual opportunities of an itinerant lifestyle, this monograph provides fresh critical approaches bound to appeal to established Larkin scholars and newcomers alike.
The Last Days of Troy: A Dramatic Retelling Of Homer's Epic And The Last Days Of Troy
by Simon ArmitageSimon Armitage is rightly celebrated as one of the country's most original and engaging poets; but he is also an adaptor and translator of some of our most important epics, such as Sir Gawain and the Green Knight, The Death of King Arthur and Homer's Odyssey. The latter, originally a commission for BBC Radio, rendered the classical tale with all the flare, wit and engagement that we have come to expect from this most distinctive of contemporary authors, and in so doing brought Odysseus's return from the Trojan War memorably to life. The Last Days of Troy, a prequel of kinds, tells the tale of the Trojan War itself in a vivid new dramatic adaptation that is published to coincide with the Royal Exchange's stage performance in April 2014.
Last Lake (Phoenix Poets)
by Reginald GibbonsFrom Ritual A slow parade of old west enthusiasts, camp song and hymn, came in along the winding way where rural declined to suburban, slow riders and wagoners passing a cow staked to graze, some penned cattle looking vacantly up—not in vacant lots the ancient icons of wealth they had been in odes, prayers and epics, in sacrifices and customs of bride-price or dowry. (It’s good people no longer make blood sacrifices, at gas stations and stores, for example, and in the crunching gravel parking lots of small churches—oh but we do.) “The evening forgives the alleyway,” Reginald Gibbons writes in his tenth book of poems—but such startling simplicities are overwhelmed in us by the everyday and the epochal. Across the great range of Gibbons’s emblematic, vividly presented scenes, his language looks hard at and into experience and feeling. Words themselves have ideas, and have eyes—inwardly looking down through their own meanings, as the poet considers a lake in the Canadian north, a Chicago neighborhood, a horse caravan in Texas, a church choir, a bookshelf, or an archeological dig on the steppes near the Volga River. The last lake is the place of both awe and elegy.
Last Lake (Phoenix Poets)
by Reginald GibbonsFrom Ritual A slow parade of old west enthusiasts, camp song and hymn, came in along the winding way where rural declined to suburban, slow riders and wagoners passing a cow staked to graze, some penned cattle looking vacantly up—not in vacant lots the ancient icons of wealth they had been in odes, prayers and epics, in sacrifices and customs of bride-price or dowry. (It’s good people no longer make blood sacrifices, at gas stations and stores, for example, and in the crunching gravel parking lots of small churches—oh but we do.) “The evening forgives the alleyway,” Reginald Gibbons writes in his tenth book of poems—but such startling simplicities are overwhelmed in us by the everyday and the epochal. Across the great range of Gibbons’s emblematic, vividly presented scenes, his language looks hard at and into experience and feeling. Words themselves have ideas, and have eyes—inwardly looking down through their own meanings, as the poet considers a lake in the Canadian north, a Chicago neighborhood, a horse caravan in Texas, a church choir, a bookshelf, or an archeological dig on the steppes near the Volga River. The last lake is the place of both awe and elegy.
Last Lake (Phoenix Poets)
by Reginald GibbonsFrom Ritual A slow parade of old west enthusiasts, camp song and hymn, came in along the winding way where rural declined to suburban, slow riders and wagoners passing a cow staked to graze, some penned cattle looking vacantly up—not in vacant lots the ancient icons of wealth they had been in odes, prayers and epics, in sacrifices and customs of bride-price or dowry. (It’s good people no longer make blood sacrifices, at gas stations and stores, for example, and in the crunching gravel parking lots of small churches—oh but we do.) “The evening forgives the alleyway,” Reginald Gibbons writes in his tenth book of poems—but such startling simplicities are overwhelmed in us by the everyday and the epochal. Across the great range of Gibbons’s emblematic, vividly presented scenes, his language looks hard at and into experience and feeling. Words themselves have ideas, and have eyes—inwardly looking down through their own meanings, as the poet considers a lake in the Canadian north, a Chicago neighborhood, a horse caravan in Texas, a church choir, a bookshelf, or an archeological dig on the steppes near the Volga River. The last lake is the place of both awe and elegy.
Last Lake (Phoenix Poets)
by Reginald GibbonsFrom Ritual A slow parade of old west enthusiasts, camp song and hymn, came in along the winding way where rural declined to suburban, slow riders and wagoners passing a cow staked to graze, some penned cattle looking vacantly up—not in vacant lots the ancient icons of wealth they had been in odes, prayers and epics, in sacrifices and customs of bride-price or dowry. (It’s good people no longer make blood sacrifices, at gas stations and stores, for example, and in the crunching gravel parking lots of small churches—oh but we do.) “The evening forgives the alleyway,” Reginald Gibbons writes in his tenth book of poems—but such startling simplicities are overwhelmed in us by the everyday and the epochal. Across the great range of Gibbons’s emblematic, vividly presented scenes, his language looks hard at and into experience and feeling. Words themselves have ideas, and have eyes—inwardly looking down through their own meanings, as the poet considers a lake in the Canadian north, a Chicago neighborhood, a horse caravan in Texas, a church choir, a bookshelf, or an archeological dig on the steppes near the Volga River. The last lake is the place of both awe and elegy.
Last Looks, Last Books: Stevens, Plath, Lowell, Bishop, Merrill
by Helen VendlerIn Last Looks, Last Books, the eminent critic Helen Vendler examines the ways in which five great modern American poets, writing their final books, try to find a style that does justice to life and death alike. With traditional religious consolations no longer available to them, these poets must invent new ways to express the crisis of death, as well as the paradoxical coexistence of a declining body and an undiminished consciousness. In The Rock, Wallace Stevens writes simultaneous narratives of winter and spring; in Ariel, Sylvia Plath sustains melodrama in cool formality; and in Day by Day, Robert Lowell subtracts from plenitude. In Geography III, Elizabeth Bishop is both caught and freed, while James Merrill, in A Scattering of Salts, creates a series of self-portraits as he dies, representing himself by such things as a Christmas tree, human tissue on a laboratory slide, and the evening/morning star. The solution for one poet will not serve for another; each must invent a bridge from an old style to a new one. Casting a last look at life as they contemplate death, these modern writers enrich the resources of lyric poetry.
Last Looks, Last Books: Stevens, Plath, Lowell, Bishop, Merrill
by Helen VendlerIn Last Looks, Last Books, the eminent critic Helen Vendler examines the ways in which five great modern American poets, writing their final books, try to find a style that does justice to life and death alike. With traditional religious consolations no longer available to them, these poets must invent new ways to express the crisis of death, as well as the paradoxical coexistence of a declining body and an undiminished consciousness. In The Rock, Wallace Stevens writes simultaneous narratives of winter and spring; in Ariel, Sylvia Plath sustains melodrama in cool formality; and in Day by Day, Robert Lowell subtracts from plenitude. In Geography III, Elizabeth Bishop is both caught and freed, while James Merrill, in A Scattering of Salts, creates a series of self-portraits as he dies, representing himself by such things as a Christmas tree, human tissue on a laboratory slide, and the evening/morning star. The solution for one poet will not serve for another; each must invent a bridge from an old style to a new one. Casting a last look at life as they contemplate death, these modern writers enrich the resources of lyric poetry.
Last Looks, Last Books: Stevens, Plath, Lowell, Bishop, Merrill (The A. W. Mellon Lectures in the Fine Arts #56)
by Helen VendlerModern American poets writing in the face of deathIn Last Looks, Last Books, the eminent critic Helen Vendler examines the ways in which five great modern American poets, writing their final books, try to find a style that does justice to life and death alike. With traditional religious consolations no longer available to them, these poets must invent new ways to express the crisis of death, as well as the paradoxical coexistence of a declining body and an undiminished consciousness. In The Rock, Wallace Stevens writes simultaneous narratives of winter and spring; in Ariel, Sylvia Plath sustains melodrama in cool formality; and in Day by Day, Robert Lowell subtracts from plenitude. In Geography III, Elizabeth Bishop is both caught and freed, while James Merrill, in A Scattering of Salts, creates a series of self-portraits as he dies, representing himself by such things as a Christmas tree, human tissue on a laboratory slide, and the evening/morning star. The solution for one poet will not serve for another; each must invent a bridge from an old style to a new one. Casting a last look at life as they contemplate death, these modern writers enrich the resources of lyric poetry.
Last Looks, Last Books: Stevens, Plath, Lowell, Bishop, Merrill (The A. W. Mellon Lectures in the Fine Arts #56)
by Helen VendlerModern American poets writing in the face of deathIn Last Looks, Last Books, the eminent critic Helen Vendler examines the ways in which five great modern American poets, writing their final books, try to find a style that does justice to life and death alike. With traditional religious consolations no longer available to them, these poets must invent new ways to express the crisis of death, as well as the paradoxical coexistence of a declining body and an undiminished consciousness. In The Rock, Wallace Stevens writes simultaneous narratives of winter and spring; in Ariel, Sylvia Plath sustains melodrama in cool formality; and in Day by Day, Robert Lowell subtracts from plenitude. In Geography III, Elizabeth Bishop is both caught and freed, while James Merrill, in A Scattering of Salts, creates a series of self-portraits as he dies, representing himself by such things as a Christmas tree, human tissue on a laboratory slide, and the evening/morning star. The solution for one poet will not serve for another; each must invent a bridge from an old style to a new one. Casting a last look at life as they contemplate death, these modern writers enrich the resources of lyric poetry.
The Last Romantics (Routledge Revivals)
by Graham HoughFirst published in 1947, The Last Romantics elucidates on the major preoccupations of the leaders of thought in late Victorian times such as the arts and their relation to religion and the social order. The aim is to trace their thoughts and feelings and study the relevance of the thoughts to the author's time. This leads author to examine some aesthetic theories of Ruskin, Rosetti, Morris, Pater and finally Yeats, and includes discussions on art and French literature. This book will be of interest to students of Romantic literature.
The Last Romantics (Routledge Revivals)
by Graham HoughFirst published in 1947, The Last Romantics elucidates on the major preoccupations of the leaders of thought in late Victorian times such as the arts and their relation to religion and the social order. The aim is to trace their thoughts and feelings and study the relevance of the thoughts to the author's time. This leads author to examine some aesthetic theories of Ruskin, Rosetti, Morris, Pater and finally Yeats, and includes discussions on art and French literature. This book will be of interest to students of Romantic literature.
The Last Trojan Hero: A Cultural History of Virgil's Aeneid
by Philip HardieThe resonant opening lines of Virgil's Aeneid rank among the most famous and consistently recited verses to have been passed down to later ages by antiquity. And after The Odyssey and the Iliad, Virgil's masterpiece is arguably the greatest classical text in the whole of Western literature. This sinuous and richly characterised epic vitally influenced th poetry of Dante, Petrarch and Milton. The doomed love of Dido and Aeneas inspired Purcell, while for T.S. Eliot Virgil's poem was 'the classic of all Europe'. The poet's stirring tale of a refugee Trojan prince, 'torn from Libyan waves' to found a new homeland in Italy, has provided much fertile material for writings on colonialism and for discourses of ethic and national identity. The Aeneid has even been viewed as a template and source of justification for British and European imperialisms and for American nation-building. In his major and much anticipated new book Philip Hardie explores the many remarkable afterlives- ancient, medieval and modern- of the Aeneid in literature, music, politics, the visual arts and film.The Last Trojan Hero, by one of Virgil's leading interpreters, put continually fresh and surprising perspectives on one of the outstanding works of civilization. Placing the Aeneid on a broad artistic and historical canvas, it shows with elegance, originality and creative insight how and in what ways this remarkably durable text continues so powerfully to capture the cultural imagination and why it still speaks to us over a gulf of centuries.
The Last Wish: English Translation of select Sindhi Stories By Dr. Vinod Asudani
by Veena ShringiThe book is a compilation of some of the selected Sindhi poems by the author into English language.
The Late Cantos of Ezra Pound: Composition, Revision, Publication (Historicizing Modernism)
by Michael KindellanDrawing extensively on archival research, The Late Cantos of Ezra Pound critically explores the textual history of Pound's late verse, namely Section: Rock-Drill (1955) and Thrones (1959). Examining unpublished letters, draft manuscripts and other prepublication material, this book addresses the composition, revision and dissemination of these difficult texts in order to shed new light on their significance to Pound's wider project, his methods and techniques, and the structures of authority-literary and political-that govern the meaning of his poetry. Illustrated by reproductions of archival documents, The Late Cantos of Ezra Pound is an innovative new study of one of the most important poets of the 20th century.
The Late Cantos of Ezra Pound: Composition, Revision, Publication (Historicizing Modernism)
by Michael KindellanDrawing extensively on archival research, The Late Cantos of Ezra Pound critically explores the textual history of Pound's late verse, namely Section: Rock-Drill (1955) and Thrones (1959). Examining unpublished letters, draft manuscripts and other prepublication material, this book addresses the composition, revision and dissemination of these difficult texts in order to shed new light on their significance to Pound's wider project, his methods and techniques, and the structures of authority-literary and political-that govern the meaning of his poetry. Illustrated by reproductions of archival documents, The Late Cantos of Ezra Pound is an innovative new study of one of the most important poets of the 20th century.
Late Fragments: Flares, My Heart Laid Bare, Prose Poems, Belgium Disrobed (The Margellos World Republic of Letters)
by Charles BaudelaireThe first English collection of the late poetry and prose fragments of literary icon Charles Baudelaire “[These] unfinished works written after 1861 . . . deliver what their titles seem to promise: a soul stripped of guises and illusions.”—Ange Mlinko, New York Review of Books "In Richard Sieburth's lucid and precise translation and commentary, Baudelaire has found at long last a proper English voice."—Alberto Manguel While not as well‑known as his other works, Charles Baudelaire’s late poems, drafts of poems, and prose fragments are texts indispensable to the history of modern poetics. This volume brings together Baudelaire’s late fragmentary writings, aphoristic in form and radical in thought, into one edited collection for the first time. Substantial introductions to each work by Richard Sieburth combine the literary context with formal analysis and reception history to give readers a comprehensive picture of the genesis of these works and their subsequent fate. Baudelaire’s turn toward fragmentary writing involved not only a conscious renunciation of his aesthetics of perfection and unity, but a desertion of the harmonies of the traditional lyric in favor of the disjunctions of prose. These are daring works, often painful to read in their misanthropy and unconventional beauty.
The Late Harold Pinter: Political Dramatist, Poet and Activist
by Basil ChiassonThis volume is the first to provide a book-length study of Pinter’s overtly political activity. With chapters on political drama, poetry, and speeches, it charts a consistent tension between aesthetics and politics through Pinter’s later career and defines the politics of the work in terms of a pronounced sensory dimension and capacity to affect audiences. The book brings to light unpublished letters and drafts from the Pinter Archive in the British Library and draws his political poems and speeches, which have previously been overshadowed by his plays, into the foreground. Intended for students, instructors, and researchers in drama and theatre, performance studies, literature, and media studies, this book celebrates Pinter’s later life and work by discerning a coherent political voice and project and by registering the complex ways that project troubles the divide between aesthetics and politics.
Late Modernism and The English Intelligencer: On the Poetics of Community (Historicizing Modernism)
by Alex LatterDespite the brevity of its run and the diminutive size of its audience, The English Intelligencer is a key publication in the history of literary modernism in the British Isles. Emerging in the mid-1960s from a dissatisfaction with the prevailing norms of 'Betjeman's England', the young writers associated with it were catalysed by the example of Donald Allen's The New American Poetry as they sought to establish a revitalised modernist poetics. Late Modernism and The English Intelligencer gives the first full account of the extraordinary history of this publication, bringing to light extensive new archival material to establish an authoritative contextualisation of its operation and its relationship with post-war British poetry. This material provides compelling new insights into the work of the Intelligencer poets themselves and, more broadly, the continued presence of an international poetic modernism as a vital force in Britain in the second half of the twentieth century.
Late Modernism and The English Intelligencer: On the Poetics of Community (Historicizing Modernism)
by Alex LatterDespite the brevity of its run and the diminutive size of its audience, The English Intelligencer is a key publication in the history of literary modernism in the British Isles. Emerging in the mid-1960s from a dissatisfaction with the prevailing norms of 'Betjeman's England', the young writers associated with it were catalysed by the example of Donald Allen's The New American Poetry as they sought to establish a revitalised modernist poetics. Late Modernism and The English Intelligencer gives the first full account of the extraordinary history of this publication, bringing to light extensive new archival material to establish an authoritative contextualisation of its operation and its relationship with post-war British poetry. This material provides compelling new insights into the work of the Intelligencer poets themselves and, more broadly, the continued presence of an international poetic modernism as a vital force in Britain in the second half of the twentieth century.