Resultados para "Jam" en Poesía

A MAYOR GRACIA DE DIOS (The Grace). Es uno de los 15 relatos que componen la novela Dublineses. Este relato está marcado por la religión. Aquí se ven los trapicheos de un cierto proselitismo católico, ya que este relato trata de cómo los amigos y la esposa del protagonista, que ha tenido un accidente estando borracho, intentan reconducirle a la senda católica.

Poems of the Erotic, the Romantic, the Violent, and the Grotesque. Rooted in Splatterpunk and Extreme Horror, yet written with the precision of dark poetry, this collection pushes past polite boundaries and stays with you long after the final word fades. This is not comfort listening. This is confrontation, intimacy, and obsession

Songs that blow the mind.

Songs that blow the mind.

Through the use of powerful imagery and evocative language, the poems in this collection capture the beauty and complexity of everyday life. From the joy of a simple sunrise to the heartache of a loved one's departure, these poems delve deep into the emotional fabric of the human experience.

“We lived overlooking the walls overlooking the cemetery.” So begins the title poem of this collection, whose recursive temporality is filled with living, grieving things, punctuated by an unseen world of roots, bodies, and concealed histories. Like a cemetery, too, The Milk Hours sets unlikely neighbors alongside each other: Hegel and Murakami, Melville and the Persian astronomer al-Sufi, enacting a transhistorical poetics even as it brims with intimacy.

In the second Domesticated installment, East Anglian punk poet James Domestic is once again taking potshots at work, so-called-punk-rock, outdoor and indoor pursuits, aging, right wing lunatics, politics, feet, and himself. As if that wasn’t enough, you’ll also find his trademark surrealism, sarcasm, and quintessentially British whimsy applied to animals, emails, food, and the power of music, alongside his idiosyncratic illustrations, and photographs from his murky past.

Ain’t Long Fore Day are poems that carry on in the spirit of the blues. With music and enigma, James Sallis delivers lyrical and narrative poems steeped in the beauty of the every day.

Winner of the 2021 Academy of American Poets James Laughlin Award A blistering exploration of America’s legacy of anti-Black violence from an indispensable poet of our time American history got you down? Are you feeling alienated? Join poet James Cagney in his blistering second collection...

In this unusual departure from his usual practical and direct style, Allen here writes a series of thoughtful, reflective and inspirational poems laying out his unique thoughts in a new style. Spiritual, secular, and deeply embedded in the genuine practice of faith, the book begins with Eolaus, an extended work following a man struggling through the depths of his spiritual sorrow, comforted and assailed by the vocies of earth and nature.

Although grief is at the forefront of these poems, The Wild Delight of Wild Things is a simple love letter to Turner's late wife, poet Ilyse Kusnetz (1966-2016). The poems are also a love letter to our planet during the ongoing sixth mass extinction. Intertwining this immense grief, Turner explores the hybrid borderlands of genre, and the meditations on love and loss blur the boundaries between poetry and lyric prose. In Italian, the word "stanza" is rooted in the word "room."

The Castle of Indolence was published early in the summer of 1748, four months after the poet’s death. The work was a slow and leisurely composition, which took nearly fifteen years to complete. The poem consists of 158 stanzas, divided into two cantos. It is presented as an allegory and was professedly written in imitation of The Faerie Queene. The origin of the poem appears to be the frequent remonstrances of Thomson’s friends about the poet’s well-known indolence, regarding both life and composition.

The Bridge of Fire, which appeared in 1907, was Flecker's first published collection of poetry. It contains 35 poems, a number of which were revised and republished in later collections. As with Flecker's other collections, two persistent themes emerge: the poet's fascination with the glories of Grecian antiquity and his premonitions of an early demise. Flecker seemed to be acutely aware that not only would he pass away himself, but also the fading world of British imperialism of which he was a characteristic representative.

Award-winning contemporary poems of country and city life.

In 1907 New Thought author James Allen published a verse anthology entitled Poems of Peace. Included in the collection is his sole dramatic work, Eolaus, which describes the journey of a troubled pilgrim from the wilderness of worldly despair to the heights of personal realization.

Among his many other attributes, James Elroy Flecker was a skilled linguist and an expert translator of Latin poetry. In 1913, he planned to write a book to be entitled An interpretation in blank verse of Virgil, Aeneid VI, based on the poetic value of the sounds, together with Latin text and ten prefaces. The surviving translation consists of lines 1-19 and 264-547 from book six, which describe Aeneas' encounter with Sibyl and his visit to the underworld.

Have you ever been to a King Lear performance with the impression of not having understood everything? It's normal. Shakespeare's plays are the most beautiful of the theatrical repertoire, but you cannot go to a Shakespeare play if you do not have a minimum prepared this show: understand the issues, characters, context, cultural or historical references is indispensable. The same is true if you intend to read a play by William Shakespeare: our summaries will help you better understand what you have read.

A collection of 108 poems on wind.

Fiction, poetry, and music come together to create something new: Verb. Original stories and poems you won't find anywhere else, by the best writers in the country, brought to you in an innovative format. Verb is the ancient oral tradition and the venerable literary magazine combined into a fresh new package: the audioquarterly.

The place of poetry in modern democracy is no place, according to conventional wisdom. The poet, we hear, is a casualty of mass entertainment and prosaic public culture, banished to the artistic sidelines to compose variations on insipid themes for a dwindling audience. Robert Pinsky, however, argues that this gloomy diagnosis is as wrongheaded as it is familiar.