We added this recently and I love having a show or news on as I cook, clean up, make my tea in the morning, etc. I probably love it a little too much. Tea must be made with boiling water! In the UK there is a measurable drain on the energy grid during the ad breaks in popular sitcoms as everyone puts the kettle on at the same time. The power companies plan for it. But then, not that many people have coffee machines here, even with the rise in pod-type machines.
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I have a set of twinkle lights in the garden that I can see from the living room and they always cheer me up. After holidays and a bout of illness I get to see my best friend tomorrow so looking forward to that. I love my expensive hot chocolate. Daffodils will be around soon. At the end of the month I get to spend three days by the sea and then four days in the forest with a hot tub! Sooo looking forward to it. Thanks for the reminder. Your note about the ad break power demand is cracking me up. That is fantastic. And I just want you to be able to relax on my behalf: the kettle keeps the water at degrees fahrenheit.
Charcuterie platters on Friday nights. An idea finally hit me a couple of weeks ago—charcuterie! I put out a huge wooden platter with meats, sardines, cheeses, nuts, olives, fruits, veggies, and some bread and crackers for the rest of my family. Not much more work than pizza! Tea lights.
I love the sound of those crackling logs and usually put this on around sunset, which is ish right now in Minnesota. My local YMCA. That said, I just got a treadmill and am DIYing an at-home treadmill desk. I love it! There are 2 things really saving me right now. I listen to that and then do not watch, read, or listen to any other news. I am not sure of their funding but there is minimal advertising. They play wonderful music plus the announcers have lovely accents and I find it so soothing.
I make a fresh list for myself often, as it feeds into practicing gratitude. Right now? Snowshoeing we have tons of snow, northern Canada ; bone broth to start the day; and my Kindle e-reader, with which I am whittling away at my TBR list.
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I love your list! I love Beverly Cleary. She is the one author I know all my kids preschool to fifth grade will enjoy. Thanks for sharing. We DVR it and watch it before we go to bed! So civil,calming,and British!! Happy Winter!!! No Brits are swearing, running, stealing ingredients or knocking into each other. I am loving my flickering flameless candles with timer!
I have them programmed to turn on right before I get home, so I walk in to a cozy candle-lit family room. They stay on until after I go to bed. I purchased mine at costco. My little blue teapot…just so cute and holds the perfect number of cups for me. Keeping the Christmas tree up way past time because the lights were helping me get through dreary January.
Fun, silly and just what I need to keep me laughing and lighter-hearted this time of year. If you want anything else lovely to watch Little Women and The Miniaturist were on over Christmas here. Real Sunday night TV and brought a bit of warmth into the house. Did make me pine for a summer in a Greek villa though. Yes,yes to the previous poster who mentioned a boiling kettle and tea. People have fallen out over correct tea making procedures over here.
What a wonderful way to start my day! Tea is definitely something I rely on to give me a boost. We usually have a few cups a day, especially in the afternoon and after dinner. My cat cuddling in with us in the morning also makes me so happy. My parents do pour over coffee in the morning, but their tip is to set it all up the night before. It works well for them! The top thing for me is to have fresh flowers. It just makes such a big difference in the winter.
Thanks for hosting the linkup! I live for this post, and often have conversations about it. I love this tradition! Exercising more often using BeachBody OnDemand at home 2. Spotify playlists! My regular afternoon prayer time 4. Updating our home decor little by little finally took care of all of the wallpaper in the house a few weeks ago!! Puzzles with my kids nothing like seeing them figure out how to do them independently later!
Rereading favorites in the long nights of winter. Her first book, One Breath , was published by Tebot Bach in A Map of Shadows is an ambitious, enthusiastic sequence of lyrics and meditations that is unique yet has affinities with works as distinguished—and as "difficult," because of far-flung sources and innovative arrangements—as Ezra Pound's Cantos and David Jones's Anathemata.
Everywhere informed by a sensibility strongly inclined to synaestheia, this volume speaks to the collector of curiosities and the connoisseurs of chaos latent in the postmodern soul. By turns effete, surreal, charming, and daring, but continually deft, this map of poetic shadows tells mysterious stories, tickled by the occasional flutter of rhyme over the steady wonder of the unfolding images. Gabriel Meyer has a light touch and a sure hand. Gabriel Meyer's new collection A Map of Shadows is an ingenious and compelling sequence of meditations and reflections on the Tuileries garden in Paris, as both subject and backdrop.
Gracious and elegant at every moment, A Map of Shadows recognizes the constant desire for an Eden—a paradise—that arises in artist, citizen, and lover alike. John Author of The Auroras Through the hard lens of the recent war in Iraq, the poems in David Allen Sullivan's Every Seed of the Pomegranate span the wide landscapes of history, culture, and mythology. More importantly, Sullivan's gaze is steeped in compassion for all connected to the combat zone; these finely crafted poems investigate and interrogate that which is most deeply human.
During a recent trip to Baghdad I was asked by an Iraqi poet, "When will the artists in America create work in conversation with us? David Allen Sullivan paints a visually nuanced and starkly realistic picture of the horrors and futility of war; he has crafted this picture not with brush and paint, but pen and ink. These are poems not so much driven by the war in Iraq, as by a highly artful feel for the craft of poetry, and by the poet's distillation of others' experiences of that war.
Like Brian Turner before him, David Allen Sullivan has allowed the war and its already lingering consequences to use him as a vessel to bring the war home. Still, what is most brilliant here is the depth and breadth of a lovely and never tired diction that the poet finds appropriate to tell— show really—illuminated moments from the war, a sense of the musical line that is eerily appropriate to its often grim contexts, and a luxurious clarity and sure-handedness that makes you feel glad for the power of language to endure even our most horrible human deeds.
Here is a poet to be reckoned with. Through an almost trance-like conjuring of individuals' voices from the U. These are poems which remind us how far back war reaches and how long it will take to recover. Like one of his characters, the porcelain factory worker in Ramadi recycling rejects, David Allen Sullivan takes the sacred dust that's left us and remakes it into poems that "earn back what's lost.
These gritty, lyrical poems about the invasion of Iraq, issue not from CNN, but from the voices David Allen Sullivan has listened to, and from his own empathetic and far-ranging research and study. It is the deep, real, considered response of a citizen who is paying for the war in more ways than one—as we all are.
It is a moving and important book. Listening to poetry is one of those imaginary vehicles we can ride in until we hit an honest IED of traumatic memory. The poems in this book contain many such explosions. The often praiseful, sometimes wrenching poems in Toni Hanner's The Ravelling Braid are stories of the well-worn earth, lost ancestors, of lovers and seekers, of 'bones and blood black with rain. This bighearted poet calls us to a world where we are braided with loss and redemption.
The narrator remembers the forced assimilation of her father, aches with the pleasure of dance—"bones and blood black with rain"—and conjures up a world of tomatoes, cottonwoods, red clay, Lutheran potluck dishes, diner waitresses and old Fords. This is a necessary book for our times: a howl at "our sharp American edges", in all their deadliness and beauty.
As is common in first books, with The Ravelling Braid Toni Hanner erects a creation myth to introduce her voice to the contemporary poetry landscape. What is wonderfully uncommon here is the singularity, maturity and assuredness of that voice. These are musical, expertly wrought lyric narratives that remind us that storytelling and craft are alive and, more importantly, relevant, to readers in the 21st century. A very fine collection — brimming and sparkling. When readers reach the bottoms of these poems, the air will be different.
She is married to the poet Michael Hanner and lives in Eugene, Oregon. If Carroll Kearly relied on mere reminiscence to propel the reader from poem to poem in The Plain Above the River , the collection might devolve to "fragments of memory keep[ing] family together". Instead, he evokes a sensuality and sensibility rapidly disappearing from the American cultural landscape. No matter how or where your personal history has been constructed, these simultaneously simple and complex poems will remind you of sensations you may have forgotten: the fragrance of "Bing cherries [with their] deep-red-to-black flesh", a song "signaling the falling away".
Read this book slowly. Savor it. Kearley explores the currents of his life—and ours—in these place-infused lines. We are rooted and uprooted by the "snow-born, spring-born" memories of family, burnt umber fields, jitterbug rapids and graveled roads that he evokes with love and attention. Rest awhile in the clapboard house of these thoughtful poems.
Caroll Kearley's collection of poems The Plain Above the River is about people and a place before Kearley's people were, the curving Snake river and the snake river plain. Rimrock reddening above the exclamation points of leaping salmon, the bones of small, prehistoric horses, Indian villages reaping river's gift. And later farmers close to a desert, spreading water on dry fields with a motion of shovels the author still feels in his arms, a father learning this hard place, small boys daring the river though they couldn't swim, graves by the river, wars and those who didn't return from wars, boys peeing out a window on a farm house roof, good land gambled away, lives drowned in alcohol.
This collection of poems is memoir and celebration. The work is both plain as oatmeal and subtle as the flight of birds. Somewhere Wallace Stegner says that Europeans had to learn a whole new pallet to appreciate the American West. Kearley has his colors right Look at them. In Carroll Kearley was born in a farmhouse his maternal grandfather built one mile from Buhl, Idaho, a town twenty-four years older than he.
Carroll grew up on two small farms, one on each side of the river. He earned a Ph. After retirement at age sixty-five, he started the serious venture of writing poetry. Brian Tracy's Opaque Traveler takes us upon a journey across nocturnal landscapes that have been sculpted by myth and painted by dream. This album of dreams is also a book of mirrors, and in each refl ection we see ourselves reckoning both the desires and experiences of our lives.
To follow this traveler's path, we are given to understand, is to seek to be changed. Opaque Traveler is a dreamscape painted in poetry. They have meaning beyond the fragmentary, coalescing into a palpable, vivid, and compelling whole.
Ancient traditions around the world respect the dreamer and the dream life as an important source of wisdom and vitality. Big dreams contain our essence and the longings of the soul, expressed in the metaphors of myth. Brian Tracy's lyrical record reveals the poetry inherent in dreaming and can inspire us to tune our inner ear to the dialogue between heart and mind, and carefully listen to the characters that emerge from our own darkness.
Catherine Svehla, mythologist and storyteller. Willie James King is a truthseeker, a trustseeker. In this book he pursues his double quest first by examining the injustices to all humanity through the execution of Troy Davis, the murder of Martin Luther King and the forced uprooting of thousands of ancestor-souls from Africa. How a poet comes to his voice remains a mystery and so it should remain, for poetic lyricism and passion rise up in the darkest of times, as well as in the most beautiful.
It sings those moments when the words in one's mouth taste of blood, as well as those when they taste of ripe plum, sweet, sweet, sweet , as Willie James King reminds us, closing out his powerful new book of poems. His poems sing, mourn, rage, celebrate, their language always remaining true to its source. There is much to be learned here, and I am grateful to be one of King's students. Along the way, many have told her their stories and secrets, and she shares these stories and her own with an engaging blend of deep reverence, compassionate vision, and quirky humor.
These poems are ambitious yet humble, intimate yet outward-looking, spiritual yet irreverent, and always, always sure-handed. What Rosaly does in this poem is write about people by writing about suitcases, so to speak, so to speak. Robin Chapman is both a poet and a scientist and in her new collection, The Eelgrass Meadow, science and poetry meet and find shared meaning. In these beautiful and moving poems, Chapman's tone glides between elegy and rallying cry, between delight at discovery and sorrow at what is to come.
This book will inform and transform your vision of our shared world. Robin Chapman brings to her poetry an acute attentiveness to the lives and features of the world around her. Her words are accurate, informative, imaginatively arranged, and often filled with passion as they focus on our human conflicts, concerns, and responsibilities toward the earth and our world. Chapman's tones of respect and gratitude for life are present in each and every poem of The Eelgrass Meadow. Another unforgettable collection of poems from Robin Chapman with an eye for the riveting detail and an ear for the world's resonant music.
She is recipient of Appalachia's Poetry Prize. Shawn Pittard's new collection is awake—refreshing as cold, clear water—unflinching in its spiritual confrontations, its adoration of the quotidian world. Shawn Pittard is a master of details. He describes the natural world with the precision of a scientist: hooves, scales, colors, the daily weather, the weight of an elk's heart. A scientist who is all Eye. But he is just as precise about himself, his feelings, desires and regrets—and fully honest.
That honesty, combined with that close eye, adds up to compassion, perhaps the worthiest virtue. Read Shawn Pittard's poems; you will come to know more about yourself. I love these poems—their wild heart and meditative grace, how they grapple with God and mystery. I'm thrilled that Shawn Pittard invites me to stand alongside him as he ponders his reckonings—sorrow and scripture, sex, the beauty of fish, constellations, and current—each poem pushing me deeper into the stream.
Shawn Pittard's poems could not be more relevant or timely in this current climate of revolt— with the world's youth clawing their way out of a bag full of religious doctrine and oppression. Hopefully, they'll stand in a river next to Shawn, in the morning before I could see , and feel its inexorable pull. And as the fog begins to lift, swing for steelhead in a luminous blizzard of refracted light. Shawn Pittard is the author of a previous chapbook collection, These Rivers , from Rattlesnake Press.
His poems, essays, and book reviews have appeared in a wide variety of publications and he's co-written a screenplay, Junk Sick , with his brother Trent. He lives with his wife Kathy in Sacramento, California, where he explores the river valley's complex human and physical landscapes. Several times a year, he goes off the grid to his family's cabin in the forest outside Flagstaff, Arizona.
Aby Kaupang's poetry demonstrates the effects of passion and will as they collide with the brutalities of the world. In writing that is often startling and idiosyncratic, Kaupang surges to the core of the painful paradoxes that beset all of us; this poet doesn't so much work to resolve contradictions as to force new and courageous energy from their irresolvability.
Speaking of loss, Simone Weil states that the presence of an absent or deceased person is "imaginary, but his presence is very real: henceforward it is his way of appearing. Brave, uncanny, and deeply felt, this book balances the delicacies of attention with the fortitude of continuing exploration. Absence is insatiable, its boundless appetite preys upon the imagination in ways that language can only hint at.
Which is perhaps why poetry is a so apt a vessel for responding to absence: its bare branch lines, its chapel whispers, its embodied silences encapsulate loss in ways other forms of art cannot. Aby Kaupang's poems are inhabited by spirits; they literally speak in tongues; they are "a tender haunting in the glass beneath the waves. Anyone who has borne grief will recognize its teethmarks here: grief not just as an idea in the mind, but gnawing at the body, the place where it is most keenly felt.
This poetry is of spirit, sound, and naming. Its efforts are worthy, visible; inscribed with lit-up delicacy on the surface tension holding the subject and her subjects. Love, vision, god, death, surrender. She lives with the poet Matthew Cooperman and their two children in Fort Collins. With each poem in Robert Wynne's new collection, details set us down somewhere both new and and recognizable. Details are only tools, though. What transforms them here, what surrounds us in the textures, the dimensions, of a world we want to inhabit—what makes Self-Portrait As Odysseus so engaging is Wynne's inimitable imagination.
Another jetlagged poet might have the nerve to steal a scene or two from Homer. But Tobert Wynne has the courage, the audacity the vision for this stunning synthesis of the epic and the mundane. Public restroom grafitti, water spots on a hotel mirror, Graceland, the Alamo—Wynne's eye alights on all with curiosity and wonder. Let the journey begin. A former co-editor of Cider Press Review. He has published 6 chapbooks, and 3 full-length books of poetry.
He's won numerous prizes, and his poetry has appeared in magazines and anthologies throughout North America. He lives in Burleson, TX, with his wife, daughter and 4 rambunctious dogs—but he travels quite a bit. What you're holding in your hand is a collection of souvenirs from a 5. This number, give or take, is on the Earth's odometer after completing ten revolutions around the sun. These hosts, Ben Trigg and Steve Ramirez, have gathered poems from a selection of poets who have, at some point in the past decade, made the trek from coordinates across the country to The Ugly Mug.
Have you ever experienced free fall and the full affect of gravity? This is what it must feel like to host a series. There are moments, as with any death-defying action, when time slows to nothing and certain images or ideas are stamped on the memory in a definition higher than any television in existence. These poems are those moments, those mementos. Read them and you'll trace love's orbit: blind dates to marriage to breaking up.
Your travel guide could be a pilot, maybe an angel. There are cavemen and gravediggers. Examine everything from crayons to planets—this anniversary anthology covers great distances. Open to any page, surrender and let the earth spin. Let the words pass you at the incredible speed of life. All the Birds Awake joyfully demonstrates how, like the salmon, all our lives "are swirling forward. She takes us out far and in deep, striving for that state of mind where all "conclusions are gone" in favor of open-ended wonder.
Kaune has accomplished something with All the Birds Awake rarely seen in contemporary poetry—she has amplified, without altering, the voice of those events, objects, and creatures that are so quiet they're often overlooked. And in the process enriched us with the lessons they so modestly bear. These poems read like stories shared between friends around a common table—at other times like prayer whispered by soldiers under fire. This is an unbearably wise book filled with a holy reverence for the beauty and terrors of everyday life.
I am reminded, reading these poems, of the moments when Nature out of everything known produces something brand new. All the Birds Awake is a book every pilgrim on the road to a better understanding of their humanity should carry in their pack. This mindful poet notices, as war begins, a bowl of white roses beside a bed. Another friend lives deliberately and well, knowing cancer is taking over her bones.
Thirty years of marriage—surprises, sorrows, delights. These vivid poems show us ways to live and ways to face the end of living. Gayle Kaune's poems are wise, sad, funny, exuberant, and compassionate. Their quick leaps and changes of camera angle tug at the mind, while her language—colloquial yet rich with metaphor— often moves us. She writes of children who are "hallelujah fruit pies," a father who "sank into the silky fathoms of his death. These poems, balancing light and dark, offer us abundance. Kaune's faith is that life is "like that headed fountain.
Drink from all the faucets, the world brings you luck. Kaune has done something special, writing a book that appeals both to poetry lovers and to a wider audience. Gayle Kaune is published widely in literary magazines. She has worked as a teacher and psychotherapist and lives with her husband in Port Townsend. Paul Lieber's poems travel the urgent streets of Manhattan with a charged immediacy even as they look back with tenderness along the city's avenues of memory.
These are poems of compelling intensity and clarity. Paul Lieber's poems about his son Sam form a magnificent and glorious sequence of poems in and of themselves, just as his elegiac cycle about the death of his sister brings the reader through the raw passages of grief. From first to last, this is a superb, deeply human, and heart-breaking collection of poems. Paul Lieber's poems are streetwise yet deeply sensitive. Eminently readable, delivered with cut-to-the-chase frankness and humor born of suffering, Chemical Tendencies' telling anecdotes combine elements of autobiography, novel and poem.
Life on New York's lower east side where "the noodle pudding still bounces" , fatherhood, aging, the "off Broadway" acting life, family, and mortality are grappled with in this collection by a protagonist whose winning voice never shies away from self implication and always comes straight from the heart. Paul Lieber's hot, hip, exhilarating poems whirl like small tornadic stories or conversations with people from the poet's life—his son, father, friends—all torqued up with the tough-love of gentle tough-talk, as well as lucid observation.
Witty, colloquial, taciturn, and deeply human, I found the poems in Chemical Tendencies endlessly entertaining, and constantly surprising, even slightly shocking. In the end this is one of the best collections of love poems I've sat down with in a long time, poems that carry us toward acceptance and grace like a sock to the jaw. With the precision of a well-shot cue ball angling across a table, setting into motion a sequence of equally precise reactions, these devoutly un-flowery, yet intricately crafted revelations evoke intimacies completely un-idealized, un-romanticized—and therefore trustworthy.
Paul Lieber employs an urban imagery based in what could be called a behind-the-scenes realism, given not to harshness, but rather to a kind of mercy. It is as though, the poet is saying, this world is flawed and therefore beautiful. These plainspoken poems work like unfolding equations of compassion, sometimes funny, or aching with pain or desire or both at once: like math, they move inexorably toward their moments of implied epiphany, where the poet knows enough to let them go, and let them resonate.
Anastassis Vistonitis occupies a unique position in Greek letters: equally acclaimed as a poet and a journalist, he switches from one medium to the other with seeming ease, now composing poems and literary essays, now turning out book reviews and articles, often on the same day. Both streams feed the sea of his imagination—he calls his prose a continuation of poetry by other means—and his Greek readers are fortunate to have his work available to them in so many forms…Indeed his work is a testament to the ancient Greek idea of the intimate connection between the body and the soul.
What good luck to have a selection of his poems in English, in the splendid translation of David Connolly. Anastassis Vistonitis was born in Komotini, northern Greece, in He studied Political Sciences and Economics in Athens. From to he lived in the U. From to he was a member of the board of the E. The Federation of European Writers and from to he was its vice-president. In addition to poems, essays, book reviews and articles contributed to many leading quarterlies and news papers in Greece and abroad, Anastassis Vistonitis has published eleven books of poetry, three volumes of essays, four travelogues, a book of short stories and a book of translations of the Chinese poet Li Ho.
Anastassis Vistonitis's writings have been translated into 17 languages. He writes for the leading Greek newspaper To Vima and lives in Athens. Translator David Connolly has lived and worked in Greece since He has written extensively on the theory and practice of literary translation and has translated over thirty books by leading Greek authors. What Shankar Roy knows in Moon Country is that we are all aliens but for our poetry.
This brilliant book takes the "world weary" and exchanges gravity for science, science fiction, and imagination in poems that are clear, strong and sweet. After all, poetry is an organic alteration in itself; and, it is only poetic intelligence that makes a book vibrate with originality.
The landscapes, terrains and vistas in Moon Country are spiritual dimensions. The topics are man-made poet-made articulate accounts of imagined experience.
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But then why is there so much truth found here? Because poetry finds what is most human in the most highly wrought of fictive journeys. Perhaps poets with their spiritual inquiries are the brightest stars in our galaxies after all. Excellent craft makes for excellent poetry. These vivid poems are worlds in which poetry enters ethereal and enchanted places in the universe, and lands safely at home for the reader. In Moon Country , our material existences are transformed, and poetry's best ambitions are satisfied.
In Sankar Roy's wildly original debut volume, the "moon country" of the title is America—particularly its strange, vacant suburbs where, in Roy's book, it seems always to be night. The only constant feature of this landscape is the moon. No fixed landmass—no big trees—only a blackish sea…The inhabitants, always awake, stand on their front lawns and greet anyone who might be passing their way. Moon Country is part science fiction allegory, part social commentary, part loving evocation of American loneliness and alienation. How exactly right that seems. If we are not bothered by ourselves before reading Moon Country, after reading this wise book, we certainly will be.
The poems of Moon Country occupy a larger future, the territory mapped out by the poetic prose of Ray Bradbury and Arthur C. We, the reader, feel both exhilaration and uneasiness. Sankar Roy is a lyric poet not bound by the earth, a poet of cosmic imagination. What does it mean to be an alien? Michael Wurster. As we get older, many of us will develop diseases and conditions that will menace not only our bodies, but also the spiritual nature of our humanity, and our most personal definitions of who we are.
How do we value our lives when we are faced with onerous interventions of the body to staunch dwindling expectations of the soul? In his dry-eyed journey through 12 years of life with and despite polycystic kidney disease, G. Murray Thomas offers no easy answers, not even when he is presented with the boon of a new kidney, and a revolutionary extension of his life. Instead, he chronicles the simple and personal truths—all seen through a refreshingly unsentimental lens. He allows his typewriter to do the thinking for him without digressions into self-pity, and he nixes unwieldy wrestling sessions with grandiosity in favor of pinpointing the truth, which sometimes pops up in the damnedest places.
That Thomas doesn't mine his experience to forge poetry. He merely adds to the record, and the poetry arrives. This collection is an account of what happened, and it bristles with the gentle intelligence and humor of a poet of great maturity. His is precisely the kind of voice you want recounting the experience just in case it happens to you. My Kidney Just Arrived just might be the most upbeat story of illness, dialysis, and organ transplant you could hope to read. Murray Thomas writes with a sense of openness and accessibility that invites all readers to join in the humor, discomfort, uncertainty, and hope of the journey that led him to a second chance at life.
If there is anything to be said when first listening to, or reading G. Murray Thomas, it is that he is a poet whose voice is honest. In his cadence and in his tone, there is a subtle vibration that allows the listener to relax. Whether they are aware of it or not, they are suddenly at ease. Thomas' great gift as a poet is his unusual ability to see and be bewildered by the thoroughly weird things that most of us take for granted. The bringing together of history, myth and poetry makes a truly satisfying whole. I thought I'd be more intrigued with the poems than the context, but, in fact, I found them equally compelling.
In this gorgeous collection, Thea Iberall creates a shimmering bridge between matter and spirit, heart and head, poet and world. She has opened my eyes to the possibilities of contextual poetry—I am eager to share this book with my students, my poet friends, and with any reader hungry to explore life's mysteries. This collection of contextual poems explores the roots and origins of Western patriarchal culture through evolution, religion, neuroscience, history, mythology, symbolism, and linguistics. While the collection is broad in its exploration, the poems are intensely focused on a very personal journey through life.
She has a Ph. The poet goes to war in Vietnam as a clarinetist in the Army band, and returns from hell to tell about it. It is vital that we read and hear Elijah Imlay — for our sense of history, for the truth of war, and for the "solace in stories. The gutsy satire in Elijah Imlay's Monsoon Blues is balanced by his experience of war. These plainly spoken moments chronicle deep feelings and astute observations shaped by a vertical music that captures the speed of dangerous encounters. Imlay's one-man ensemble knows how to gauge the blues, how to get close to the bone.
A house made of doors? A house sewn from pockets? A house constructed out of watches? To read this book is to take a delightful, wildly imaginative tour through a series of improbably desirable homes. I, for one want to live in CB Follett's house of straw where cows are spoked and nibbling. Or the hedgehog house where I can stick all my notes on the ends of their spines. Or the house of lemons with its "changing cinema of light". CB Follett has six collections of poems and several chapbooks. She has been widely published and received numerous awards.
Steady, My Gaze is a metaphysical page-turner. Marie-Elizabeth Mali is not fooling around—she means to find her way to the real—each poem makes possible the next—a breath-taking debut. Marie-Elizabeth Mali wants "the honeyed sizzle beyond all language," wants to be a vulnerable and conscious participant in the life of things as they are, awake to love and the struggle to live freely and compassionately. Wherever her well-versed gaze lands, whatever chords she seizes and sings, however she chooses to tango across the floor of your imagination, you are assured to be embraced and hypnotically swept up by Marie-Elizabeth Mali's stylish rotations of thought and pivoting reflections.
What she executes in language, "all flit and hover," is no mere feat and goes beyond our standard fare of dramatic recall and gestural redemption. Marie-Elizabeth Mali is a poet of extraordinary sensitivity who picks up the signals of joy and suffering and puts that music out into the world. She is utterly honest and unafraid, capable of wonder yet grounded in compassion. This is a steady gaze indeed.
You'll want to read it more than once.
What a perfect title for this book. Its gaze is steady and more: tender there are marvelous and unabashed love poems here , illuminating, and bursting with a life force so strong and so rare that it should be almost illegal! On the edge, Lily totters. She knows there are "mysteries to uncover" in her future, yet she is equally enthralled with her familial, though unfamiliar, past. Her imagination inhabits mermaids and moon people. She confides that "my Lily is too fast for me. Lily Greenberg Call is already exhibiting remarkable literary talents at a very young age.
She has a lively imagination and a very bright future. Lily Greenberg Call is twelve years old. In first grade, Lily won first place in the Capistrano district-wide Reflections contest for her poem and multi-media artwork entitled: "If the Statue of Liberty were a Person. Also a classical and jazz pianist, she has performed solo in many recitals and festivals and has received the California Music Teacher's Association Certificate of Merit in and A merit scholar at her current school, she is a philanthropist at heart, and dedicates her spare time to world hunger, child trafficking and disappearing honeybees.
These are the poems of a kaleidoscope kid, shuffling through tastes, rhymes and moods. Avalon allows us to peek through her "cage of dreams" into the playful pageantry of her maturing mind. She alternates between airy and arresting, between marshmallow clouds and poetic pirouettes, between a child and an adolescent. Avalon Greenberg Call has won awards for her poetry through the Laguna Beach Library and already demonstrates excellent writing skills. I look forward to her future with great anticipation,and I have confidence that she will continue to grow as an artist.
Avalon Greenberg Call is nine years old, and for six consecutive years, placed first in the annual Laguna Beach Library Poetry Contest. Her paintings have appeared at the Del Mar Fair. She plays original piano jazz compositions for various recitals and festivals, and received the California Music Teacher's Association Certificate of Merit in Whether we are in the company of artists, writers, musicians, family, friends, the Bronx or the floral life of California, these poems offer us their beauty and guide us through Florence Weinberger's deliberate meanderings.
We, as readers, become part of her poetic tapestry, gasping with wonder and asking for more. Her appetite for art goes hand in hand with her probe into the essence of what life offers us, into expression itself. Sacred Graffiti is a life-affirming miracle that rises above technique into artistic bursts of both emotion and intellect. I simply love this book. Like Philip Levine, Florence Weinberger's poems evolve masterfully from the ordinary into the extraordinary. Consider marrowbones, lovingly boiled down to their essence so her husband can spread sustenance onto bread and eat, his stomach forever flattened by concentration camp hunger no matter how much he tries to fill himself up.
Her persistent introspection scrutinizes everyday events such as going to the supermarket and takes them into another realm of meaning. In Weinberger's world, what we wake up to is the first step towards insight and illumination. In Sacred Graffiti , Florence Weinberger has deciphered the vivid mantra that lives behind our painted world. One of LA's most visible poets, she bears witness to the rendering and re-rendering of a psychic landscape we cannot help but recognize as our own.
Unspoken racial anxiety, the construction of Southern Jewish identity, the potential transformation of the self by use of the body-all of these are at stake and under discussion in Marnie's brilliantly interwoven stories…Marnie is an extraordinary character, one of the most provocative and compelling female speakers in recent fiction or poetry… Though the velvet sexual hammers within keep threatening to shatter the glass piano that is Marnie, the power of her endurance is that she remains held to its music, and to the songs of her own body and her own defiant dreams.
These poems reach a depth of feeling and music and just when we think they can go no further they probe deeper into mythic layers of eroticism and loss. These are fantastic and compelling poems, an amalgamation of poetic flight and earth tones. This is simply an exquisite book that satisfies the mind and all the senses.
Her narrations are fierce, authentic, and far-ranging: family loyalties, powerful sex, and fiery cultural history. Becker's chiastic title reminds us that what sings must be transparent, and what is laid bare must sing. Urgent chords and ground notes, kaleidoscopic images couple and re-couple in this book-length fugue, lines dense with ravishment, on the dream of our bodies … — Marsha de la O. A fifth-generation Macon, Georgia Jewish native, she was trained in Spanish beginning in childhood.
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