A haiku, an ode, a sonnet, a limerick, an elegy ... more poetry,please.
Poetry Books
Playdead Press Fluff
Book Synopsis
£9.49
Playdead Press Lies Where it Falls
Book Synopsis
£9.49
Banshee Press Harbour Doubts
Book SynopsisBebe Ashely's prizewinning second collection charts the poet's efforts to qualify as a British Sign Language interpreter. Intershot with enquiries into the nature of language as it is spoken and signed, how our medium of communication shapes our words, and the process of leaving and finding home, Harbour Doubts is a collection that tangles with the burning desire to communicate in the isolation of a late capitalist, post-pandemic world. It's also a love letter to the delights of linguistics and language, a three-dimensional exploration of words and the body. Bringing together meditations on language as mediated through sound, sign, vision, and film, this exciting sophomore collection cements Bebe Ashley's reputation as a fearless experimenter.
£10.44
Anvil Press Publishers Inc This Drawn & Quartered Moon
Book SynopsisThis Drawn & Quartered Moon takes pre-millenial San Francisco as its epicenter, and from there ranges out in time and space. Characters abound. The reader will meet a plagiarist, a Vietnam vet named Othello, a Mafia don, a drug mule en route to jail, Elvis Presley (the poets father was his doctor), a Sculptor of the Lower Fillmore Head Shot, a dying Arab king and Courtney Love. Autodidact and gregarious loner klipschutz alternates personal with public poems, satires with romance, dramatic monologues with prose poems, street swagger with delicate songs that carry their own music. Over ten years in the making, this collection evokes the restless spirits of predecessors such as Nicanor Parra, Gregory Corso and Kenneth Patchen.
£13.29
Guava Press Harlem Shadows
Book Synopsis
£8.54
Guava Press Constab Ballads
Book Synopsis
£8.54
Anvil Press Publishers Inc Wood
Book SynopsisFinalist, Dorothy Livesay Poetry Prize (BC Book Prizes) Wood is a pop-culture meditation on parenthood and all its complexities and complications. In her third collection, Harper deftly inhabits the lives of sons and daughters, fathers and mothers - the real, the mythical, the dreamed-up, and the surrogate. Pinocchio tries to make his father proud in a tempting world of sex and vice. A young caregiver to a special needs child ponders her romantic future alongside the true meaning of Crimson & Clover. Bess Houdini, married to the world's greatest magician, conjures the children she'll never have. Mad Men's Sally Draper, daughter of a philandering genius, grows up desperately trying to both defy her father and become him. The poems in Wood are playful, surprising, tender, and brave... and universal in their emotional resonance. Praise for Wood: Poetry in Transit selection (poem from the book displayed on Vancouver city buses) Favourite Poetry of 2013, 49th Shelf (Kerry Clare) The Canadian Mad Men Reading List pick, 49th Shelf "... drills to the core of the familiar and the fictional in a nuanced exploration of the makings of a person ... Harper fills WOOD with questions of fertility and family, growth and failure, turning over in tensile language what it means to be real. Rooted, economical, and sharp, Harper's poems blur the line between dramatic monologue and memoir, WOOD hammering out what it is we reach for, what it is we lack." (Poetry is Dead) "Wood is meticulously packaged, the trunk-ring design from the cover repeated on the endpapers.The package is important, first because it's beautiful, but also because Wood is a project of parts rather than strictly a whole and how these parts fit together is a huge part of the book's appeal. ... Wood appears to have emerged from several different projects whose connections were secondary, and yet how these connections functionhow these poems speak to one another, echo one another, underline and overwriteis the book's most compelling quality. It's a kind of puzzle to discern how these pieces fit together, and each reread will unearth a new layer of understanding (or perhaps another ring in the grain?). Which is good reason then to stay up reading late into the night." (Pickle Me This, blog) "While the longings and fears of parents are captured in Wood, it is in the pain and perils of children - wanted or rejected, living up to expectations or running away from their parents - that Harper finds her most powerful voice. In allowing these characters to be glibly, gloriously fictionalized, their narratives become even more authentic." (Quill & Quire) "On Our Radar," 49th Shelf Most Anticipated Books of Fall 2013: Poetry, 49th Shelf A selection from Wood, "The Sally Draper Poems," has been featured in Slate to great acclaim
£13.29
Guava Press Songs of Jamaica
Book Synopsis
£8.54
Otago University Press Blue Hour
Book Synopsis
£13.77
Farrar, Straus and Giroux The Other Love
Book Synopsis
£13.60
Fajr Noor Noor Upon Noor
Book Synopsis
£19.00
LSU Press Novice
Book Synopsis
£17.81
Massey University Press On We Go
Book Synopsis
£24.29
Wendy's Subway Glaring
Book SynopsisGlaring: a sustained look of anger, an obvious fact, a situation of such brightness and intensity that vision is obscured. In his debut book of poems, Benjamin Krusling is concerned with reading domination and violence and entering their psychotic motion, the better to do otherwise. Through the thicket of anti-blackness, militarism, surveillance, impoverishment, and interpersonal abuse and violence, Glaring investigates the things that haunt daily life and make love difficult, possible, necessary. Benjamin Krusling''s Glaring is the winner of our 2019 Open Reading Period, and was selected by guest judge Lucy Ives. It is the first book in the Passage Series. PraiseGlaring is a beautiful and powerful, brilliant collection, combining energies of various modernisms with elegant maneuverings through the bleak media of contemporary America. Concerned with institutionsrace, health, school, sports, police, family, money, historyas well as the shifting fortunes of affection and the self, these poems utterly transform two other well-worn institutions: the lyric and the page. Every line in this indelible book was my favorite. Lucy Ives (2019 Open Reading Period Guest Judge)It is alarming to find what you are looking for, which is what I have found in the work of Ben Krusling. His writing is sensitive, skittish, seems to have no proper skin; its unmediated effects are both intoxicating and mystifying, insofar as he appears to have no truck with literary fashions or forms. While the surface of the work is magical; the interior is confrontational and wise. I find myself with a thinker who arrives where het love is a freaky war machine. I hate the moment things begin to feel only intellectual, he writes. Does he love, then, being with the shock and energy of perceiving emotion as an aggregate and multidimensional thing, now partly digital? I don''t know. The power of Ben''s work is so undeniable, it''s confusing to think about its singularity, which is a hint that it is from the future. Simone White Glaring hurtles its reader deep into formal consideration's command center, framing every punctum with queries of relation and autonomy. This text is a world where a title may hold as much as its referent, where the next work might begin inside its predecessor, where theater is stripped down to its circuitry and the charge within the performance of all language is laid bare. Benjamin Krusling's nuanced graphical grammar is ecstatic in its quiet powers, and its scaffold of structural freedom finds tender affinity with the work's overarching actionexperimental reportage on explorations of an expansive interior landscape cracked open with softness. Throughoutheralding interiority and formare a flickering bouquet parade of the unpaired insisting on their wholeness as is, insisting on their celebration as self. The work is ripe with fracturing's urgency to show the ways of new wholeness, and blackness shines everywhere like slivers of light. Adjua Gargi Nzinga GreavesAbout the authorBenjamin Krusling (b. 1990, Cincinnati) is the author of a chapbook, GRAPES (Projective Industries, 2018) and a text-image project, I have too much to hide (forthcoming from Triple Canopy, 2020). Prose and poems have appeared in Hyperallergic, The New Inquiry, Black Warrior Review, Denver Quarterly, Territory, The Recluse, Washington Square Review, and Tagvverkand work has been awarded the Sonora Review Poetry Prize in addition to Pushcart Prize nominations. He has been awarded the Amiri Baraka scholarship from Naropa University and supported by residencies at the Vermont Studio Center and the Blue Mountain Center. His work has been anthologized in the Bodies Built for Game anthology of contemporary sports writing and presented at The Poetry Project, The Kitchen, the Segue Foundation, the University of Pennsylvania's Kelly Writers House and other venues. Benjamin received an MFA from the University of Iowa Writers' Workshop where he was awarded an Iowa Arts Fellowship and a postgraduate Provost's Visiting Writer fellowship. He lives in Brooklyn.
£12.82
University of Alberta Press This Sweet Rupture
Book SynopsisThe poems in This Sweet Rupture explore family secrets, diaspora, food culture, and war's impact on personal narratives while navigating cultural identity as a first-generation Lebanese-Canadian.
£15.19
Nick Hern Books The Years
Book Synopsis
£10.44
Otago University Press Koe
Book Synopsis
£21.60
Otago University Press Landfall 248
Book Synopsis
£15.68
Massey University Press Bordering on Miraculous
Book Synopsis
£31.49
Bloomsbury Publishing PLC Glengarry Glen Ross A Play in Two Acts Modern
Book SynopsisFirst staged in Britain in 1983, "Glengarry Glen Ross" is the tale of four real-estate salesmen in a cut-throat sales competition. It won the Pulitzer Prize in 1984 and was made into a film starring Al Pacino, Jack Lemmon, Kevin Spacey and Alec Baldwin, in 1992.
£15.60
Abbeville Publishing Group Haiku
Book SynopsisSavour the changing seasons with this beautifully illustrated collection of classic haiku.Perhaps no poetic form evokes nature so effectively as the haiku. Made up of just 17 syllables, it conveys an impression with almost the same immediacy as our own sensesit can be as ephemeral as a breath and as powerful as lightning.This delightful volume presents some 140 haiku by masters of every periodincluding Basho, Buson, Issa, and Shikiarranged according to the kigo (or word linked to a particular season) that each haiku traditionally contains. Each poem is presented three ways, for the fullest possible enjoyment: in its original Japanese characters, in Japanese transliterated to Latin characters, and in an English translation. Original artwork by the contemporary Japanese illustrator Kaori Yamaguchi adorns this contemplative journey from the first buds of spring to the falling snow of winter.Bound in the traditional Japanese style and housed in a handsome slipcase, Haiku: Japanese Poems for the Four Seasons will be the perfect gift for anyone who loves poetry, Japanese culture, or the natural world.Text in English and Japanese.
£17.95
Academic Studies Press Centuries Encircle Me with Fire: Selected Poems
Book SynopsisOsip Mandelstam (1891-1938) is widely regarded as one of the twentieth century's most influential poets. This collection, compiled, translated, and edited by poet and scholar Ian Probstein, provides Anglophone audiences with a powerful selection of Mandelstam's most beloved and haunting poems. Both scholars and general readers will gain a deeper understanding of his poetics, as Probstein situates each poem in its historical and literary context. The English translations presented here are so deeply immersed in the Russian sources and language through the ear of a Russian-born Probstein who has spent most of his adult life in the US, that they provide reader's with a Mandelstam unseen any translations that precede it. Table of ContentsAcknowledgementsA Note on the TextOsip Mandelstam: “Centuries encircle me with fire”On Translating MandelstamОсип Мандельштам (1891–1938)Osip Mandelstam (1891–1938)Из книги «Камень» (стихотворения 1908–1915)From Stone (poems of 1908–1915)Дано мне тело—что мне делать с ним . . .I am given a body—what should I . . .Я ненавижу свет . . .I hate the light . . .Паденье—неизменный спутник страха . . .The fall is a constant companion of fear . . .Айя-СофияHagia Sophia. . . На луне не растет . . .. . . Not a single blade . . .ПосохThe WandУничтожает пламень . . .The fire destroys . . .Из книги «Tristia» (стихотворения 1916–1922)From Tristia (poems of 1916–1922)ДекабристA DecembristКогда в тёплой ночи замирает . . .When a feverish forum of Moscow . . .Прославим, братья, сумерки свободы . . .Hail, brothers, let us praise our freedom’s twilight . . .TristiaTristiaНа каменных отрогах Пиэрии . . .On steep stony ridges of Pieria . . .Сёстры тяжесть и нежность, одинаковы ваши приметы . . .Sisters, heaviness and tenderness, your traits are akin . . .Вернись в смесительное лоно . . .Go back to the incestuous womb . . .Веницейской жизни, мрачной и бесплодной . . .The meaning of fruitless and gloomy . . .За то, что я руки твои не сумел удержать . . .Because I could not hold your hands in mine . . .Из книги «Стихотворения» (1928 г., стихотворения 1921–1925 гг.)From Poems (1928, poems of 1921–1925)С розовой пеной усталости у мягких губ . . .With the pink foam of fatigue around soft lips . . .ВекThe AgeНашедший подковуThe Horseshoe FinderГрифельная одаThe Slate OdeЯзык булыжника мне голубя понятней . . .Clearer than pigeon’s talk to me is stone’s tongue . . .А небо будущим беременно . . .And the Sky is Pregnant with the Future . . .1 января 1924January 1, 1924Нет, никогда, ничей я не был современник . . .No, I’ve never been anyone’s contemporary . . .Я буду метаться по табору улицы тёмной . . .I’ll rush along a gypsy camp of a dark street . . .Из Новых cтихотворений 1930–1934 гг.From New Poems of 1930–1934Армения1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12Armenia1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12На полицейской бумаге верже. . .On the police laid paper the night. . .Не говори никому . . .Don’t tell it anyone—forget . . .Колючая речь Араратской долины . . .A prickly speech of the Ararat Valley . . .Как люб мне натугой живущий . . .How dear to me are those people . . .Дикая кошка—армянская речь . . .A wild cat—the Armenian speech . . .Я скажу тебе с последней . . .I will tell you this, my lady . . .За гремучую доблесть грядущих веков . . .For the thunderous courage of ages to come . . .Нет, не спрятаться мне от великой муры . . .No, I won’t be able to hide from a great mess . . .НеправдаUntruthПолночь в Москве. Роскошно буддийское лето . . .Midnight in Moscow. A Buddhist summer is lavish . . .Отрывки из уничтоженных стихов1 | 2 | 3 | 4Excerpts from Destroyed Poems1 | 2 | 3 | 4Еще далеко мне до патриарха . . .I am far from being as old as patriarch . . .Сегодня можно снять декалькомани . . .Today we can take decals . . .ЛамаркLamarckИмпрессионизмImpressionismБатюшковBatiushkovДайте Тютчеву стрекóзу . . .Give Tiutchev a dragonfly . . .АриостAriostoНе искушай чужих наречий, но постарайся их забыть . . .Do not tempt foreign tongues—attempt forgetting them, alas . . .Квартира тиха как бумага . . .An apartment is quiet as paper . . .Давай же с тобой, как на плахе . . .Let’s start preparing for the scaffold . . .Мы живём, под собою не чуя страны . . .We live without feeling our country’s pulse . . .Восьмистишия1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11Octaves1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11Стихи памяти Андрея БелогоTo the Memory of Andrei BelyУтро 10 января 19341 | 2 | 3The Morning of January 10, 19341 | 2 | 310 января 1934 [вариант 2]January 10, 1934 [version 2]Из Воронежских тетрадей (стихотворения 1935–1937)From the Voronezh Notebooks (poems of 1935–1937)Из Первой тетрадиFrom the First NotebookПусти меня, отдай меня, Воронеж . . .Let go, Voronezh, raven-town . . .Я должен жить, хотя я дважды умер . . .I have to live though I died twice . . .Лишив меня морей, разбега и разлета . . .Having deprived me of seas, flight, and space . . .День стоял о пяти головах. Сплошные пять суток . . .The day was five-headed: five unbreakable days . . .Еще мы жизнью пóлны в высшей мере . . .We are still sentenced to life . . .Римских ночей полновесные слитки . . .Solid gold bars of the Roman nights . . .За Паганини длиннопалым . . .They run like a gypsy throng . . .Исполню дымчатый обряд . . .I’ll fulfill a dim rite . . .Из Второй тетрадиFrom the Second NotebookНе у меня, не у тебя—у них . . .Not I, not you—but they . . .Улыбнись, ягненок гневный с Рафаэлева холста . . .Smile, angry lamb from Rafael’s canvas, don’t rage . . .Дрожжи мира дорогие . . .World’s golden yeast, our dear . . .Еще не умер ты, еще ты не один . . .You haven’t died yet. You are not alone . . .Что делать нам с убитостью равнин . . .What should we do with murdered plains . . .Вооруженный зреньем узких ос . . .Armed with the vision of narrow wasps . . .Из Третьей тетрадиFrom the Third NotebookСтихи о неизвестном солдатеVerses on the Unknown SoldierСквозь эфир десятично-означенный . . .Through the ether of ten-digit zeroes . . .Для того ль должен череп развиться . . .Should the skull develop its brow . . .Для того ль заготовлена тара . . .Is the packaging of charm stored . . .Я молю, как жалости и милости . . .I beg like compassion and grace . . .Я скажу это начерно, шёпотом . . .I will say it in draft and in whisper . . .Может быть, это точка безумия . . .It might be the point of insanity . . .Не сравнивай: живущий несравним . . .A living man’s unique: do not compare . . .Чтоб, приятель и ветра и капель . . .To help a friend of rain and wind . . .Гончарами велик остров синий . . .A blue island, green Crete is extolled . . .Длинной жажды должник виноватый . . .A guilty debtor of a long-time thirst . . .О, как же я хочу . . .Oh, how I madly crave . . .Нереиды мои, нереиды! . .My nereids, oh, my nereids! . . .Флейты греческой тэта и йота . . .Greek flute’s theta and iota . . .На меня нацелилась груша да черемуха . . .I’m under fire of a bird cherry tree and a pear tree . . .[Стихи к H<аталии> Е. Штемпель]1 | 2[Poems for N Е. Shtempel]1 | 2AbbreviationsBibliographyPublications of Works by Osip E. MandelstamTranslations into EnglishTranslations of Osip Mandelstam’s Poems into Other LanguagesCriticism
£78.19
arima publishing Signs
Book Synopsis
£10.57
Carcanet Press Ltd Rounding the Horn: Collected Poems
Book SynopsisJon Stallworthy rounded the Horn en route to being born in London. World War II and his colonial inheritance informs the poetry in this collection. The presence of the past has also informed some of his best-known work: No Ordinary Sunday, A Letter From Berlin, and The Almond Tree.
£14.20
The Conrad Press Parallels: Selected Poems of Rene Dee and Chris
Book SynopsisThis remarkable collection of poetry by two friends whose work is in some way similar, but also refreshingly different, focuses on ten primary themes that engagingly highlight and make eternally memorable, experiences that are common to many people, but rarely as well written as this. The phrase, 'True wit is Nature to advantage dress'd / What oft was thought but ne'er so well express'd', applies very poignantly to this collection. Rene and Chris served in the Intelligence Corps and met in a now redundant army camp in 1965. Their friendship has endured for more than fifty-six years, sustained even over the thirty-five years when Chris lived in Australia and Rene travelled the world. They collaborated on this book to select poems that depict their lives. The poems stir the emotions of, for example, adventure, love, family and nation. They can provoke, they often amuse. Rene and Chris hope you enjoy them.
£999.99
Playdead Press Gun To Your Head
Book Synopsis
£10.44
Sbvv.Ch Anthologia 1991-2023: Poesie fino ai quarant'anni
Book Synopsis
£999.99
Rupa Publications India Pvt Ltd. Twelfth Night
Book Synopsis
£8.92
Westland Publications Limited Everyday Haiku
Book Synopsis
£22.79
Karnes When Goodbye Becomes You Vol.2
Book Synopsis
£19.00
Independently Published Gypsy Leathers: Biker Poetry and Other Rhymes
Book Synopsis
£6.93
Academic Studies Press I Lived on the Battlefield of Poltova
Book SynopsisThis prize-winning historical-lyrical poem of 1985, on the unequal power-relations between Russia and Ukraine, darkly resonates in 2023. Alexei Parshchikov's long historical poem, which dates 1985, is one of the major literary documents of the last years of the USSR. Alexandra Smith, in an article of 2006, has called it "perhaps the most important achievement of Russian post-perestroika poetry." Its significance is historical in its irony towards Peter the Great and Charles XII of Sweden in their 1709 battle at Poltava and towards the writer's own dual allegiance to Ukrainian soil and the Russian language. While all previous translations of parts of the poem are in free verse, translator Donald Wesling here carries over the rhyme and meter of the original whole poem. To aid the reader, this volume contains the Russian text, and also the translator's commentary and notes.Trade Review“Alexei Parshchikov's ‘I Lived on the Battlefield of Poltava’ (1989), an important postmodern historical poem imbued with parodic touches, sheds a new light on Pushkin’s Poltava and its legacy. It challenges Pushkin's mythologised portrayal of the Great Northern War by presenting everyday life in late twentieth-century Poltava through the prism of palimpsestic imagination influenced by Russian cultural memory.Donald Wesling's excellent translation of Parshchikov’s ‘I Lived on the Battlefield of Poltava’ animates effectively the playful space created in the poem through the powerful use of metaphor, associative language and surreal overtones. Wesling shows an exceptional sensitivity to Parshchikov’s exuberant language and renders the performance-like quality of the poem exquisitely. Parshchikov’s concerns with the inevitability of change, the importance of place and the power of language to transform realities embedded in this poem make his version of the historical event—reimagined in a decolonising manner—highly appealing to the readers of the 2020s.”— Alexandra Smith, Reader in Russian Studies at the University of Edinburgh“When Alexei Parshchikov, perhaps the greatest poet of the Russian perestroika generation, died prematurely in 2009, he could not know that Ukraine, where he had spent much of his childhood and youth, would one day rise up against its former rulers. It was in the Battle of Poltava (1709), that Russia first seized control from Charles XII, the King of Sweden of the territory in question. Parshchikov’s brilliant Poundian ‘poem including history’—as well as geography and ecology—juxtaposes superbly surreal battle scenes with the quiet meditations of the poet, cultivating, on the site of the former battlefield, his garden, with its apricot trees, its ‘long-nosed field mice’ and ‘fruit-honey grog,’ and celebrating Ivan Mazepa, the Ukrainian opposition fighter, and his sweetheart Marfa Kochubey. In Donald Wesling’s excellent rhymed-verse translation, which dissolves into free rhythms in the course of the poem, Parschikov’s brilliant and highly original imagination lives again. It could not be more apropos today!”— Marjorie Perloff, author of Infrathin: An Experiment in Micropoetics“One of great poetic achievements of the 1980s, Parshchikov’s long poem appears, in Donald Wesling’s ambitious new translation, startlingly of our time—not just because of its dismantling of Russian imperialist myths but also because of its insistence on the multifarious resilience of language in the face of its misuse and of the horrors of wars, past and present.”— Jacob Edmond, author of Make It the Same: Poetry in the Age of Global Media“From the twelfth to the twenty-first century, Ukraine has been periodically destroyed by those who would own it. Among these blood-soaked backstories, the three-way struggle between Peter the Great, Sweden’s Charles XII, and the treacherous Ukrainian Cossack Mazepa in 1709 has long been pan-European lore. In this ‘historical-geographical-ecological’ evocation by the Russian metarealist Alexei Parshchikov, the poet is tending his garden on the site of the battle. Knives, bits of cannon and bone, snatches of sexual violence and the Tsar’s largesse emerge from the black earth. Sacrificial lambs and mosquitos look on. Donald Wesling’s spectacular rendering into English, reflecting subtexts in Pushkin as well as the late Soviet poetic underground, is formally audacious and so tightly constructed that the reader can’t breathe. Exactly what is required today.”— Caryl Emerson, Princeton UniversityTable of ContentsFrom the TranslatorINTRODUCTIONCHAPTER ONE, WHICH TELLS ABOUT THE ORIGIN OF WEAPONS1.1. The Origin of Weapons1.2. The First Cannon1.3. The Lamb Tells about the Feud of Two Brothers, Who Attempted to Catch Him for Sacrifice, and about How a Knife was Born1.4. The First Business Retreat, Written in My Garden, Located on the Field of the Battle of PoltavaCHAPTER TWO: THE BATTLE 2.1.2.2. Point of View of the Observer2.3. Charles XII2.4. Ivan Mazepa and Marfa Kochubey2.5. No Saxophone Slung over the Shoulder2.6. Mosquito2.7. Copper Framework: Second Business RetreatCHAPTER THREE: THE TSAR REWARDSNotes
£12.34
Academic Studies Press I Lived on the Battlefield of Poltova
Book SynopsisThis prize-winning historical-lyrical poem of 1985, on the unequal power-relations between Russia and Ukraine, darkly resonates in 2023.Alexei Parshchikov's long historical poem, which dates 1985, is one of the major literary documents of the last years of the USSR. Alexandra Smith, in an article of 2006, has called it "perhaps the most important achievement of Russian post-perestroika poetry." Its significance is historical in its irony towards Peter the Great and Charles XII of Sweden in their 1709 battle at Poltava and towards the writer's own dual allegiance to Ukrainian soil and the Russian language. While all previous translations of parts of the poem are in free verse, translator Donald Wesling here carries over the rhyme and meter of the original whole poem. To aid the reader, this volume contains the Russian text, and also the translator's commentary and notes.Trade Review“Alexei Parshchikov's ‘I Lived on the Battlefield of Poltava’ (1989), an important postmodern historical poem imbued with parodic touches, sheds a new light on Pushkin’s Poltava and its legacy. It challenges Pushkin's mythologised portrayal of the Great Northern War by presenting everyday life in late twentieth-century Poltava through the prism of palimpsestic imagination influenced by Russian cultural memory.Donald Wesling's excellent translation of Parshchikov’s ‘I Lived on the Battlefield of Poltava’ animates effectively the playful space created in the poem through the powerful use of metaphor, associative language and surreal overtones. Wesling shows an exceptional sensitivity to Parshchikov’s exuberant language and renders the performance-like quality of the poem exquisitely. Parshchikov’s concerns with the inevitability of change, the importance of place and the power of language to transform realities embedded in this poem make his version of the historical event—reimagined in a decolonising manner—highly appealing to the readers of the 2020s.”— Alexandra Smith, Reader in Russian Studies at the University of Edinburgh“When Alexei Parshchikov, perhaps the greatest poet of the Russian perestroika generation, died prematurely in 2009, he could not know that Ukraine, where he had spent much of his childhood and youth, would one day rise up against its former rulers. It was in the Battle of Poltava (1709), that Russia first seized control from Charles XII, the King of Sweden of the territory in question. Parshchikov’s brilliant Poundian ‘poem including history’—as well as geography and ecology—juxtaposes superbly surreal battle scenes with the quiet meditations of the poet, cultivating, on the site of the former battlefield, his garden, with its apricot trees, its ‘long-nosed field mice’ and ‘fruit-honey grog,’ and celebrating Ivan Mazepa, the Ukrainian opposition fighter, and his sweetheart Marfa Kochubey. In Donald Wesling’s excellent rhymed-verse translation, which dissolves into free rhythms in the course of the poem, Parschikov’s brilliant and highly original imagination lives again. It could not be more apropos today!”— Marjorie Perloff, author of Infrathin: An Experiment in Micropoetics“One of great poetic achievements of the 1980s, Parshchikov’s long poem appears, in Donald Wesling’s ambitious new translation, startlingly of our time—not just because of its dismantling of Russian imperialist myths but also because of its insistence on the multifarious resilience of language in the face of its misuse and of the horrors of wars, past and present.”— Jacob Edmond, author of Make It the Same: Poetry in the Age of Global Media“From the twelfth to the twenty-first century, Ukraine has been periodically destroyed by those who would own it. Among these blood-soaked backstories, the three-way struggle between Peter the Great, Sweden’s Charles XII, and the treacherous Ukrainian Cossack Mazepa in 1709 has long been pan-European lore. In this ‘historical-geographical-ecological’ evocation by the Russian metarealist Alexei Parshchikov, the poet is tending his garden on the site of the battle. Knives, bits of cannon and bone, snatches of sexual violence and the Tsar’s largesse emerge from the black earth. Sacrificial lambs and mosquitos look on. Donald Wesling’s spectacular rendering into English, reflecting subtexts in Pushkin as well as the late Soviet poetic underground, is formally audacious and so tightly constructed that the reader can’t breathe. Exactly what is required today.”— Caryl Emerson, Princeton UniversityTable of ContentsFrom the TranslatorINTRODUCTIONCHAPTER ONE, WHICH TELLS ABOUT THE ORIGIN OF WEAPONS1.1. The Origin of Weapons1.2. The First Cannon1.3. The Lamb Tells about the Feud of Two Brothers, Who Attempted to Catch Him for Sacrifice, and about How a Knife was Born1.4. The First Business Retreat, Written in My Garden, Located on the Field of the Battle of PoltavaCHAPTER TWO: THE BATTLE 2.1.2.2. Point of View of the Observer2.3. Charles XII2.4. Ivan Mazepa and Marfa Kochubey2.5. No Saxophone Slung over the Shoulder2.6. Mosquito2.7. Copper Framework: Second Business RetreatCHAPTER THREE: THE TSAR REWARDSNotes
£78.19
Academic Studies Press In the Tight Triangle of the Night
Book SynopsisThis book examines the early poetry (1956-1971) of the Ukrainian/American writer Yuriy Tarnawsky, one of the founders of the New York Group of Ukrainian poets and a unique figure among Ukrainian writers with regard to his experiments with forms. Demonstrating the radical changes that occurred in his poetic style between the 1950s and 1970s, Maria Grazia Bartolini analyzes the relationship between these innovations and the similar shifts taking place in Western poetry and culture during the 1950s and 1960s, when new forms of expression and a new consciousness developed in the interstices between modernism and nascent postmodernism. The book provides the reader with a selection of unpublished materials from the Yuriy Tarnawsky Papers at the Bakhmeteff Archive of Columbia University.
£78.19
Academic Studies Press Both Sides Face East. Volume 1
Book Synopsis
£19.79
Distributed Art Pub Tantrums in Air
Book Synopsis
£15.20
Farrar, Straus and Giroux Cemeteries and Galaxies
Book Synopsis
£14.45
iUniverse In Our Lives
Book Synopsis
£8.69
iUniverse Petroglyphs
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£13.70
Wesleyan University Press I Ask My Mother to Sing
Book Synopsis
£8.55
Write on the Tyne Publishing Changing Futures
Book Synopsis
£9.79
Caitlin Press Moorings
Book Synopsis
£14.25
Auckland University Press over under fed
Book Synopsis
£11.87
Champ Readers Publishers Yellow
Book Synopsis*The Verses of Hurting and Healing* is a poetry collection divided into two phases: Mohi (hurting) and Kabir (healing). Written and illustrated by the author, it speaks to allâthose whoâve healed, are healing, or struggling to move on. A heartfelt journey of love, loss, and self-discovery.
£17.50
Unknown In Search Becoming Who You Are
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£14.99
Unknown 340 AM From Heart To Head
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£17.50
Wesleyan University Press Room Swept Home
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£17.55
Broadview Press Ltd The York Corpus Christi Play: Selected Pageants
Book SynopsisThe York Corpus Christi Play as we know it consists of 47 surviving individual plays or “pageants,” 27 of which are included in this volume. (The whole is always referred to in the singular, following the usage of medieval York itself.) This cycle of plays was produced by the York civic government and its occupational guilds—called “crafts”—and performed annually for nearly 200 years on Corpus Christi day, a mid-summer feast with a movable date that could fall between May 23 and June 24. The York Corpus Christi play is the only extant and complete cycle of plays performed on Corpus Christi day in England throughout the play's life. The earliest record we have of the York play is from 1376; the last performance until the 20th century was in 1569. Together these 27 plays represent the cycle’s core narrative of creation, fall, and salvation. In addition to 27 of the pageants, this new edition includes extensive annotation (both marginal glosses and explanatory footnotes), a wide-ranging introduction, and a helpful selection of background contextual materials.Trade Review“Fitzgerald has made the York Corpus Christi Play accessible to students in a way that it has never been before. She provides an instructive and incisive overview of the play’s complex performance history, spanning from the fourteenth century to the present day. The pageants’ straightforward introductions and modernized spellings open them up to a broader audience of students who will undoubtedly enjoy analyzing and performing these foundational works of English drama.” — Kimberly Fonzo, The University of Texas at San Antonio“Christina M. Fitzgerald’s new edition of the York Plays will be a very valuable resource for teachers, students, and performers of early English drama. The volume features a well-chosen, expansive selection of pageants, including several important episodes anthologized for the first time. Combining well-edited texts and judicious annotations with key contemporary documents and images, Fitzgerald’s edition offers a richly explanatory introduction to one of England’s longest-lasting, most culturally significant performance traditions.” — Nicole R. Rice, St. John’s University“This useful textbook for the undergraduate classroom (or non-specialist) offers essential contextual material, ample footnotes, and adept glossing to assist students in discovering the complexity of the York Cycle. The play selection is intelligent and responsive to current critical trends. In addition, the lucid, up-to-date introduction and pageant notes set the Cycle in the context of urban lay devotion, facilitating deeper understanding of one of the most significant literary and cultural phenomena of the later Middle Ages. No doubt this will become the standard classroom edition.” — Margaret Aziza Pappano, Queen’s University “The York Corpus Christi Play offers students and scholars an outstanding overview of York’s social, economic, and literary past. Lucidly written, it situates the cultural complexity of York’s dramatic productions as both medieval and early modern phenomena. Fitzgerald’s judicious selection of plays maintains the feel for the original cycle, as she routinely edits them with an eye towards detail. She also glosses unfamiliar words and concepts, while providing content-rich headnotes to each play. An invaluable resource, the headnotes provide readers with comprehensive, relevant background information on theme, structure, and context, yet they don’t spoil the plays! This edition makes the York Corpus Christi plays accessible to a wide range of students in both literary studies and theater programs.” — Ann Hubert, St. Lawrence University “The Broadview Lucifer boasts, ‘I feel me featous and fair’ — here, and throughout this eminently teachable edition, Fitzgerald maintains York’s distinctive rhythm and diction, updating the spelling just enough so that undergraduates at all levels will quickly understand the words’ meaning (with the help of thoughtful glosses) while still feeling the poetry’s rap-battle bombast (and, later, its rich working-class pathos). Throughout, introductory material lays down key fundamentals (form, content, context, performance) for each pageant, providing built-in lecture notes and provocations for close reading. Traditional literary, religious, and archivally-based readings are well-represented here, but sharpened and updated toward use in woke twenty-first-century classrooms (Fitzgerald’s impressive prior scholarship on gender leaves many visible marks). Culminating in an enjoyable multimedia array of contextual materials, this edition is truly featous (elegant, neat, handsome, and cleverly fashioned), and certainly fair (not only pleasing to the eye, but also even-handed in its scholarship and implicit pedagogy).” — Matthew Sergi, University of Toronto, St. George Campus “Christina Fitzgerald provides an accessible edition, rich with supplementary materials, that is sure to be an immediate success with teachers of medieval drama. … With its balancing of an accessible text with a rich variety of resources for understanding the York Play's cultural contexts and history of performance, this convenient and thoughtfully put together book will undoubtedly become the new standard classroom edition of the York Play.” — Emma Lipton, The Medieval ReviewTable of Contents Introduction The York Corpus Christi Play: Selected Pageants The Barkers Pageant 1: The Creation of the Angels and the Fall of Lucifer The Plasterers Pageant 2: The Creation The Coopers Pageant 5: The Fall of Adam and Eve The Shipwrights Pageant 8: The Building of the Ark The Fishers and Mariners Pageant 9: The Flood The Parchmentmakers and Bookbinders Pageant 10: Abraham and Isaac The Hosiers Pageant 11: Moses and Pharaoh The Spicers Pageant 12: The Annunciation and Visitation The Pewterers and Founders Pageant 13: Joseph's Trouble About Mary The Tilethatchers Pageant 14: The Nativity The Chandlers Pageant 15: The Shepherds The Masons; The Goldsmiths Pageant 16: Herod and the Magi; The Offering of the Magi The Girdlers and Nailers Pageant 19: The Slaughter of the Innocents The Capmakers Pageant 24: The Woman Taken in Adultery and the Raising of Lazarus The Skinners Pageant 25: The Entry into Jerusalem The Bowers and Fletchers Pageant 29: Christ Before Annas and Caiaphas The Tapiters and Couchers Pageant 30: The First Trial Before Pilate: The Dream of Pilate’s Wife The Litsters Pageant 31: The Trial Before Herod The Tilemakers Pageant 33: The Second Trial Before Pilate: The Judgment The Pinners Pageant 35: The Crucifixion The Butchers Pageant 36: The Death of Christ The Saddlers Pageant 37: The Harrowing of Hell The Carpenters Pageant 38: The Resurrection The Winedrawers Pageant 39: Christ's Appearance to Mary Magdalene The Drapers Pageant 44: The Death of Mary The Weavers Pageant 45: The Assumption of Mary The Mercers Pageant 47: The Last Judgment In Context Four Middle English Crucifixion Poems (c. 1340-1400) “Ye that passen by the way” “Men rent me on rood” “Stand well, Mother, under rood” “I sike when I sing” Select Civic and Guild Records From the Mercers' Pageant Accounts (1462) From the City Chamberlains’ Rolls: Account of Receipts for Station Placement (1462) An Ordinance of the Tanners (1476) From the City Council Minutes: Two Judgments Concerning Pageant Costs (1517) Manuscript Images Page from the Tile Thatchers’ Nativity Page from the Girdlers’ and Nailers’ Slaughter of the Innocents Page from the Pinners’ Crucifixion Other Images Holkham Bible: Adam and Eve Bedford Hours: Noah Building the Ark Canterbury Psalter: Scenes from Christ’s infancy Holkham Bible: Crucifixion Gough Psalter: The Harrowing of Hell
£18.95
