National Poetry – serie
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9 produkter
156 kr
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156 kr
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177 kr
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301 kr
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In this debut collection, Anna Journey invites the reader into her peculiar, noir universe nourished with sex and mortality. Her poems are haunted by demons, ghosts, and even the living who wander exotic landscapes that appear at once threatening and seductive. In these poems, her sly speaker renames a pink hibiscus on display at Lowe's, "Lucifer's Panties"; another character chants, "I'd fall devil / over heels over edge over oleander"; and one woman writes a letter to the underworld:Dear black bayou, once, by a riverI bit a man's neck. His scent: the rawteak air husked inside stomachs of sixRussian nesting dolls—the ones in the attic I pulledapart and open. The ones Ipulled apart and open like Styrofoam cups.
301 kr
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In her second collection, Idra Novey steps in and out of jails, courthouses, and caves to explore what confinement means in the twenty-first century. From the beeping doors of a prison in New York to cellos playing in a former jail in Chile, she looks at prisons that have opened, closed, and transformed to examine how the stigma of incarceration has altered American families, including her own. Novey writes of the expanding prison complex that was once a field and imagines what’s next for the civilians who enter and exit it each day.On BafflementWe drew a prison in the sand and it wouldn’t go away.Not even beneath the foam of the biggest waves.The torn leg of a starfish clung to the door.A piece of seaweed clung to the bars over the windows.The tide came in higher and we thought, So much for the prison.Somebody asked why did we draw that thing,And were we growing old watching it this way.We felt compelled to make love in the sand a few feet off.Then we drew another one, just to see if we’d make love again.
301 kr
Skickas inom 3-6 vardagar
Written in narrow sections that blur the distinction between flash fiction and prose poetry, between memoir and meditation, Monograph veers from the elliptical to the explosive as it dissects the Gordian knot of a marriage’s intellectual, sexual, and domestic lives. Invoking Raymond Chandler, Pythagoras, Joan Didion, and Virginia Woolf as presiding spirits, Simeon Berry curates the negative space of each wry tableau, destabilizing the high seriousness of every lyric aside and slipping quantum uncertainty into the stark lineaments of loss.
301 kr
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Lindsay Bernal’s What It Doesn’t Have to Do With explores through sculpture, painting, pornography, and performance art changing views on gender and sexuality. The elegiac meditations throughout this collection link the objectification of women in art and life to personal narratives of heartbreak, urban estrangement, and suicide. Haunted by the notions of femininity and domesticity, the protagonist struggles to define the self in shifting cultural landscapes. Ezra Pound, Louise Bourgeois, and Morrissey coexist within the unruly, feminist imagination of these poems. Through quick turns and juxtapositions, Lindsay Bernal navigates the paradoxical states of grief and love, alternating between vulnerability and irony, despair and humor. Her wry, contemporary voice confronts serious subjects with unpredictable wit.
135 kr
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Carlo Rovelli, Italian physicist, says that "the world is not a collection of things, it is a collection of events." Poet Diane Louie thinks of prose poems as little events. They are happening and happenings. They draw on experience, image, metaphor, and all the properties of language to create little worlds-in-motion: spinning while orbiting, actively shifting our point of view.More genus than hybrid species, prose poems can straddle the obvious limits and less-obvious liberties of perception. This active characteristic of spanning and connecting is especially relevant in a time of cultural polarization. Marrying, even uneasily, the inquiries of science and spiritual longing can illuminate what they—and we—have in common: a desire to understand our presence in a universe that does not yield ultimate answers.
292 kr
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Survival Strategies is a love story wrapped in a reckoning. Arranged in three parts, this collection of poems follows a narrative arc.The speaker, who is returning to the Sonoran of her birth after many years away, takes us with her on a journey of enlightenment. In the course of the first section, "The Sunniest Place on Earth," we learn that the speaker has developed a deep hatred of the desert (a reflection of herself) due to the way she was treated and what she witnessed while being raised there. As we move through to part 2, "Estivate So You Don't Die," we see the speaker grappling with her past as a sensitive person amid the rugged realities of life in the Southwest. As this section closes, there is a long-form prose poem assembled as a mythopoetic fable titled, "The Mother and the Mountain," that explores her mother's childhood. This section brings revelation to some of what precedes it and reveals the speaker as the buttress of this family who, though an outsider, walks a path first laid by her mother. The final section is titled simply, "After," and as its title suggests, is a short set of poems that wrap up the arc and bring peace to our speaker as she comes to realize she never hated the desert, nor herself, as she is set free by the ocean of the Pacific Northwest.