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Poésie
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"It is rare to find in one collection an entire skyline burning and the quiet to follow a single worm,…
to hear soil breathe-in Jorie Graham's fifteenth poetry collection, you do. Jorie Graham's fifteenth poetry collection, To 2040, opens in question punctuated as fact: "Are we / extinct yet. Who owns / the map." In these visionary new poems, Graham is part historian, part cartographer as she plots an apocalyptic world where rain must be translated, silence sings louder than speech, and wired birds parrot recordings of their extinct ancestors. In one poem, the speaker is warned by a clairvoyant "the American experiment will end in 2030." Graham shows us our potentially inevitable future soundtracked by sirens among industrial ruins, contemplating the loss of those who inhabited and named them. In sparse lines that move with cinematic precision, these poems pan from overhead views of reshaped shorelines to close-ups of a worm burrowing through earth. Here, we linger, climate crisis on hold, as Graham asks us to sit silently, to hear soil breathe. An urgent open letter to the future, with a habit of looking back, To 2040 is narrated by a speaker who reflects on her own mortality-in the glass window of a radiotherapy room, in the first "claw full of hair" placed gently on a green shower ledge. In poems that look to 2040 as both future and event-horizon, we leave the collection warned, infinitely wiser, and yet more attentively on edge. "Inhale. / Are you still there / the sun says to me." And, from the title poem, "what was yr message, what were u meant to / pass on?"" -- Provided by publisher
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Poésie
Audio avec voix de synthèse, Braille automatisé
An exciting new collection of poems by “one of the Spanish-speaking world’s greatest living writers” (LA Review of Books) Self-Portrait…
in the Zone of Silence, by the renowned Mexican writer Homero Aridjis, is a brilliant collection of poems written in and for the new century. Aridjis seeks spiritual transformation through encounters with mythical animals, family ghosts, migrant workers, Mexico’s oppressed, female saints, other writers (such as Jorge Luis Borges and Philip Lamantia), and naked angels in the metro. We find tributes to Goya and Heraclitus, denunciations of drug traffickers and political figureheads, and unforgettable imaginary landscapes. As Aridjis himself writes: “a poem is like a door / we’ve never passed through...” And now past eighty, Aridjis reflects on the past and ponders the future. “Surrounded by light and the warbling of birds,” he writes, “I live in a state of poetry, because for me, being and making poetry are the same.”
Braille (abrégé), Braille électronique (abrégé), DAISY Audio (CD), DAISY Audio (Téléchargement Direct), DAISY Audio (Zip), DAISY texte (Téléchargement direct), DAISY texte (Zip), Word (Zip), ePub (Zip)
Poésie
Audio avec voix de synthèse, Braille automatisé
Named a Most Anticipated Book of 2023 by LitHub A new collection of vivid, personal and provocative work from the…
author of Or to Begin Again, a finalist for the 2009 National Book Award in poetryIn Ann Lauterbach&’s eleventh collection, the image of a Door recurs across several poems, as she considers the perpetual dialogue between what is open and what is shut for each of us. The Door is a threshold between the inner landscape of memory, thought, imagination and dream and the outer so-called real world, which increasingly comes to us through technology&’s lens, displacing and distorting our sense of intimacy, presence and relation. What is near, and what is far away? She asks about the efficacy of language itself, when confronted by the urgent uncertainties of contemporary experience.
Braille (abrégé), Braille électronique (abrégé), DAISY Audio (CD), DAISY Audio (Téléchargement Direct), DAISY Audio (Zip), DAISY texte (Téléchargement direct), DAISY texte (Zip), Word (Zip), ePub (Zip)
Poésie
Audio avec voix de synthèse, Braille automatisé
A stunning memorial work that excavates the forgotten experience of West Indian soldiers during World War I.Deep-dyed in language both…
sensuous and biblical, Ishion Hutchinson's School of Instructions memorializes the experience of West Indian soldiers volunteering in British regiments in the Middle East during World War I. The poem narrates the psychic and physical terrors of these young Black fighters in as they struggle against the colonial power they served; their story overlaps with that of Godspeed, a schoolboy living in rural Jamaica of the 1990s. This visionary collision, in which the horizontal, documentary shape of the narrative is interrupted by sudden lyric effusions, unsettles both time and event, mapping great moments of heroism onto the trials of everyday existence It reshapes grand gestures of heroism in a music of supple, vigilant intensity. Elegiac, epochal and lyrical, School of Instructions confronts the legacy of imperial silencing and weaves shards of remembrance—"your word mass / your mix match / your jamming of elements"—into a unique form of survival. It is a masterpiece of imaginative recuperation by a poet of prodigious gifts.