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At once a wily romp and a lyric sweep, Rodeo in Reverse considers the possibilities and failures of domestic life on the never-ending quest of rounding up, and defining, the self. Though Malaga had been their home for generations, nine residents including the entire Marks family were committed to the Maine School for the Feeble Minded in Pownal, Maine.

The others struggled to find homes on other islands or on the mainland, where they were often unwelcome. The Malaga school was dismantled and rebuilt as a chapel on another island. Seventeen graves were exhumed from the Malaga cemetery, consolidated into five caskets, and reburied at the Maine School for the Feeble Minded.

Poetry from the Poets on the Hill - Tim Evans - TEDxSwansea

Just one year after the start of the eviction proceedings, the Malaga community was erased. Of and for the women that live on, she writes with bold reverence for that which thrives despite the odds—female desire, the aging body, the power of refusal.

William Butler Yeats: The Symbolism of Poetry

Doshi reminds us that poetry, at its root, is song—in praise and lament, hopeful and ebbing—calling out for truth and redemption. He paints vivid portraits of good kids, bad kids, families clinging to hope, life after the steel mills, gentrifying barrios, and everything in between. Drawing on the rich traditions of Latinx and Chicago writers like Sandra Cisneros and Gwendolyn Brooks, Olivarez creates a home out of life in the in-between.

Combining wry humor with potent emotional force, Olivarez takes on complex issues of race, ethnicity, gender, class, and immigration using an everyday language that invites the reader in. Olivarez has a unique voice that makes him a poet to watch. After being orphaned as a young girl, Asghar grapples with coming-of-age as a woman without the guidance of a mother, questions of sexuality and race, and navigating a world that put a target on her back.

Using experimental forms and a mix of lyrical and brash language, Asghar confronts her own understanding of identity and place and belonging. This work centers on urgent themes in our cultural landscape, creating space for unseen victims of discriminatory foreign read: immigration policy: migrants, refugees—the displaced. Helal transfers lived experiences of dislocation and relocation onto the reader by obscuring borders through language. The poems peel away at the complexity of love, family, individual growth, and sacrifice as the rough son moves through the world.

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In the face of a merciless disease, each poem fights to turn despair into gratitude. The title poem follows a nineteen-year-old girl in Shanghai who uploaded her suicide onto Instagram. Other poems cross into animated worlds, examine robot culture, and haunt a necropolis for electronic waste. A fascinating sequence spanning the collection speaks in the voice of the international icon and first Chinese American movie star Anna May Wong, who travels through the history of cinema with a time machine, even past her death and into the future of film, where she finds she has no progeny.

With a speculative imagination and a sharpened wit, Mao powerfully confronts the paradoxes of seeing and being seen, the intimacies made possible and ruined by the screen, and the many roles and representations that women of color are made to endure in order to survive a culture that seeks to consume them.

Wells to Sandra Bland and Black Lives Matter, black women freedom fighters have braved violence, scorn, despair, and isolation in order to lodge their protests. Poems leap from war-torn cities in the Middle East, to an Oklahoma Olive Garden, a Brooklyn brownstone; from alcoholism to recovery; from a single woman to a wife.

This collection summons breathtaking chaos, one that seeps into the bones of these odes, the shape of these elegies.


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Through love, loss, and the struggles of disordered eating, If My Body Could Speak uses sharp narratives and visceral imagery to get to the heart of a many-layered existence, speaking to many generations at once. These American poems are both elegy and jive, joke and declaration, songs of congregation and self-conception. They connect themes of loneliness, displacement, grief, ancestral trauma, and objectification, while exploring and troubling tropes and stereotypes of Black Americans.

Focused primarily on depictions of Black womanhood alongside personal narratives, the collection tackles interior and exterior politics—of both the body and society, of both the individual and the collective experience. In these poems are living documents, pleas, latent traumas, inside jokes, and unspoken anxieties situated as firmly in the past as in the present—timeless Black melancholies and triumphs.

When soldiers breaking up a protest kill a deaf boy, Petya, the gunshot becomes the last thing the citizens hear—they all have gone deaf, and their dissent becomes coordinated by sign language. Stories, both benign and traumatic, travel as lore and DNA. Using lush, exact imagery, whether about the corner bar or a hilltop in Korea, Lee is a careful observer, tracking and documenting the way that seemingly small moments can lead to larger insights.

But these unpretentious vignettes are laced with compassion, as she learns to balance the sting of death with the tender strangeness of life. Here we meet its survivors and victims, from a pearl-catcher to a mild-mannered father to a drove of mindless pink robots. Sink asks and answers hard questions about grief, lineage, death and all manner of inheritance. What is one left with when they come from a family that has nothing to its name but loss? Throughout, Dallagiacomo weighs the cost of what it is to be alive and a woman in a landscape that makes being alive and a woman uninviting.

Sink approaches grief and depression not as a tourist, but instead with the power and nuance of someone who has survived and made the most of their survival. Balancing artistic experimentation with earnest expression, achingly real detail with dazzling prismatic abstraction, humor with frustration, light with dark, she offers a book of great human depth that is to be carried around, opened to anywhere, and encountered.

The speaker of these poems is a sorceress, a bride, a warrior, a lover, both object and agent, ricocheting among ways of knowing and being known.

Sir Geoffrey Hill obituary

Each incarnation squares itself up against ideas of feminine virtue and sin, strength and vulnerability, love and rage, as it closes in on a hard-won freedom. Who is this nation? Where does freedom truly lie? This will provide new texts, along with detailed textual and contextual notes, for every extant piece of verse written by Yeats. The first volume taking Yeats to c.

Poetry Out Loud

As part of my own poetic work, I have developed an interest in verse translation from Greek, and intend to write more on this critically in coming years. It is my hope that I may be in a position to undertake another large Greek translation project in the future.

I do not undertake teaching or research work in 'creative writing' as such; in my role as the Christopher Tower Student i. Fellow in Poetry in the English Language at Christ Church, I work to promote the art of writing poetry by way of encouraging and deepening the understanding of poetry across different historical periods. Poetry in English from the Romantics to the end of the twentieth century; W. Yeats; classical reception in English poetry. Skip to main content. Christ Church. Masters supervision DPhil supervision.