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What We Are When We Are

Athabasca University Press | Mingling Voices


Working within a postmodern style, this rhythmic and melodious collection of poems originally written in Slovenian by Cvetka Lipuš and translated here by Tom Priestly, blends the real with the surreal, dull urban lives with dreams. Lipuš, known for the lexical beauty of her work, dwells on topics of time and space which she handles in an almost revolving, irreverent manner. Priestly captures the maze-like characteristic of her verse and carefully reconstructs the sonoric beauty of the work in its original language.

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Born in Austria, Cvetka Lipuš is the author of seven collections of poetry in Slovenian. Kaj smo, ko smo (2015), for which Lipuš received the Prešeren Foundation Award, was shortlisted for the Veronika Prize, Slovenia’s most prestigious poetry prize.

 
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Poems for a Small Park

Athabasca University Press | Mingling Voices


This collection by well-known Edmonton poet, E.D. Blodgett, is an ode to the wisdom and divinity of silence. The poet muses on the quiet of the outdoors and the mysterious relationship that exists between spaces of silence within a city's limits.

Most of the short lyrics that make up this sublime collection were written first in English and French before being translated into Cree, Michif, Chinese, and Ukrainian to reflect Edmonton's multicultural past and present. Together they form a composite view of the people and culture that inhabit the city's natural spaces.

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"E.D. Blodgett's poems strive for stillness. The book reads like a meditation--a quiet moment in a yoga studies or a walk through the park at sunrise--refreshing, but also temporal."

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E.D. Blodgett, FRSC, is professor emeritus of comparative literature at the University of Alberta, and holds the Louis Desrochers Chair in Études Canadiennes at its Campus Saint-Jean. He has published 18 books of poetry, two of which won the Governor General's Award. In 2007, he was appointed Edmonton's Poet Laureate.

 
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Cover zur kostenlosen eBook-Leseprobe von »A Step in the Right Direction«

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A Step in the Right Direction

BookThug


In A Step in the Right Direction, Søndergaard continues a line of thought he first developed in Bees Die Sleeping and continued in Vinci, Later (which was published in English in 2005). This new collection is "about" walking. It contains four major cohesive songs or cantos, each of which explores the act of walking from a different point of view: as a social activity, as an act of love, as a condition for thought, and as inspiration for art.

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Praise for Praise for Morten SØndergaard: For now we have, and a collection of poems so worthy of your attention and attachment that it bears repeating again and again, with rising urgency, how good this book is. – Seth Abramson, Huffington Post Morten Søndergaard carefully brushes the lint off our shoulders, then crouches behind the controls of his poems and does everything to dislodge us from our feet. As doomful and slapstick as Beckett, he gives voice to the ground we stomp all over, and the stuff aside from people that peoples our world. – Stuart Ross That everyday life would find its way into Søndergaard’s poetry was demonstrated by his earlier masterpiece Vinci, Later. Now it has come to stay. A Step in the Right Direction is not just a step forward, but a giant leap into a much larger realm for this poet. It is, without having to say much else, an instant classic. – Tue Andersen Nexø, Information With Morten Søndergaard, you find yourself in a world of wide open curiosity. You are travelling, you are on the move, and yet Søndergaard’s poems are like statues carved in Italian marble. – Bjorn Breden, Politiken Morten Søndergaard stands out as the heir to Inger Christensen. If one argues that a poet's primary task is to walk out into the world with eyes wide open and pass on impressions and thoughts through a tireless linguistic curiosity prism, then Morten Søndergaard’s A Step in the Right Direction is the work of an exemplary poet. – Kim Skotte, Politiken

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Morten Søndergaard (born 1964) is a part of a generation of Danish poets that emerged in the early Nineties. Søndergaard's first collection of poetry, Sahara i mine h¾nder (Sahara In My Hands) was published in 1992. This debut collection has been followed by a succession of works which have won him both critical acclaim and a number of literary awards. Morten Søndergard's most recent publication is Processen og det halve kongerige (The Process and Half the Kingdom) (2010). His books have been translated into Arabic, English, German, French, Italian, Serbian and Swedish. In the spring of 2012 he published his second collection of poetry in English, titled A Step in the Right Direction, translated by Barbara J. Haveland

 
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Cover zur kostenlosen eBook-Leseprobe von »Manchmal ist ein Strohhalm viel«

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Manchmal ist ein Strohhalm viel

Pendragon


„Manchmal ist ein Strohhalm viel“ – Gedichte können zart und zerbrechlich sein, doch Sigrid Lichtenbergers Gedichte bilden eine sichere Hand, die vor dem Sturz bewahrt, einen aufrichtet und mit einem Schups wieder in Richtung Leben schickt.

Sie sind nachdenklich, berührend und ehrlich. Sie sprechen von Leben und Lebenserfahrung.

Dieser Band vereint Sigrid Lichtenbergers spätere Werke von 2012 bis 2016. In ihm kommt ihre unendliche Liebe zur Natur und zum Schreiben zum Ausdruck, ihre Verbundenheit zu Gott und der Welt, mit all ihren grauen und bunten Facetten.

 
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Unforgetting Private Charles Smith

Athabasca University Press


Private Charles Smith had been dead for close to a century when Jonathan Hart discovered the soldier’s small diary in the Baldwin Collection at the Toronto Public Library. The diary’s first entry was marked 28 June 1915. After some research, Hart discovered that Charles Smith was an Anglo-Canadian, born in Kent, and that this diary was almost all that remained of this forgotten man, who like so many soldiers from ordinary families had lost his life in the First World War. In reading the diary, Hart discovered a voice full of life, and the presence of a rhythm, a cadence that urged him to bring forth the poetry in Smith’s words. Unforgetting Private Charles Smith is the poetic setting of the words in Smith’s diary, work undertaken by Hart with the intention of remembering Smith’s life rather than commemorating his death.

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"Hart documents Private Smith's diary in poetic style, stark and sad and funny, from his departure for the Western Front to the last entry on May 31, 1916: 'Back at 11 am.'"

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"Succinct, compact, candid."

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Jonathan Locke Hart is a Canadian poet and professor at Shanghai Jiao Tong University. His recent work in comparative literature includes The Poetics of Otherness, a study of the literature of war.

 
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Bamboo Cage

Vance, Jonathan F. (Hrsg.) | Goose Lane Editions | New Brunswick Military Heritage Series


In 1942, RAF flight controller Robert Wyse became a Japanese prisoner of war on the island of Java in Indonesia. Starved, sick, beaten, and worked to near-death, he wasted away until he weighed only seventy pounds, his life hanging in tenuous balance. There were strict orders against POWs keeping diaries, but Wyse penned his observations on the scarce bits of paper he could find, struggling to describe the brutalities he witnessed. After cleverly hiding his notes in a piece of bamboo next to his bed, in December of 1943, he carefully hid his notes inside a bottle beneath his prison hut. After the war, he wrote to the Dutch authorities, asking them to dig up his diary and return it to him. In this detailed and frank portrayal of life under Japanese occupation, Wyse reveals the both the best and the worst of human nature. He criticized his fellow soldiers for botching the defence of Java and Sumatra and admonished his captors for their brutality. Yet, Wyse also describes the selfless efforts of the Dutch civilians who helped the prisoners by doing whatever they could as well as his first-hand observations of acts of self-sacrifice among the prisoners themselves.

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Jonathan Vance is a professor and Canadian Research Chair in Conflict and Culture in the Department of History at the University of Western Ontario. He has been interested in the history of prisoners of war for over thirty years and has written several books on the topic, including The Encyclopedia of Prisoners of War and Internment.

 
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All the Gold Hurts My Mouth

Goose Lane Editions


Winner, 2017 ReLit Award

Katherine Leyton's fresh and vibrant debut collection takes on the sexual politics of the twenty-first century, boldly holding up a mirror to the male gaze and interrogating the nature of images and illusions.

Confronting the forces of mass communication — whether television, movies, or the Internet — Leyton explores the subtle effects of the media on our perceptions and interactions, including the pain of alienation and the threat of violence simmering just below the surface.

And yet, for all its unflinching and raw lyricism, the poetry of All the Gold Hurts My Mouth is warm and searching, full of humour and hope. Engaging her readers with lush vocabulary and spare, tightly controlled forms, Leyton's poems become a rich quest for identity, authenticity, and nature uncorrupted. Reaching gloriously from isolation and pain to connection with love, Leyton channels the wit of feminists past to create a manifesto for our time, an affirmation of what might be possible.

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"Leyton's voice is both enigmatic and unabashed, delving into the mysteries of selfhood while offering a vivid meditation on what it means to be a woman alive today. A fearless, urgent, and beautifully wrought debut."

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"An outstanding debut, filled with complicated yet still vivid imagery. Leyton's lines lift off the page to throttle you."

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"In this fierce debut, Leyton explores women as palaces and grand pianos, gleaming objects admired and shattered. Through her lyrically exuberant voice, whirring with musicality and subversive jabs, art becomes a looking glass. Just as 'women hum to drown their hunger,' these poems bring the salve of self-creation to their reader."

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"Katherine Leyton debuts with a brash, provocative collection centred around how women are seen by men, as expressed in popular culture, and how women internalize that male gaze."

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Katherine Leyton was the inaugural writer-in-residence at the Al & Eurithe Purdy A-Frame in the summer of 2014. Her poetry and non-fiction have appeared in numerous publications, including the Malahat Review, Hazlitt, the Globe and Mail, and the Edinburgh Review. She is also the founder of the highly unorthodox video poetry blog, HowPedestrian.ca. A native of Toronto, Leyton has lived in Rome, Montreal, Edinburgh, and Forli.

 
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Cover zur kostenlosen eBook-Leseprobe von »The Collected Poems of Miriam Waddington«

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The Collected Poems of Miriam Waddington

University of Ottawa Press | Canadian Literature Collection


Miriam Waddington's verse is deceptively accessible: it is personal but never private, emotional but not confessional, thoughtful but never cerebral. The subtlety of her craft is the hallmark of a modernist poet whose work opens to the world and its readers. She details intoxicating romance and mature love, the pleasures of marriage and motherhood, the experience of raising two sons to adulthood, and the ineffable pain of divorce. As she moved through life, she wrote clearly and uncompromisingly about the vast sweep of Canada, her travels to new lands, the passage of time, the death of her ex-husband, the loss of close friends and, later, of growing old.

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Panofsky comprehensively and cleanly presents Waddington’s poems and acts as a scholarly mediator who never intrudes upon the poems; Her collection makes readability and usability a priority. This collection does the necessary foundational work for this further scholarship by gathering a very rich body of material and opening the boundaries of genre, position, language, and media to open-ended inquiry. Here, Panofsky has accomplished the monumental task of collecting and evaluating the life’s work of a prolific writer and critic without ever reifying the collection as a monument; on the page, Waddington’s text remains varied, expansive, and alive. (http://www.thebullcalfreview.ca/miriamwaddington.htm)

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Ruth Panofsky is a professor of English at Ryerson University where she specializes in Canadian literature and culture. Her scholarship focuses on Canadian publishing history, authorship studies, textual scholarship, and Jewish Canadian women writers. In addition to scholarly works, she has published two books of poetry.

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Miriam Waddington was a trailblazer. She was the first Jewish Canadian woman to publish poetry written in English and participated in the rise and flowering of modernist Canadian poetry. Her work was groundbreaking for its conversational tone, stylistic play and its focus on female lived experience.

 
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Ricochet

Les Presses de l'Université d'Ottawa


Ricochet is a bilingual collection of word sonnets by one of the chief innovators of the form, Seymour Mayne. It includes three sequences of pithy and evocative poems that encapsulate moments of sharp perception while also drawing attention to instants of humour that suddenly appear in daily life.

Concise and visual in effect, word sonnets are fourteen line poems, with one word per line. Frequently allusive and imagistic, they can also be irreverent and playful. While informed by other short poetry forms such as the Haiku, Mayne’s word sonnets are deeply influenced by the Talmudic tradition of maxims, proverbs and images that instruct and inform everyday life.

Presented with an excellent translation of the poems into French, Ricochet is a unique volume that showcases this innovative new form. The collection also includes a short preface by the poet and an introductory essay by the translator on the challenges of translating word sonnets.

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This is an A5 perfect bound book of word sonnets. Poets for about the last 20-30 years in the UK have produced word sonnets and it has proved to be a very restricting form. It is extremely difficult to produce outstanding word sonnets, worthy of re-reading, as they tend to end up being one or two sentences written vertically with a line count of 14 with the 'so what' factor. Some do have more than one word to a line, but Mayne's word sonnets all have one word to the line as can be seen in DECEMBER FLIGHT:

These

starlings

swerve

in

flocks,

turning

their

frantic

wings

towards

the

sun's

slanting

light.

This word sonnet builds a laudable image. Nature is predominant in Seymour Mayne's word sonnets, as is a sense of spirituality, which is not commonly achieved in this form. JUNE HEAT sets a nature scene and focuses on light:

A

flashback

of

snow

shadows

this

thick

lingering

wind

and

curtain

of

humid

light.

Doreen King, New Hope International Review

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As it frequently is throughout this collection, the tone is wry. Indeed, the dry humour and colloquial language of several poems contrast forcefully the tone’s more frequent seriousness. The collection ricochets between the two attitudes much as the English originals hit up against the French translations, interrupting the smooth flow of the sequences. The strong attention to and repetition of sound, as well as the—as the translator Sabine Huynh puts it— “daunting challenge of translating fourteen English words into exactly fourteen French words” makes Ricochet an interesting collection to publish bilingually (xxiii). Yet, the thematic interest in language—with issues of words, poetry, and communication as frequently explored as images of nature— makes Ricochet a fitting investigation into the elements of poetry and their potentials for rearticulation.

Dale Tracy, The Bull Calf - REVIEWS OF FICTION, POETRY, AND LITERARY CRITICISM, 10/24/2016

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Seymour Mayne is the author, editor or translator of more than fifty books and monographs. His writings have been translated into many languages, including French, German, Hebrew, Polish, Russian, and Spanish. His latest collections include Light Industry< (mosaic press, 2000), Ricochet: Word Sonnets (Mosaic Press, 2004), September Rain (Mosaic Press, 2005) and Les pluies de septembre (Éditions du Noroît, 2008), his selected poems translated into French by Pierre DesRuisseaux. He serves as Professor of Canadian Literature, Canadian Studies, and Creative Writing at the University of Ottawa.

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Seymour Mayne a écrit, édité ou traduit plus de cinquante volumes et monographies. Ses écrits ont été traduits en plusieurs langues, dont le français, l’allemand, l’hébreu, le polonais, le russe et l’espagnol. Ses dernières publications comprennent Light Industry (Mosaic Press, 2000), Ricochet: Word Sonnets (Mosaic Press, 2004), September Rain (Mosaic Press, 2005); et Les pluies de septembre : poèmes choisis, traduit de l’anglais par Pierre DesRuisseaux (Éditions du Noroît, 2008). Il est professeur de littérature, de création littéraire et d’études canadiennes à l’Université d’Ottawa.

 
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Clockfire

Coach House Books


Jonathan Ball's Clock?re is a suite of poetic blueprints for imaginary plays that would be impossible to produce - plays in which, for example, the director burns out the sun, actors murder their audience or the laws of physics are de?led. The poems in a sense replace the need for drama, and are predicated on the idea that modern theatre lacks both 'clocks' and '?re' and thus fails to offer its audiences immediate, violent engagement. They sometimes resemble the scores for Fluxus 'happenings,' but replace the casual aesthetic and DIY simplicity of Fluxus art with something more akin to the brutality of Artaud's theatre of cruelty. Italo Calvino as rewritten by H. P. Lovecraft, Ball's 'plays' break free of the constraints of reality and artistic category to revel in their own dazzling, magni?cent horror.

 
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