Nineteenth Century Collections Online: European Literature, 1790-1840: The Corvey Collection includes the full-text of more than 9,500 English, French and German titles. The collection is sourced from the remarkable library of Victor Amadeus, whose Castle Corvey collection was one of the most spectacular discoveries of the late 1970s. The Corvey Collection comprises one of the most important collections of Romantic era writing in existence anywhere -- including fiction, short prose, dramatic works, poetry, and more -- with a focus on especially difficult-to-find works by lesser-known, historically neglected writers. The Corvey library was built during the last half of the 19th century by Victor and his wife Elise, both bibliophiles with varied interests. The collection thus contains everything from novels and short stories to belles lettres and more populist works, and includes many exceedingly rare works not available in any other collection from the period. These invaluable, sometimes previously unknown works are of particular interest to scholars and researchers. European Literature, 1790-1840: The Corvey Collection includes: * Novels and Gothic Novels * Short Stories * Belles-Lettres * Short Prose Forms * Dramatic Works * Poetry * Anthologies * And more Selected with the guidance of an international team of expert advisors, these primary sources are invaluable for a wide range of academic disciplines and areas of study, providing never before possible research opportunities for one of the most studied historical periods. Additional Metadata Primary Id: B0961903 PSM Id: NCCOF0063-C00000-B0961903 DVI Collection Id: NCCOC0062 Bibliographic Id: NCCO021038 Reel: 8177 MCODE: 4UVC Original Publisher: Printed for T. Cadell and W. Davies Original Publication Year: 1807 Original Publication Place: London Original Imprint Manufacturer: G. Sidney, printer; W. Flint, printer Subjects English fiction -- 19th century

All his life Yuri Maximovich Isakovsky, a minor Russian poet, editor of a journal of folk music, sometime English translator, has assiduously avoided power and politics—in fact, attention of any kind. How can it be, then, that the Soviet government has chosen him to attend a conference in the fabled land of bourgeois temptation itself, New York City? And not only that, but to do a "piece of work" for the KGB, to deliver a code message embedded in the text of a certain poem to be read in public along with his own . . . "Cohen has achieved here a tour de force, bringing the idea of poetry to life in a messy little man, no hero at all, not even that much of a poet. . . . [The novel] is stately as well as funny, an authentically noble account of a celebrant. . . . It is the true article."—Geoffrey Wolff, New York Times Book Review "Arthur Cohen catches fire. . . . A Hero in His Time represents for him a great imaginative leap, for we are shown the interior mental landscape of a middle-aged Russian-Jewish minor poet and . . . most astonishing is that we believe, without question, in this poet."—Doris Grumbach, Village Voice "A tremendous achievement. . . . To have made this tremendous imaginative leap from the heart of American Jewishness to the heart of Russian Jewishness was a daring thing to do, and it has been accomplished with absolute conviction."— The Sunday Times (London) "A rich compound of high seriousness and robust comedy."— Newsweek

For poets throughout the world Rome was the world. This is particularly true for Russian poets, owing to the anagrammatical relation of the words Rome and mir (Rome and world). The legacy of ancient Rome has always constituted an important component of the Russian cultural consciousness. The revitalization of classical scholarship in nineteenth-century Russia and new approaches to antiquity prompted many of the Russian Symbolists to seek their inspiration in ancient Rome. Vladimir Solovyov, Dmitry Merezhkovsky, Valery Bryusov, Vyacheslav Ivanov, Maksimilian Voloshin, Vasily Komarovsky, and Mikhail Kuzmin all made significant contributions to what is often referred to as the "Roman text." The Legacy of Ancient Rome in the Russian Silver Age analyzes the forms involved in creating the Roman image and explores its functionality within the given poetic system. In addition to the formal analysis, the background and the stimulus leading up to the composition of a particular poem are explored, as well as allusions to legends, myths and Rome's geography and architecture. Moreover, this study considers the function of the Roman text in Russian Symbolist poetics and the works of the individual poets. Finally, the relation between the Roman and Petersburg texts of Russian literature is explored, since many of the Russian Symbolist poets found in Rome a perfect metaphor for their studies of the city and "urban" poetry.

An avant-garde literary journal that publishes poetry, prose, translations, commentary, etc.

This volume contains a translation of four early manuscripts by Alfred Schutz, unpublished at the time, written between 1924 and 1928. The publication of these four essays adds much to our knowledge and appreciation of the wide range of Schutz's phenomenological and sociological interests. Originally published in 1987. The essays consist of: a challenging presentation of a phenomenology of cognition and a treatment of Bergson's conceptions of images, duration, space time and memory; a discussion of the meanings connected with the grammatical forms of language in general; a consideration of the relation between meaning-contents and literary forms in poetry, literary prose narration and dramatic presentation; and an examination of resemblances and differences in the inner forms and characteristics of the major theatrical art forms.

Zvi Arbel is an Israeli historian whose field is Jewish history. His chosen topic of research is the Petliura massacres of Ukrainian Jews in 1918-1920. Arbel's work is read by the poet Shmuel Foiglman, a Holocaust survivor who sends Arbel a volume of his own poetry in Yiddish. The relationship that develops between the two men is one of ambivalence and fascination; the reserved Israeli historian is alternatively affectionate and resentful towards the enthusiastic but tormented poet. Despite his ambivalence, Arbel is manipulated into helping Foiglman. He embarks on an effort to get Foiglman's poetry translated into Hebrew, and as Foiglman begins to monopolize more and more of his time and resources, Arbel ignores all the warning signs of the effect this is having on his marriage; his wife Nora cannot be dissuaded from her feelings of revulsion towards Foiglman. As the poet unintentionally drives a wedge between them, Arbel and Nora's long and contented marriage goes sour, and in Megged's blend of past and present, lust and nostalgia - tragedy becomes the only way out.

Poetry. "Tucked in torque wick slick/ serial surface like chic smut fluff/ my foolie fois glas grammars flummoxed/ in the festering folly. And i, zip my/ salience sexing my/ shimmy-shimmy sassy flagrance/ flounced with rotting fissures/ in aplomb puffery, stigmata fat lattice souflee/ riffin' in the filly fallow filters,/ famine laminate filaments,/ in the neolyric acrylic frill fandango-" - from I.

In The Poetry of Everyday Life, John Hollander grapples with issues of poetry and the imagination. In a series of aphorisms, The book's title essay distinguishes between poetry's relations to the rest of life and other kinds of literature that merely deal literally with it. The essay introduces a range of other prose writing, from poetic fictions in prose (which Hollander calls "enigmatic narratives") to literary essays and memoirs of poets such as W. H. Auden, James Merrill, and Anthony Hecht. There are observations on the eternal problem of verse translation, as well as an interview with Langdon Hammer. Unburdened by theoretical agendas, both the short fables and the critical essays in this volume concern various aspects of the ways in which poetry can engage life most strongly when it most deeply regards itself.

True-Love is the fulfillment of revered poet-critic Allen Grossman’s long service to poetry in the interests of humanity. Poetry’s singular mission is to bind love and truth together—love that desires the beloved’s continued life, knotted with the truth of life’s contingency—to help make us more present to each other. In the spirit of Blake’s vow of “mental fight,” Grossman contends with challenges to the validity of the poetic imagination, from Adorno’s maxim “No poetry after Auschwitz,” to the claims of religious authority upon truth, and the ultimate challenge posed by the fact of death itself. To these challenges he responds with eloquent and rigorous arguments, drawing on wide resources of learning and his experience as master-poet and teacher. Grossman’s readings of Wordsworth, Hart Crane, Paul Celan, and others focus on poems that interrogate the real or enact the hard bargains that literary representation demands. True-Love is destined to become an essential book wherever poetry and criticism sustain one another.

A revealing collection of Louis Simpson's autobiographical reflections and critical essays

A collection of poetry by Heinrich Heine, translated into English by Emil Alexander Charles Keppler. The poems, originally published in Heine's Buch der Lieder, cover a wide range of themes including love, nature, and politics. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

"These poems draw you in, gently but firmly, with telling detail and great emotional power. You share what Yvonne Green observes -- very beautifully -- about day-to-day experience; appreciate what she has personally learnt about suffering; and reflect with her on the contribution poetry can make to understanding (perhaps even resolving) the world's problems. Honoured, as well as being the title of a harrowing individual poem about female martyrdom, is well-chosen as the title of the book honouring the reader with its intelligence and compassion -- and with the occasional agreeable surprise." Alan Brownjohn "These are vital, fiercely moving poems, alive with the danger, fear, violence and loss of a diaspora. Yvonne Green invites us to "....know about coming from a country that doesn't exist" and takes us beyond borders and language in her expansive, profoundly relevant exploration of identity and the meaning of 'home'." Josephine Corcoran

House with a Dark Sky Roof stands nearly dead-center between the traditional and experimental schools of the 20th century. Unlike so much 21st century poetry by younger Americans that might be described this way, this book evidences, on a line by line level, a truly original voice, unbeholden to Ashbery, O’Hara, and the other poets too often emulated by graduates of the American creative writing programs.The poems in House with a Dark Sky Roof are unashamedly intellectual, often complex, yet never ungenerous, never unnecessarily obscure. Though these poems are attached to the land, they are never provincial, travelling from New York to Mexico to London to the Karuk reservation in Northern California to Slovenia to ancient Greece and the outer solar system.

Born in the United States, Shirley Kaufman has lived for the past 20 years in Jerusalem, a city split by cultural and religious fault lines. In direct, sensitive language, Kaufman's poems occupy the shifting border between ordinary life and violence, Palestinian and Jew, young love and aging companionship. They grapple with the meaning of routine, of family, and of life among a daily existence punctured with bombs. Sometimes I need to be nowhere. A place without history. "Kaufman's poems flourish in the spaces between what is familiar and unfamiliar, between life in Israel and life in the U.S., and in those moments when the differences between Palestinians and Jews, mothers and daughters, history and the immediate moment play themselves out." -- American Book Review "Kaufman is adept at revealing the human face behind politics, carefully accumulating familiar details to make a large portrait." -- Publishers Weekly Shirley Kaufman is the author of seven books of poetry and several translations from the Hebrew. Her awards include the Shelley Memorial Award from the Poetry Society of America and the Alice Fay di Castagnola Award. A native of Seattle, Kaufman now lives in Jerusalem.

âeoeOn the Way to Willowdale: Being Other Songs From a Georgia Garden, With Sonnet Interludesâe is a collection of poems by Robert Loveman, showcasing his lyrical style and deep appreciation for nature. Loveman, often compared to Robert Browning, infuses his work with vivid imagery and emotional depth. This collection presents a diverse range of subjects, from the delicate beauty of 'Morning Glories' and 'Sally Dahlia' to the dramatic intensity of a comet and tempest. Loveman's romantic sensibilities shine through in poems addressing themes of love and loss, such as 'slain my love, ' 'Mary Marigold, ' and 'Juliet.' The included sonnet interludes offer moments of introspective beauty, capturing fleeting moments of 'rapture' and 'ecstasy.' With its evocative language and timeless themes, "On the Way to Willowdale" remains a testament to Loveman's contribution to American poetry, inviting readers to revel in the 'SKIES AND BUTTERFLIES' and the 'toy of joy' found within the Georgia landscape. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Limited First Ed. #262 of 500. A very good stapled wraps copy. Faded around spine. Light shelf wear. Tight binding. Clean, unmarked pages. Not ex-library. 32pg. Shipped Weight: Under 1 kilogram. Category: Poetry; ISBN: 0935252223. ISBN/EAN: 9780935252224. Inventory No: 012652.

Poetry. QUESTIONS/PLACES/VOICES/SEASONS continues and expands the innovative meditational poetry Norman Fischer has explored in earlier books, such as SLOWLY BUT DEARLY, SUCCESS, and I WAS BLOWN BACK. The two long serial poems that anchor QUESTIONS/PLACES/VOICES/SEASONS, "Charlotte's Way" and "Seasons," will feel quite familiar to Fischer's many readers. But he also inaugurates a new form of writing in this new book in which he inhabits the voices of others, such as Alberto Caeiro, Reb Yosl of Kemenetz, Elena Rivera, and Saigyo Hoshi. The combination of these distinct forms of writing create a compelling new addition to Fischer's already impressive body of work.

Poetry. "'Call it immersion': take Michael Ruby's sibilant heterographic tour of the underworld's underwords and rediscover in these homophonic burrows that sonic intersection is ear + imagination. At once 'tenebrous children' and a 'jangling ring of skeleton keys, ' these poems ghost- grasp their father (or was it patrimony's patter?), then intrafiliate to interlock in lines that haunt: we watch these 'seals kiss' as 'bus urn, ' to 'out vain era// air a care//none inferior' and 'still soak to a purpose somewhere.' Ruby, take a golden bow this work's ' to elicit] a response from littoral folk' and figural ones, too." Judith Goldman "'Ghostly cooing fills the moist dark places, ' and the reader and dreamer returns to the Underworld, together, already there, 'Circling in an eddy for the time being.'" Christophe Casamassima After studying Louis Zukofsky's Rudens in graduate school, I always wanted to write a homophonic translation. A decade later, I settled on the long opening of Book VI of Virgil's Aeneid, the famous Underworld book, and wrote 'Sic Fatur Lacrimans.' Soon afterward, sensing the translation itself needed translation, I decided to derive other poems from the words and phrases of 'Sic Fatur Lacrimans' poems that would be connected to the long poem and to each other, in a sort of literary Rayonism. I saw the book as the verbal equivalent of St. Sebastian pierced by arrows, with 'Sic Fatur Lacrimans' as St. Sebastian and the shorter poems as the arrows, crisscrossing each other. Michael Ruby"

Poetry. "Reading the poems in COMPULSIVE WORDS is like taking a hard drug." Aaron Kiely "Michael Ruby's new book is experienced as a kind of sotto voce diction, an unrelenting mumbling in the back of the mind, which takes two very different forms: as a graphic representation of voices (words presented in diagrammatic patterns), and as what might be 'transcriptions' of those diagrams and patterns: 'O paper placement machines/Blue ladder to family problems' or 'Somnabulist prows to leaven/Healthy escarole.' Or perhaps the diagrams are transcriptions of the other texts: the tense dialectic between these two poles is one of the things that makes this book well worth contemplating." John M. Bennett On January 29, 1999, my older brother was near death in a Boston hospital after emergency surgery for a blood clot in the abdomen. As I sat near the phone in Brooklyn that morning, trying to type up an old manuscript, it suddenly occurred to me that I was experiencing an extreme emotion, dread, and that I should see which words this extreme emotion displaced in my mind. While writing the poem "Dread," I perceived certain words repeatedly appearing, forcing themselves on me, taking over the poem. From then on, during composition, I noticed the appearance of these "compulsive words," which I first collected in the poem COMPULSIVE WORDS in 2000, and whose number has continued to grow ever since. Michael Ruby"