Exulting in life as few novels do, Jack Ludwig's Above Ground tells the memorable story of Josh, a man devoted to love, sex, and life, a man who roars with lusty pleasure, defiant in the face of pain and death. The novel's infectious commitment to hope and to life is matched in its appeal by the superb prose style that has placed Jack Ludwig among the foremost contemporary authors. Imaginative and sensuous language, deft, vivid characterizations, and an unerring sense of humour draw the reader willingly and pleasurably into the world that is being created. It is a world peopled by fascinating characters, almost all of whom work themselves into Josh's, and the reader's, affections.

Boxing promoter J Russell Peltz fell in love with boxing when he was 12, saw his first live fight at 14, and was hooked for life. He was named Outstanding Male Journalism Graduate, Temple University, 1968, but after a short career on the sports copy desk of the Evening and Sunday Bulletin in Philadelphia, he became a boxing promoter when he couldn't land the boxing beat at the newspaper. In his more-than-half century in boxing, Peltz has promoted fights at every major venue in Philadelphia as well as most of the casinos in Atlantic City. His fights have been televised by ABC, CBS, NBC, HBO, Showtime, ESPN, USA and SportsChannel. He has promoted or co-promoted more than 30 world championship fights and his business has taken him around the world, from Beijing to Buenos Aires and from Paris to Tokyo. Peltz was inducted into the International Boxing Hall of Fame in 2004, the Temple University School of Communications and Theatre Hall of Fame in 2010, and the Philadelphia Sports Hall of Fame in 2020.

A richly textured, deeply atmospheric, and engaging novel set in a small Louisiana town in the 1950s, The Cajuns tells a captivating tale of love, life, death, and intrigue in a wonderfully bizarre yet corrupt culture. The descendants of French Canadians who migrated to southern Louisiana in the mid-eighteenth century, Cajuns are known for their fiery and passionate dispositions. In his remarkably moving new novel, Louisiana native Gus Weill presents an affectionate yet unstinting look at Cajun culture in the small town of Richelieu -- a world in which the mix of promiscuity, ribald humor, extreme violence, and devout Catholicism is a way of life. Bobby Boudreaux is the sheriff of Richelieu, where the only laws people respect are those that dictate how much pepper goes into the stew and, of course, the edicts of the Catholic Church. It was not a job Bobby wanted -- in fact, once out of school, his dream had been to escape into the larger world as fast as he possibly could. But life -- and a strong-willed father -- got in the way. On most days being parish sheriff is not that demanding. Yes, laws get broken, but no one else seems to mind, so why should he? Thus, when Ti Boy Brouliette, an altar boy and an all-around good kid, dies in a mysterious gun accident, Bobby's only official action is to join the townsfolk who congregate at the home of the family, offering comfort to the grieving parents. What he doesn't realize, though, is that his life -- and that of everyone in Richelieu -- is about to change forever. Among those gathered at Ti Boy's home is Ruth Ann Daigle, a beautifully sexy and worldly young woman who has returned to her hometown to help out her ailing father, who runs the local newspaper. Ruth Ann intimates to Bobby that she is not convinced that Ti Boy's death was an accident and, as a reporter for the paper, she intends to investigate. Bobby, annoyed by the suggestion that he's not doing his job, is afraid that Ruth Ann may be right. He also fears that Ruth Ann's arrival in Richelieu marks the end of a way of life he has come to depend on -- for not only does she threaten to challenge tradition, she has also awakened in him a sexual need that had grown dormant over the years, and soon his marriage is threatened as well. Against this rich and vivid background, populated by a cast of colorful characters, Gus Weill has crafted a fascinating and compelling tale of a distinctive way of life threatened by scandal and of a unique culture on the brink of dramatic change.

An excerpt from chapter 1 - I'M GEORGE JACKSON And this began about the time when you could still remember getting on the subway for a nickel, people were just starting to worry about the water shortage, and the current expression making the rounds was, "How corny can you get?" "How great can one be?" and the like. I know it sounds insane now, but I remember it because I found the answer to: How smart can you get? The answer to that one is easy: Too smart, brother, much too smart for your own good. I knew it was a Sunday morning when Flo walked out on me, and it must have been near the first of the month, because we only got together when I gave her the rent from the house. Flo was (and is) my ex-wife, and we were as much in love with each other as we could be - but that wasn't enough. It wasn't nearly enough - we once split up arguing as to whether a certain brand of Haitian rum was dark brown or yellow. But don't think we weren't in love. That Saturday night we started fighting over a cup of coffee and a couple of bucks. It was after midnight and we'd seen two crummy pictures at some 86th Street theatre, if one can call a neighborhood movie house a theatre. Flo and I were "trying it again" - for a few days we had been enjoying one of our periodic reunions, complete with much kissing, tears, and a good deal of genuine love. It was early Spring, about March, and I remember it was cold and brisk as we walked down Lexington Avenue. I was trying remember which newsstands were open late, so I could buy a Sunday paper. Flo was dressed in an ankle-length red coat with a high collar that almost went over her head. She was wearing gold ballerina slippers, and I think she was hiding her upper lip that night. Flo had nice full lips but she used lipstick as a disguise, shaping her lips the way she thought they should be. Sometimes she tried making her mouth larger or smaller, or blandly forgot her lower lip. That night she was attempting to make a thin line of her full upper lip. As I was doing my strategic figuring about the best way home to pass an open newsstand, Flo said, "I'm hungry and cold. Let's stop for coffee." "We'll make coffee at home." "Too much bother," she said, pointing to a coffee pot that didn't look too clean. "Let's duck in here." "You're certainly wearing the correct outfit for a greasy spoon." She gave me a mock bow. "Knew you'd finally appreciate this coat - took me two days of begging before I could even buy it. If you like, we can go back to one of the better places on 86th." We were at 80th Street and I was damned if I'd walk back in all that cold - not to mention the fact I only had about twenty dollars to last the week. I said, "I'm broke." "For a character making a hundred and twenty-five per, not to mention what you win on the horses, you're always broke. Very odd." I could have said something nasty about the scatter pins she was wearing, my "make-up gift," being half a week's salary, but I walked on. When I looked back, Flo had gone into the dingy coffee pot. I went in, too.

The most beautiful and life-changing stories are not found in the pages of newspapers, but in the everyday events in the life of the Christian family. They are the stories of boys who long for their fathers, of husbands who become better men because of the love of faithful brides, and of little girls who learn to dream great dreams for God. These are moments that really matter -- the ones that count for eternity. ''The Little Boy Down the Road'' is a collection of humorous and thought-provoking short stories and essays on family and fatherhood that reveal the beauty of the Christian household. It is a book about the nobility of the commonplace events in life and the special epiphanies of parenthood -- the moments of supreme clarity where parents realize, as if coming out of a slumber-- the inexpressible preciousness of the Christian family and the unbounding love of Christ to shower sinful men with such earthly joys.

John G. Paton was an evangelist for Jesus Christ among the South Sea cannibals. Since beginning Vision Forum, we have made it our goal to urge fathers to turn their hearts to home and to rise up with courage to address the issues of the age. When I share this message before an audience, I usually begin by quoting at length an autobiographical account, penned by John G. Paton in the 19th century, describing how his father's love and training prepared him to endure bitter hardship, to persevere against unspeakably difficult circumstances, and to resist sin. This may be the most important narrative of missionary work you will ever read. The book touched me on the deepest level and has become an important part of my life and personal vision. We have republished it because it contains the finest testimony of multi-generational love and devotion between a father and son that I have ever read outside the Scriptures. Paton, a descendant of the Scottish Covenanters, was able to love and lead to Christ the very people who tried to eat his wife and child. One of the most important books you will ever read to your children. An Autobiography.

A beautifully written prose work, Tsing is a multi-layered narrative that combines a wholly fictional novel-within-a-novel with an episodic chronicle of the narrator's present as a traveler to and visiting writer in the United States. Much more than an "ordinary" postmodern text, Tsing is a quiet and moving paean to the narrator's deceased father. Beginning with a series of imagined vignettes involving a father and a daughter, Albahari weaves both real and imagined narrative fragments together with considerable skill. As Albahari's fragments - simple stories about persons approaching each other, spending some time together, and eventually going their separate ways - accumulate, his deft combination of paradox and poetry provides a kaleidoscopic view of memory, love, and loneliness.

"This third and final volume of Charles Brasch's compelling private journals covers the years from when he was 48 to his death at 64. By the 1960s, Brasch, though very private by temperament, was a reluctant public figure, especially as editor of Landfall - indisputably New Zealand's leading cultural quarterly (he eventually quit as editor after 20 years). He was also becoming a highly regarded poet, who eventually had six books (one posthumous) to his name. Behind the scenes Brasch was increasingly important as an art collector and as patron and benefactor; the Burns, Hodgkins and Mozart Fellowships - for writers, artists and composers respectively - which he helped anonymously to found and fund, all began in this period. Among his friends Brasch counted most of the country's leading artists, writers and intellectuals including Sargeson, McCahon, McCormick, Stead, the Pauls, the Woollastons, the Baxters, Lilburn, Beaglehole, Angus, Oliver, Bensemann, Lusk, Frame and Dallas. These near contemporaries were joined by the talented young, many met as contributors to Landfall - including Gee, Cross, Shadbolt, Duggan, O'Sullivan, Hotere, Tuwhare, Caselberg, Middleton and Manhire. Brasch's lively and sometimes acerbic accounts of such people are a fascinating aspect of his journals. Behind the esteemed poet, editor and public intellectual, however, was a sensitive and often angst-ridden man, who confided to his journals (and poems) the emotional roller- coaster of his private life, especially his endlessly frustrated search for love. Presented here are deep attachments to both men and women, including Andrew Packard (a visiting English zoologist) and Margaret Scott, widow of Harry Scott with whom Brasch had also been in love. Late in life his strong involvement with an elderly Jewish emigree, Moli Zimmerman, adds another surprising layer to the complex and lovable man his journals reveal. Brasch's journals will change forever the perception and understanding of an outstanding New Zealander and of the era to which he contributed so much."--Provided by publisher.

"This second of three volumes of Charles Brasch's journals covers 1945 to 1957, beginning with his return to New Zealand after World War II to establish a literary quarterly. The journals cover the discussions that preceded Landfall and the first decade of his distinguished editorship, a role that brought Brasch into contact with New Zealand's leading artists and intelligentsia. His frank and often detailed descriptions of these people - including Frank Sargeson, A.R.D. Fairburn, Keith Sinclair, Eric McCormick, James Bertram, John Beaglehole, Fred and Evelyn Page, Alistair Campbell, Toss and Edith Woollaston, Denis Glover, Allen Curnow, Leo Bensemann, Ngaio Marsh, Colin McCahon, James K. Baxter, Janet Frame, Ruth Dallas and many others - are among the highlights of the book. Unmarried and longing for intimacy, Brasch also writes with great candour about his relationships with Rose Archdall, Rodney Kennedy and Harry Scott, revealing a side of himself that has not been known about before. Central to Brasch's life was the vocation of poetry. He writes revealingly about his own work, and also about his love of nature and the outdoors. The book ends with his visit to Europe in 1957, which confirmed his sense that New Zealand had become for him 'a centre & a world'" -- Back cover.

Tony Orlando says of Simply Put! "This book is a guide to love, family and friendship that gives insights from one man's lifelong search for love, acceptance and laughter." He goes on to say "Johnny Mathis, David Bowie, Neil Diamond, and Dion are but a few icons who have recorded his thoughts and feelings, and I'm proud to say "yours truly" as well." This humor filled pocket book is a compilation of poetry, lyrics and personal feelings from one of Rock and Roll's most prolific and legendary writers of the twentieth Century and today, Bob Feldman. You'll discover a spirited page turner filled with wise words from an Author, chart-topping Songwriter and Recording Artist with more than 50 million records sold. Bob's songs, with their heartfelt lyrics and melodies were born from his life experiences and relationships and have remained in the top 100 charts for 7 decades! Somewhere, someplace, sometime, anywhere in the world, a song written, produced, published or sung by Bob Feldman can be heard playing 24/7, 365 days of the year. This book helps put a face to the anthems that are embedded in our hearts. The familiarity that the reader feels comes from knowing the author through his omnipresent music with titles like "My Boyfriend's Back," "Hang On Sloopy," and "I Want Candy". His tunes have become part of the soundtrack of our lives from radio, television and film on 45's and 33's, 8 track's, cassettes, CD's, DVD's and more. Co-writer, consultant and confidante Craig-Strang Thompson says "Simply Put is a truthful, humorous, bittersweet, thought provoking collection of stories, poetry, and real feelings that will leave you wanting to know more about this fascinating and gifted man." Imagine if you will; sitting next to him as he recalls his stories first-hand. An original Wurlitzer Jukebox plays on with over one hundred songs bearing his name. Gold and platinum record awards and autographed photos from iconic recording artists who have recorded his songs surround you. Feldman reveals his most personal experiences with you. Tales which have previously been shared with only two other people in his lifetime: Tony Orlando, a friend for more than sixty years who encouraged him to write this book, and Dane Braden, who actually gave him the title. Take a brief, but thoroughly satisfying journey through the heart and mind of a sensitive storyteller with a self-deprecating sense of humor and none of the braggadocio befitting a rock and roll icon.

"Eva is unlike anyone Adele and her two sons have ever met. Her rare beauty, the dazzling tales she tells them - of her travels, of wondrous places and creatures, even of the dangers she faced during the war - change their lives, as do the exquisite illuminations contained within the pages of the Miscellany. The two boys, Joseph and Asa, fall in love with Eva, and as Joseph recounts the story and his love for her, and the past begins to intrude upon the present, he finally reveals the novel's secrets, the darkness to which we are all subject."--BOOK JACKET.

Review An expert weaver, Stollman brings together themes of religion, science, and love into an emotional whole. -- Kirkus Reviews, January 1, 2003 Stollman's weightier fictions - elegantly written and wise - returns literature to its rightful role. -- Miami Herald, March 2, 2003 Product Description A collection of short stories by the author of The Far Euphrates and The Illuminated Soul represents his earlier works as published in such literary magazines as American Short Fiction, the Yale Review, and Tikkun and explores such themes as the impact of the past on the present and of one person on another. 12,500 first pirnting. From Library Journal A story collection from the author of two celebrated novels: The Far Euphrates and The Illuminated Soul. Copyright 2002 Reed Business Information, Inc. About the Author Aryehlev Stollman is a neuroradiologist and the author of two books, The Illuminated Soul and The Far Euphrates, which is an American Library Association Notable Book, a Los Angeles Times Book Review Recommended Book of the Year, and the winner of a Wilbur Award and Lambda Award.

As a group of respectable citizens gather on the summer lawns to play tennis, exchange pleasantries and gossip of indiscretions, we learn that a young pianist has just committed suicide, that Friedrich Hofreiter, the town's leading citizen, has just ended an affair with an associate's wife, and that Friedrich 's wife's rejection of the pianist caused him to take his life. Friedrich (a well-known philanderer) is stunned and appalled -- not by the fact that his wife may have had a dalliance, but that a man shot himself because of her virtue. He leaves for a trip to the mountains in the company of friends and the beautiful young Erna, who admits to having loved him since she was a child. Erna awakens complicated passions in Friedrich, while Friedrich's wife, worn down by her love for her unfaithful husband, takes a lover in his absence.

Like a Portuguese version of As I Lay Dying, but more ambitious, António Lobo Antunes's eleventh novel chronicles the decadence not just of a family but of an entire society - a society morally and spiritually vitiated by four decades of totalitarian rule. In this his masterful novel, António Lobo Antunes, "one of the most skillful psychological portraitists writing anywhere, renders the turpitude of an entire society through an impasto of intensely individual voices." (The New Yorker) The protagonist and anti-hero Senhor Francisco, a powerful state minister and personal friend of Salazar, expects to be named prime minister when Salazar is incapacitated by a stroke in 1968. Outraged that the President (Admiral Américo Tomás) appoints not him but Marcelo Caetano to the post, Senhor Francisco retreats to his farm in Setúbal, where he vaguely plots a coup with other ex-ministers and aged army officers who feel they've been snubbed or forgotten. But it's younger army officers who in 1974 pull off a coup, the Revolution of the Flowers (so called since no shots were fired, carnations sticking out of the butts of the insurgents' rifles), ending 42 years of dictatorship. Senhor Francisco, more paranoid than ever, accuses all the workers at his farm of being communists and sends them away with a brandished shotgun, remaining all alone - a large but empty shadow of his once seeming omnipotence - to defend a decrepit farm from the figments of his imagination. When the novel opens, Senhor Francisco is no longer at the farm but in a nursing home in Lisbon with a bedpan between his legs, having suffered a stroke that left him largely paralyzed. No longer able to speak, he mentally reviews his life and loves. His loves? In fact the only woman he really loved was his wife Isabel, who left him early on, when their son João was just a tiny boy. Francisco takes up with assorted women and takes sexual advantage of the young maids on the farm, the steward's teenage daughter, and his secretaries at the Ministry, but he can never get over the humiliation of Isabel having jilted him for another man. Many years later he spots a commonplace shop girl, named Milá, who resembles his ex-wife. He sets the girl and her mother up in a fancy apartment, makes her wear Isabel's old clothes, and introduces her to Salazar and other government officials as his wife, and everyone goes along with the ludicrous sham, because everything about Salazar's Estado Novo ("New State") was sham - from the rickety colonial "empire" in Africa to the emasculate political leaders in the home country, themselves monitored and controlled by the secret police. Once the system of shams tumbles like a castle of cards, Francisco's cuckoldry glares at him with even greater scorn than before, and all around him lie casualties. Milá and her mother return to their grubby notions shop more hopeless than ever, because the mother is dying and Milá is suddenly a spinster without prospects. The steward, with no more farm to manage, moves his family into a squalid apartment and gets a job at a squalid factory. The minister's son, raised by the housekeeper, grows up to be good-hearted but totally inept, so that his ruthless in-laws easily defraud him of his father's farm, which they turn into a tourist resort. The minister's daughter, Paula, whom he had by the cook and who was raised by a childless widow in another town, is ostracized after the Revolution because of who her father was, even though she hardly ever knew him. Isabel, the ex-wife, also ends up all alone, in a crummy kitchenette in Lisbon, but she isn't a casualty of Senhor Francisco or of society or of a political regime but of love, of its near impossibility. Disillusioned by all the relationships she had with men, she stoutly resists Francisco's ardent attempts to win her back, preferring solitude instead. We have to go to the housekeeper, Titina, this novel's most compelling character, to find hope of salvation, however unlikely a source she seems. Unattractive and uneducated, Titina never had a romantic love relationship, though she secretly loved her boss, who never suspected. She ends up, like him, in an old folks' home, and like him she spends her days looking back and dreaming of returning to the farm in its heyday. Old age is a great equalizer. And yet the two characters are not equal. Titina retains her innocence. But it's not the innocence of helpless inability - the case of João, Francisco's son - nor is it the pathetic innocence of Romeu, the emotionally and mentally undeveloped co-worker by whom Paula has a son. Titina isn't helpless or ingenuous, and she isn't immune to the less than flattering human feelings of jealousy, impatience and anger. But she never succumbs to baser instincts. She knows her worth and cultivates it. She is a proud woman, but proud only of what she really is and what she has really accomplished in life. At one level (and it operates at many), The Inquisitors' Manual is

Poetry. Award-winning poet Alison Stone draws from the tarot in her latest collection. These 78 poems range from the archetypal (The Fool, The Magician, etc.) to the everyday situations of love, work, ideas, and conflicts that make up our lives. Mythical figures from past and present appear--Prometheus and Persephone represent court cards, as do Lou Reed and Steve Jobs. By turns witty and heartbreaking, this book goes down easily enough to be devoured in one sitting yet reveals greater depths with each subsequent reading. Stone's accessible lyrics move and entertain us with the struggles and joys of what it means to be human.

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. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Review The Answer Is In The Garden Asie (sheherazade) Cash The Debut (ode To Anna Moffo) Doctor Type Dog Bite Erotic And Sepulchral Epigrams From The Cinquencento: I Erotic And Sepulchral Epigrams From The Cinquencento: Ii Erotic And Sepulchral Epigrams From The Cinquencento: Iii Erotic And Sepulchral Epigrams From The Cinquencento: Iv Erotic And Sepulchral Epigrams From The Cinquencento: Ix Erotic And Sepulchral Epigrams From The Cinquencento: V Erotic And Sepulchral Epigrams From The Cinquencento: Vi Erotic And Sepulchral Epigrams From The Cinquencento: Vii Erotic And Sepulchral Epigrams From The Cinquencento: Viii Erotic And Sepulchral Epigrams From The Cinquencento: X Est-ce Que Fantasia On My Father's Gift Faust In Seersucker Shorts Fugitive Blue A History Of Private Life L'indifferent (sheherazade) La Flute Enchantee (sheherazade) The Letter (ode To Anna Moffo) The Moving Occupations The Ornate And Lovely Corner House A Professor Young And Old Relics Of The True Cross The Square Of Swan Tea Dance -- Table of Poems from Poem Finder® From Publishers Weekly In the title poem and centerpiece of this debut collection, 1989 "Discovery"/ Nation poetry award co-winner Koestenbaum writes, "Mired in low culture, / I was aching to reach the high."41 But it is precisely the low that allows him to exult in the lavish heights of the Metropolitan Opera, idolizing a diva who rises above the mundane only in her performances. Koestenbaum's own performances are formal and fluidly elegant: "I think that Anna / Moffo sings, / to this day, in a second, / parallel Met, a hologram of the original / projected in air, / where failing voices continue / to thrive amidst a system of strange geysers / and girders, cables / linking the golden prompter's box / to a sky that burns directly on the stage."45 His wit can become self-conscious, his metaphors heavy, but the unifying strength of the poems is Koestenbaum's burgeoning awareness of being gay, with all its emotional ramifications: "Thinking I was invisible, I wore the peacock / Blue and found I was too visible. I wanted to shock / My public into cheers, until I learned that they were primitives . . . / When Carla put her hand on Ricky's knee / I saw my future's blueprint. I was wearing pants of lapis lazuli."11 Copyright 1990 Reed Business Information, Inc. From Library Journal Half operatic libretto, half slangy conversation, Koestenbaum's first book of poems interweaves sophisticated urban wit with a sense of lost happiness ("I am a landlord of a sadness"). With Anna Moffo, well-known coloratura soprano (born in 1932 in Wayne, Pennsylvania) as muse and "favorite," Koestenbaum explores role-playing, sexual identity, friendship, homoeroticism, and art as a refuge from psychic discontinuity. Through his rapid-fire digressions and formally rhyming arpeggios emerges a longing for elusive interpersonal realities "in which the secret life is fully seen." "I read/ these urgent things too quickly, as if I were not fixed/ By what occurs, as cats, cards, and elections/ Are fixed." Koestenbaum's extravagant fantasies nurse "a foolish daydream" of opera as a metaphor of life. "I mail/ this letter,/ addressed to Miss Moffo, care/ of the mind's Met, where Broadway joins forgotten avenues."-- Frank Allen, SUNY at CobleskillCopyright 1990 Reed Business Information, Inc.

LOVECRAFTIAN HORROR AND WEIRD FICTION FROM RENOWNED AUTHOR W.H. PUGMIREWith his first collection from Dark Regions Press, W. H. Pugmire continues his radical and obsessive reinterpretations of H. P. Lovecraft's brilliant fiction. Among the book's original pieces is the title story, "Gathered Dust," a sequel to J. Vernon Shea's "The Haunter of the Graveyard." Set in Arkham, this tale of utter strangeness concerns the legacy of Randolph Carter and a monstrous burying ground where the phantoms of the past linger so as to feed upon the living. In "Depths of Dreams and Madness" we journey to Pugmire's Sesqua Valley, wherein we find Lovecraft's artist, Richard Upton Pickman and Robert E. Howard's mad poet, Justin Geoffrey, tainted by the valley's supernatural lunacy. With "These Deities of Rarest Air," Pugmire continues his exploration of the prose-poem/vignette sequence, in a work that deliciously evokes the mystic aura of not only Lovecraft but Clark Ashton Smith as we ll. With artful decadence and a pen dipped into the dark fin-de-siècle poetry of Oscar Wilde and Charles Baudelaire, Pugmire celebrates his beloved genre of fantastic fiction with works that only his cracked skull could conceive. Jeffrey Thomas has provided a provocative Introduction."Wilum Hopfrog Pugmire is the prose-poet of the horror/fantasy field; he may be the best prose-poet we have." - S. T. Joshi

This new bilingual edition of Rosalind Resnick's poetry celebrates her life, loves and adventures in New York and Italy. For romantics everywhere!

This is a collection of poems that reflects the author's experiences as a traveler and a lover of nature. The poems are characterized by a lyrical and introspective tone, and reveal a deep appreciation for the beauty and mystery of the natural world. Philip Max Raskin's work is sure to resonate with readers who share his sense of wonder and awe. 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.