Cobourg poet Stuart Ross believes collaboration allows him to be part of poems Ñ and the kinds of poems Ñ he would never write on his own. He also believes the best poems are ones that explode the author's own intentions. In this book, Ross takes the stage in the vaudeville act that is collaborative poetry with writers from across Canada. The results are sometimes beautifully harmonic, sometimes chaotically slapstick Ñ but they are always as unpredictable as a live performance. And with the occasional exquisite pratfall. Ross's collaborators include Kasey Ball, Gary Barwin, Alice Burdick, Sarah Burgoyne, Jason Camlot, Michael Dennis, Clarice Eckford, Tanya Finestone, Verne Good, Mark Laba, Jay MillAr, Leigh Nash, Peter Norman, Jim Smith, Gillian Sze, Paul Vermeersch, Tom Walmsley and others.

This new collection of Foreman's plays included Eddie Goes To Poetry City (Seattle and New York versions), The Mind King, Samuel's Major Problems, My Head Was a Sledgehammer and I've Got the Shakes. The directions included with each play elucidate the playwrights intent and crystallize his philosphy of theater. In addition, an unannotated version of My Head Was a Sledgehammer provides a look at the powerful languague of Foreman's theaer, apart from stage directions that may limit one's inerpretation.

Draws on interviews the author has conducted for ABC Radio National’s literary program ‘Books and Writing. Joseph Heller reveals how marvellous he found his own writing; Gore Vidal is his acerbic best; Susan Sontag takes issue with being called a public intellectual; Joyce Carol Oates gives up on being a study in remoteness when she realises that Koval has read almost everything she has written; Les Murray drives through his New South Wales district and introduces his dead relatives; Judith Wright declares that there was no point to writing poetry after her beloved husband died; Edna O'Brien says that writing is a holy job; Ian McEwan praises the rational approach to life.

Nicholas Horsfall was one of the most recognizable and influential Latinists of his generation. His main legacy is his work on Virgil and the five erudite commentaries on the Aeneid, but he was also a prolific writer of papers, both Virgilian and non-Virgilian. A number of Horsfall's papers, including the important 'Camilla', are translated in this volume for the first time.0Stretching from 1971 to 2015, the papers are drawn from his entire output demonstrating his unparalleled ability to connect Roman poetry with history, antiquarianism, and Realien. While showcasing his unique analysis of Virgil, it also highlights Horsfall's work as both a Latinist and a Romanist, illuminating the coherence in his approach. This volume includes many Virgilian papers that have become classics-on Aeneas the colonist, and on the Aeneas-legend, for example. This does not detract from the value of the non-Virgilian papers, many of which-on the collegium poetarum, and on discussions of reading and libraries at Rome, for example-have become standard treatments of their subjects. Throughout all these works there is an astonishing degree of connection, with glimpses in many papers of his other research interests.0'Nicholas Horsfall needs to be approached through his short papers, typically fresh, innovative and stimulating, and he has been so productive that nobody can claim to have had a full view of his scholarship. When it comes to placing a literary text in the frames offered by material culture, documents, landscapes, history, and by religious, legal, military and antiquarian studies, he was unrivalled.' Professor Alessandro Barchiesi, Professor of Classics, New York University.

What, if any, is the relationship between Charles Dickens and the decorative arts? Between Henry James and Art Nouveau? Between the poetry of Gerard Manley Hopkins and the paintings of the Impressionists? Recent trends in scholarship have begun to reassess the assumption that the arts of painting and literature are too fundamentally disparate to permit a fruitful comparison between the two. In Victorian Contexts, Murray Roston puts that assumption to rest with imaginative and refreshing essays on the similarities and shared themes of the literature, painting, architecture, and crafts of the nineteenth century. Explaining the value of such an intertextual approach, he argues that in every generation there is a central complex of inherited assumptions and urgent contemporary concerns to which each creative artist responds in his or her individual way. Eminently readable, Victorian Contexts is accessible to general readers as well as scholars of literature, the visual arts, and nineteenth-century culture.

'When I go down...I shall begin reading English literature. This occupation will take up the rest of my time until I am dead' - Letter of 23 October, 1942, from Larkin to Hamburger. Michael Hamburger's 'precarious relationship' with Philip Larkin lasted from their Oxford days - through a ten-year silence - to brief encounters before Larkin's death in 1985. In this moving memoir, Hamburger charts their troubled friendship through detailed commentaries on Larkin's correspondence. Insistent on leaving the letters 'to speak for themselves', Hamburger writes with poignant honesty about the poets' differences, such as quibbles over foreign poetry and taste in music.Previously unpublished, the letters reveal echoes of many of the persistent themes of Larkin's poetry - his work, obsession with death, loneliness, reluctance to travel and 'self-punishing austerity'. The memoir also includes a 1955 "TLS" review of "The Less Deceived", which Hamburger claims 'may have helped in a small way to make amends for the neglect that Larkin's work had suffered until that time'. In highlighting contradictions between Larkin's 'inmost nature' and his public persona, and in providing literary criticism of his poems and novels, this is an invaluable addition to our understanding of both poets.

A Useful Art is an invaluable chronicle of a major American poet’s engagement with this country’s indigenous tradition of design. In 1936, the Federal Arts Project (a division of the WPA) hired Louis Zukofsky, along with many others, to prepare a compendium of information on traditional American crafts. The Index of American Design aimed to define original U.S. culture at a time when interest in handicrafts had just begun to emerge. These previously unpublished essays and radio scripts are scrupulously researched investigations of various American handicrafts: the topics they cover include ironwork, tin ware, furniture maker Duncan Phyfe and friendship quilts. They also reflect Zukofsky’s sense of the poem as a crafted object and his attempt to reconcile the labor theory of value with aesthetic production. This book, which can be seen in the context of kindred work by William Carlos William (In the American Grain) and Ezra Pound (Guide to Kulchur), will be of special interest to readers of 20th-century poetry, cultural critics, social historians, and scholars of design.

2nd Edition of Judith Kerman's poetry collection, Galvanic Response, originally published by March Street Press. UPC of this edition is 9781936419456

"Judith Arcana's remarkable feat in Hello. This is Jane. is to paint, tile by tile, a complex mosaic of compelling linked stories- children's playgrounds and adult tattoo parlors, ill-advised lovers and underground abortion activists. In the mainstream and on the edges, you'll feel the urgency of the struggle for reproductive justice as you turn these pages." -Cindy Cooper, Founding Director of Words of Choice and The Reproductive Freedom Festival, Judith Arcana has taught and written about motherhood and reproductive justice for decades. The prose and poetry of Our Mothers' Daughters, Every Mother's Son, and What if your mother are feminist classics. The stories in this new collection, rooted in her experience as a Jane in Chicago's pre-Roe v. Wade underground abortion service, were written as the United States has moved relentlessly into constraining motherhood and denying reproductive justice. By necessity, these stories reach from the past into the future, offering history and hope. "I'm profoundly grateful to Judith Arcana for writing these vital, electrifying stories. With abortion rights in America being stripped away-state by state, clinic by clinic-we need to hear from those who've fought this battle before. Arcana is a Jane; her work in the pre-Roe abortion underground has provide the seeds for her fiction, stories rooted in essential history to spark action in our terrifying present." -Leni Zumas, Author of Red Clocks

Excerpt from The Golden Apple: A Musical in Two Acts Submitting lyrics to the cold scrutiny of the public eye is a risky business. Without the protective coloration of the music for which they were intended, and without the support of sym pathetic interpretations, Which can cover a multitude of short comings, lyrics have a tendency to seem fiat. They sometimes convey, on the printed page, a banality which does not exist in performance. Reading poetry and lyrics does not involve the same process. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Objectivist poet George Oppen (1908–1984), along with his contemporaries Lorine Niedecker, Charles Reznikoff, and Carl Rakoski, provide an important bridge between the vanguard modernist American poets and the later works of poets such as Robert Creeley. In work often compounded by the populist urbanity of city lives, the Objectivists explored the social statements poetry can make. Because Oppen wrote only one essay and one essay-review, his correspondence, in effect, constitutes his essays. Oppen is emerging as one of the major poets of the postwar era; he was the recipient of an American Academy and Institute of Arts and Letters Award, the PEN/West Rediscovery Award, and a Senior Fellowship from the National Endowment for the Arts. His collection Of Being Numerous received the 1969 Pulitzer Prize for Poetry. These working papers include a rich correspondence, letters which provide access to the sustained, perceptive body of critical and aesthetic thinking of Oppen’s poetic career. Provocative and witty comments on poetry and poetics, especially interesting for the development of an Objectivist aesthetics, and shrewd, deeply felt assessments about the politics of the twentieth century and its moral dilemmas are some of the issues attended to. This edition offers primary documentation about an influential poetics, a little-known movement, and its active figures. Given the aggressive studies of the politics of canon-formation, the interest in describing a historical context for individual literary achievement, and current debates about mainstream poetry, the rethinking of the Objectivist movement, and the collection of documents contributing to its poetics, is an important achievement in literary scholarship.

This book is the first bilingual selection from the poetic works of Edmund Jabes, long acknowledged for the mastery of his work in the unique prose genre invented by him. “Jabes lives in the French language as if it were the Sea,” writes Robert Duncan in the afterword, a truth accessible here both in the French originals and Keith Waldrop’s extraordinary translations, drawn from Jabes’ earliest and most recent poems. “Poetry was Jabes’ proving ground,” writes Paul Auster in the Introduction, “and as a careful reader of Keith Waldrop’s translations will observe, the styles and themes that characterize The Book of Questions and The Book of Resemblances were already being explored by Jabes in the poems he wrote as a young man. One finds the same economy of reference, the same passionate lyricism, the same tendency toward aphorism, and the same preoccupation with the act of writing itself. Even the theme of exile, which plays such a vital part in the later prose books, is already present in these early poems: ‘Always in a foreign country, the poet uses poetry as an interpreter.’” It is impressive to see how much the whole oeuvre of Jabes stands as a continuity and a completion from its first moments to these very recent poems, an inquiry into the nature of writing and being.

Carole Balin introduces us to dozens of Jewish women writers from late nineteenth- and early twentieth- century Tsarist Russia, focusing on five who were among the most prolific. Their extant literary remains include not only fiction, poetry, drama, translations, and essays, but also memoirs, autobiographies, diaries, and letters. Balin contextualizes the works of each within the culture in which she lived and wrote. Miriam Markel-Mosessohn (1839-1920) toiled to advance the goals of the Russian Haskalah (Enlightenment), translated German works into Hebrew, tried her hand at poetry, and became a foreign correspondent for a Hebrew newspaper at the age of 48. Hava Shapiro (1879-1943) published short stories and newspaper articles in Hebrew, earned a doctorate at the University of Berne, and was an active participant in the writing circle convened at the Warsaw home of Y. L. Peretz. Rashel Mironovna Khin (1861-1928) wrote numerous short stories and plays in Russian, two of which were staged at Moscow's Malyi Theater. Feiga Israilevna Kogan (1891-1974) composed books of Symbolist poetry in Russian while harboring a love of Hebrew, which she nurtured at the Society for Lovers of the Hebrew Language. Sofia Dubnova-Erlikh (1885-1986) was the daughter of historian Simon Dubnov, the wife of socialist Genrikh Erlikh, and an accomplished poet, essayist, biographer, and political activist in her own right. The life-like and touching portraits that emerge of these talented writers allow us a penetrating view of Jewish women within their Russian-Jewish milieu that is far more nuanced than the images of housewife and revolutionary currently held in collective Jewish memory. The lives and works of these women help to tell a larger story of Jewish cultural history in the Russian Empire.

Françoise Massardier-Kenney’s translation of Antoine Berman’s Toward a Translation Criticism makes available for the first time in the English-speaking world one of the twentieth-century’s foundational texts in translation studies. Berman’s book, published posthumously in France, develops an original concept of “criticism of translation” and a methodology to anchor the practice of this criticism. He demonstrates how the work of translation is a critical process as well as a creative one. Moving away from nonsystematic evaluative approaches that focus on the shortcomings of translations or the normative approaches that study the cultural and literary systems into which the translations are inserted, Berman applies the notion of ethics he developed in his earlier works, calling for a translation that is nonethnocentric and stipulating that the creativity required by translation be focused on the re-creation of the original in the other language without being over-determined by the personal poetics of the writer-translator. Berman achieves a rare combination of hermeneutic and stylistic analysis, of commentary on the original and analysis of its translations, giving the reader access both “to the language of the original―to the way in which poetry and thought are deployed―and to the actual work of translation.” Toward a Translation Criticism is divided into two separate but interlinked parts, each focused on one element of the ethics of translation: theory (reflection) and practice (experience). In the first part Berman presents what he calls a general “productive criticism,” while in the second part he applies the general theoretical principles of this criticism to the analysis of the translations of John Donne’s work into French and Spanish. The translation of Berman’s text is accompanied by an introduction placing Berman’s thought in its intellectual context and by supplementary notes that complete the bibliographic material presented in the French-language version. This study is essential reading for translation studies scholars, readers interested in the creative literary process, in the nature of literary criticism, andin the philosophy of language. It will also be of interest to John Donne specialists.

Born near Manchester in 1948, Anna Mendelssohn authored poetry, fiction, drama, and life writing; she was also a visual artist, musician, and translator. From 1971 to 1977 she served time at Holloway Prison in London due to her involvement in extreme leftist activism. From the early 1980s, Mendelssohn composed nineteen poetry collections and published in journals receptive to her experimental, charged lyrics, among them, Parataxis, Critical Quarterly, and Jacket. Her work appeared in seminal anthologies including Denise Riley's Poets on Writing (1992), Iain Sinclair's Conductors of Chaos (1996), and Rod Mengham and John Kinsella's Vanishing Points: New Modernist Poems (2004). Often situated within the British Poetry Revival, Mendelssohn retained a marginal, if constant, presence in the poetry community in Cambridge, England, where she lived from 1983 until her death in 2009. In 2010, her vast archive of writings and drawings was generously donated by her three children to Special Collections at the University of Sussex. Labelled surrealist and ludic, Mendelssohn's poems draw thematically and stylistically on an expansive lineage that encompasses an international array of post-1850 avant-garde figures such as Charles Baudelaire, Gertrude Stein, Anna Ahkmatova, Nâzim Hikmet, Federico García Lorca, and Tom Raworth. Closely attuned to the fraught legacy of the female vanguard writer, as well as to disparities of class and race, her poems are impassioned, acute, probing, allusive, and unparalleled. Part aesthetic treatise ("a poem is not going to give precise directions"); part antipolitical manifesto ("the war is too close / for revolution to be understood"); part lament ("softly the sound of woe / gallops"); part celebration of the possibilities of poetic noise and possibility, replete with "scoopydoo sounds", "night[s of] pouring gold", and "high walk[s] into fantasy", Mendelssohn's writing resolutely resists containment or category. This scholarly edition is the first replete collection of the poems Anna Mendelssohn published or prepared for circulation in her lifetime, often writing under the name Grace Lake.

Poetry. Jewish Studies. Translated from the Polish and with an introduction by Regina Krol. Dubbed "the best Polish poetess of her generation," Anna Frajlich has developed an extensive body of work, which reflects her struggles and triumphs as a woman, immigrant and Polish ex-patriot. Part of the 1968 Jewish exodus from Poland, Frajlich has infused her poems with sensitive and penetrating notations of changing attitudes toward emigration. She has gone through life recording her insights, reflections or modds and has miraculously found terse and unpretentious artistic forms for their expression. This 2nd Edition contains several recent poems not included in the original version and it is clear that Frajlich's poetry continues to speak to our hearts and minds.

"Titled Letter to Poetry, the book is a single coherent poem in many sections. Jean Day writes of it, In Letter to Poetry, Tom Mandel finds both Rhyme and Reason under the hood of his Coupe de Ville. Rhyme is sometimes played for winks and Reason cloaked in gentle humor ("Maybe more hot air would make it / safe to cross the brink of this thin ice?"), but the undertones are stoic, Talmudic, and wise. Poetry offers Mandel a vast formal, historical, and even autobiographical toolkit. When he writes that a metaphor is "like a noun no longer / used on that occasion," his words are both wistful and transporting. Poetry was built to perform this task"--

This new edition of poems draws from poems published during and shortly after the First World War by Siegfried Sassoon. Also included are several early poems showing his early naïve ignorance of the terrible reality of war, prior to the death of his brother in 1915 and his experiences at the front, and later Sassoon's A Soldier's Declaration, which marks his break with the military authorities. Such was the uproar caused by his statement, which was read aloud in parliament and published in The Times in 1917, that he was afterwards diagnosed with shell shock and incarcerated in a hospital, where he continued to write and met Wilfred Owen. Poems included in this edition are:AbsolutionA Letter HomeThe HeroThe Poet as HeroThe GeneralAttackCounter-AttackThe Rear-GuardWirersThe Humbled HeartPrelude: The TroopsDreamersHow to dieThe EffectA Soldier's DeclarationThe FathersLamentationsSuicide in the trenchesDoes it matter?Fight to a finishEditorial ImpressionGlory of womenTheir frailtyThe Hawthorn TreeThe InvestitureTrench DutyBreak of dayTo any dead officerSick leaveBanishmentSong-books of the warThrushesAutumnInvocationRepression of war experienceThe TriumphJoy BellsRemorseDead MusiciansThe DreamIn BarracksConscriptsTogetherSurvivorsEveryone SangThe book also includes a new introduction by Kenneth Grant introducing the reader to Sassoon's world and tracing the progress of his poetry from naive patriotism on the eve of war to something darker.

Theology is, by definition, rational discourse about God and, by extension, the rational discourse about religious matters in general. Humans are rational--though not only rational--creatures and, as such, they are ever striving to verbalize, to rationalize, and to systematize. But, if theology is rational discourse about a primary experience rather than experience itself, we are faced with the problem of whether theology can really do full justice to the primary experience. Theologians have often list sight of the fact that theology is an interpretive discipline, that the primary source of religious knowledge is human experience, and that we have in our experience only hints and intimations of God. The images and nuances of poetry may be better suited than logical discourse for capturing these hints and intimations. Alongside its technical theological tractates, Judaism has always had its prayerbook, and the language of prayer is the language of poetry. Theological systems may come and go, but the theology that is translatable into liturgy remains. Liturgical poems expressing the unconventional and the idiosyncratic share the same prayerbook pages with conventional theology, just as conflicting ideas had always shared the same pages of Talmud and Midrash, where no uniformity of theological positions was ever enforced. Ibn Ezra's advice to "pray only in a literalist manner" was hardly the advice by which Jews let themselves be guided. The poetry of the synagogue proves it. The traditional Jewish liturgy contains not only the standard prayers ordained in the Talmud and the ritual codes, but also poetic embellishments of all kinds. Such poetic embellishments, or piyyutim, take the form of hymns to be sung in conjunction with the standard prayers, and of poetic inserts in the standard prayers themselves. Jakob Petuchowski presents ten such poems in pointed Hebrew, with translation, commentary, and introduction to the theological theme of each poem. The poems-ranging from the sixth to the fourteenth centuries and hailing Palestine, Spain, France, Germany, and Italy-introduce the reader to innovative poetic expressions of unconventional and daring theological ideas that have been incorporated into the standard liturgy. This reprint edition is an indispensible introduction to piyyut (medieval liturgical poetry) for all students of Jewish thought and culture.

In the years between 1929 and 1939, when Itzik Manger wrote most of the poetry and fiction that made him famous, his name among Yiddish readers was a household word. Called the Shelley of Yiddish, he was characterized as being "drunk with talent." This book -- the first full-length anthology of Manger's work -- displays the full range of his genius in poetry, fiction, and criticism. The book begins with an extensive historical, biographical, and literary-critical introduction to Manger's work. There are then excerpts from a novel, The Book of Paradise, three short stories, autobiographical essays, critical essays, and finally, Manger's magnificent poetry -- ballads, bible poems, personal lyrics, and the Megilla Songs. These works, which have the patina of myths acquired ages ago, also offer modern psychological insight and irrepressible humor. With Manger we make the leap into the Jewish twentieth century, as he recreates the past in all its layered expressiveness and interprets it with modernist sensibilities.