Preventa de eBooks de Poesía contemporánea española del XIX al XXI

Una melancólica reflexión sobre de la paternidad y sobre cómo se transmiten los afectos, las palabras y los lenguajes.«La infancia es más larga que la vida», reza Ana María Matute en uno de los epígr

Para quienes cruzan más de una frontera al enamorarse.sojourn es un poemario sobre la pérdida tras el suicidio de alguien querido, sobre la resistencia a la ausencia y la búsqueda de nuevas rutas para seguir adelante a pesar del vacio. La vida y la muerte atraviesan estas paginas, en una obra abstracta y visual que condensa autoengaño, dolor y resiliencia.Este poemario pertenece a la segunda etapa de la escritura de Alberto Ramos, junto a baydoun, alpha y la novela brown: un universo poetico que explora las relaciones, la identidad y las heridas que nos acompañan.Con una mirada intima y quebrada, sojourn propone un viaje lirico hacia lo mas complejo del yo fluido de nuestro tiempo. Una obra sobre el amor, las rupturas y la esperanza de un nuevo comienzo. Porque el camino fue duro y el dolor aun acompaña, pero la noche quedo atras, y el sol esta a punto de salir.

El libro se presenta como una plegaria desplegada en dos movimientos, «Lo divino» y «Lo humano», que conforman un discurso poético desarrollado en torno a la dimensión simbólica de la lluvia. Esta se

Los geranios descosíos surge de la vivencia directa de la pérdida de un ser querido -la abuela- y del impulso de nombrar la impotencia, la incertidumbre y el sufrimiento desde una conciencia que se enfrenta por primera vez al enigma irrevocable de la muerte. La obra fue distinguida con un accesit del Premio Adonais 2025 por su capacidad para abordar el duelo con un tono elegiaco que combina lo popular y lo culto, con resonancias teluricas y hondas referencias a una estirpe femenina. El libro plantea, ademas, una reflexion sobre la identidad y la memoria compartida de las mujeres: las del ambito familiar, las de la tradicion y aquellas otras silenciadas. Mediante el amor, los cuidados, los rituales y la palabra heredada, estos poemas hilan una genealogia intima y coral en la que escribir se convierte en un gesto de arraigo y despedida. Asi, Los geranios descosios se presenta como una invitacion a adentrarse en un territorio de voces y raices y a reconocerse en el como quien regresa a casa sabiendo que, incluso en la ausencia, algo persiste y florece. En definitiva, el lector se halla ante un poemario de hondo calado en la poesia española actual, donde la figura de la abuela ocupa un lugar central como depositaria de la memoria, el afecto y la transmision simbolica, y desde cuya evocacion convertida en materia lirica se revela una mirada conmovedora sobre la finitud y el misterio de la existencia.

Poliquetos, accésit del Premio Adonáis 2025, representa la consolidación poética de este autor, cuya trayectoria ya había sido reconocida en diversos certámenes literarios y en antologías como 88 octavas reales (Ars Poetica, 2022). Se trata de un libro de gran carga lirica, escrito desde un entorno cotidiano en el que lo intimo se entrelaza con una mirada reprobatoria sobre la realidad colectiva. De el, destaco el jurado su escritura audaz, que combina un existencialismo ironico con una critica incisiva, sin retoricas vacias, construida con gran pericia metrica y ritmica y deslumbrantes aciertos verbales.Con referencias constantes a una infancia marcada por la conciencia de clase y el descubrimiento de ciertas hostilidades, el libro alude a vicisitudes de muy diversa indole, no como episodios aislados, sino como parte constitutiva del territorio emocional del yo poetico. Ya desde el mismo titulo -Poliquetos alude a un tecnicismo poco conocido fuera del ambito cientifico: gusanos segmentados que habitan fondos marinos y sobreviven en condiciones adversas-, se articula un simbolo de resistencia, adaptacion y vida subterranea que resume el espiritu de esta obra: una exploracion de aquello que persiste y configura una determinada manera de estar y asimilar el mundo. Sostenido en una ingenuidad y sencillez deliberadas, el poemario despliega un lenguaje cercano al habla comun, atento a lo diario y a los gestos minimos. Las repeticiones, empleadas con clara intencion ritmica, acentuan el pulso de los poemas y refuerzan su tono insistente, haciendo de Poliquetos un libro capaz de iluminar una realidad aspera desde la tenacidad y la lucidez.

T. S. Eliot took George Barker onto the Faber poetry list in 1935 with Poems, when Barker was only twenty-two. This was the beginning of a publishing association which would endure through nineteen further volumes. There was an earlier Collected Poems published in 1957, but this edition, published in 1987 towards the end of the writers life, is the definitive edition. Here, readers have access to the contents of all of those volumes together with lesser-known work published by smaller presses and journals both in the UK and abroad. The book allows us to follow the evolution of a major talent who subscribed to no school and scorned all affiliation, but whose work is uncompromisingly true in both its stylistic integrity and its unswerving conception of poetic responsibility.His work was passionate, intellectually challenging and highly original, his language incantatory and often hypnotic. Peter Wilby, Guardian

Welcome to Kathryn Grays Hollywood or Home, a poetry collection with as much ruthless glamour as any Old Hollywood movie. These worldly-wise poems explore celebrity culture in a mode that is both seriously playful and playfully serious. Here, melancholy and humour, irony and sincerity can be often found in the same poem, creating a rich experience for the film buff or fan of celebrity culture, as the book is full of easter eggs and movie references.Spectres of Hollywood haunt the collection: moguls, politicians, starlets, and monsters. They leap from screen and stage to page, as in Portrait of my Superego as Mommie Dearest: youre / the one swinging the axe, Mommie.Famous actors drop in to entertain, for example in Meryl Streep is my Therapist or Six Ways of Looking at John Cazale, while writers do their best to pitch their best ideas, working hard to convince: Its "relatable". / Its really "relatable" stuff (High-concept).Film memorabilia is explored, likeThe Deer Hunter s bandana, as well as movie-business secrets: the title of As told by Alan Smithee refers to the alter ego that directors use in movie credits when they want to disown their films.Stock characters and plots show up, like the Handome Weeping Boy, and The Meet-Cute, that scene in a romantic comedy where a couple have a first hilarious or cute meeting. Classic 1980s movies like Pretty in Pink andTop Gun make their cameos. Power couples take their place, like Frank Sinatra and Ava Gardner in Night and Day, 1957, and melodrama heightens to Douglas Sirks grand levels in Love. All the stories and characters loom larger than life, and asthe narrator asks, contemplating celebrity Tweets in Fresh Hell,Why cant life be EVERYTHING IN CAPS LIKE CHER?.In decadent celebrity culture, where a star is born every minute and becomes a flop even more quickly, these fierce and funny poems open space for the writer to reassess failures and successes, to overcome writers block, and to remember that we never stop longing for our old dreams to come true. Gray is writing at the top of her game with her much-anticipated second collection. Out of Hollywoods brutal disdain for failure, Gray manages to find spectacle and survival.Grays long-awaited second collection both celebrates and accuses the glamour and imagination of the movies in particular, and of art in general. Whether its Meryl Streep or Ferris Bueller or John Cazale shes writing of, Gray is illuminating, funny, and frequently moving. Underpinning the comedy and satire, though, is a real pain at lifes jolts and times relentlessness: "What happened to the script?", Nick Laird, author of Feel FreeHollywood or Home shines a light on the filmic quality of daily life, reminding us just how thin the membrane between fiction and reality can be. Within its pages we encounter the Mind in various guises: as an invalid from the nineteenth century, a rain-streaked window-pane and (my favourite) a cabinet populated by indescribable figurines. Bristling with energy, humour and kick-ass bravura, at the same time these poems tremble with deeply felt emotion. - Julia Copus, author of Girlhood

The first English-language collection from one of Indias most hard-hitting writers, these poems brilliantly exemplify writing as an act of resistance. Militant, satirical, and biting, Kalyani Charal pulls no punches in eviscerating paternalistic - and patriarchal - bourgeois socialists who speak on behalf of others.Writing from lived experience, Charal delineates the bourgeois values that fuel the social machinery of caste oppression, while drawing parallels with social and racial marginalisation around the world. Thus, in her poetry, the specificity of Dalit lives in Bengal, a region which prides itself on its Leftist history and enlightened culture, and whose partition into India and Bangladesh has left a legacy of communal tension, refugees, and statelessness, is at the same time the universality of precarity, marginality and dispossession. Finally, there is space for love - wistful and full-throated, with an attentiveness to the natural world that speaks to her claim that "all Dalit woman writers are eco feminists".

Moving through somnambulant states, Sleep Gate evokes Inger Christensens description of the necessity for us to dream our way inward. The poems in Sleep Gate push Christensens dream inward further, into biological dreaming itself. Fully absorbed in the fabric of sleep, enfolded into the inventory of dreams, these poems become part of the process of sleep respiration, so that we might consider the world around us from another perspective. Moving through the changing states of peoplesdreamscapes and what might affect them, like nightmares, insomnia and other sleep disorders, Sleep Gate captures the disjunctive, jump-cutting quality of dreams: within the unspoken context of deep-sleep tectonic logic, these poems jump from a time before the clouds are inventoried to the present, from Winters gnashing bruxism to a garden anointed with gluey residue. A collection that, as on waking, assembles the world through distortion and towards clarity.

In Girling, her open-hearted debut collection, Eve Esfandiary-Denney wrestles with the boundaries between living and death, history and the present, and how these are preordained for us in the fabric of our DNA and in our geographical or cultural environments. Through a personal relationship with illness and a closeness to death, the author asks the reader, I hope its ok to die. I can / be something / like actualized metaphor. She recounts the story of a father left abandoned in a church, and remembers a grandmothers home in a travellers caravan. Grief is portrayed with a tongue in cheek, cosmic register, as the speaker invests in lions mane, attempts to feel super-radiant, and moves into moon pose, while we watch electronic deep-sea claws on YouTube, and google what to do if your mum died last night. Philosophical, funny, pertinent, ecological, global and intimate, this is a collection of poems for the contemporary moment, a book deeply personal yet communal in its intention, beginning from a personal history then resonating outwards, ending on a note so gorgeously hopeful, as life moves towards the speaker, gloriously close.

[ . . .] amazing how stubbornly we worried wrong, the fates will see you now like rushes wetly cut from streams and tipped in flame, or when that girl became a reed is there a song that wont make use of herJana Prikryls poems contend with displacement and domestic upheaval in a style both fluid and inexorable. The Channel, the poets fourth collection and her UK debut, is in deep conversation with King Lear, listening for Cordelia as a person banished from home, whose nearest relations know love only as a form of control. The play depends on her silence, but outside of the play her voice may make us audible to ourselves. The book thinks, brilliantly and dynamically, about authority familial and cultural, about illnesses of mind and of body, about violent storms, and flights across borders and languages.

In 2021, Magorzata Lebda ran the entire length of the longest river in Poland, the Vistula, from its source in the Beskid Mountains to its mouth at the Baltic Sea. She set out to run as a poet, not as an athlete, to use the rhythms of her own body as a means of understanding and connecting to the rhythms of the rivers body of water, under threat of environmental ruin. Her collection Mer de Glace, which won the Szymborska Prize, is the culmination of her remarkable journey, and a profound meditation on the porosity, reactivity and receptivity of both the body and the natural world, and of their influences on one another.

Everything Everyday is a poetic journal of the year that charts winter through to autumn in a richly textured sequence of diary-poems, lyric fragments and a crown of sonnets. Each months entry weaves together mythic figures Tahlequah the mourning orca, Brigids mountain dance, Sister Icaruss fragile flight and Beiras shore vigils with the unfolding chronicle of contemporary grief and protest. Readers move from Januarys frozen harbour and political flashpoints into springs ritual planting of lemon-drop seeds, summers drum-driven rallies and smoky vigils, and autumns oil-slick swans and ash-borne snowdrops. The collections formal innovations mirror its thematic urgency: bracketed interjections pulse like heartbeats, dated stanzas resonate like journal entries, and the season-by-season structure creates a mythic ledger of solidarity and hope. Laverys work becomes both witness and archivewhere personal confession and public ritual converge in an unflinching testament to collective mourning, unbroken resilience, and the ember of promise that refuses to cool. Each poem is an unflinching exploration of memory and identity in an era defined by both loss and possibility. Bold, uncompromising, and deeply resonant, Everything, Everyday invites you to confront the delicate art of livingand lovingin a world that is as beautiful as it is unpredictable.

The Poems of Sylvia Plath is a landmark publication: the definitive edition of the poets work for scholars, students and general readers. Sylvia Plaths first Collected Poems was published in 1981. This new volume draws on decades of research and almost doubles the content of that edition. The book is in two parts: the first contains the poems Plath composed in the last ten years of her life and upon which her reputation is founded, and the second includes those poems written in childhood and through her student years. In both sections, the editors date, correct and arrange each poem chronologically, drawing on manuscripts, typescripts and related archival material. Critical notes document and cast new light on Plaths extraordinary evolution as a poet, from her childhood compositions, through the early blossoming of her talent and ambition, and into the molten core that was to shape the poems of her last few years, securing her place in literary history.

A powerful debut compelled by questions of borders and displacement. In one story I stay in that city forever, in one I board, and in another I am still waiting.I am daybreak; I am everywhere.In The Tree Is Missing, Shannon Kuta Kelly explores the poetics of the border. The collection crosses through non-places, moving between the unnamed and unmapped spaces on the edges of the European city. With remarkable poise and restraint, these itinerant poems experiment with oral history and translation, traversing the borderlines of nation, language and time. They draw on folklore to evoke a world that feels current and present, but which can only be reached through storytelling. In doing so, Kuta Kelly explores the loss and displacement - the fracture of identity - necessitated by personal and political turmoil. She writes with a restless immediacy from within the histories that continue to shape us.

Things can be much more than things. Why do we love the things that we do? The old guitar, the champagne flutes, the miniature model carand what happens when those objects change hands? In the buying and the selling of things, objects once loved but perhaps discarded or forgotten, we find a treasure trove of untold stories. . . stories of pain, joy, hope, dreams, disappointment. What new purposes might unfold when these objects move from old owners to new? What spiritual, unseen things happen in that ordinary human transaction? Can love be passed on through pre-owned possessions?New York Times bestselling author Nikki Grimes invites us to discover what her grandmother taught herhow there is value in the old and used, and how things are much more than thingsthey are stories of our humanity. Wise, thoughtful, and unsparingly candid, this unique and moving collection of stories-as-verse helps us on our journeys of letting go, rediscovering purpose, and experiencing redemption and renewal for the worn out and broken places in our hearts. Step in, look around, have a listen, and be twice blessed.

From the former Poet Laureate, a remarkable contemplation of departure and return.Andrew Motions new collection gives a moving account of the friction and interplay between past and present. In the opening elegies for friends and former versions of the self, and in the long title sequence which completes the book, he explores the ways in which regrets compete with hope, and the appetite for life is always a prey to hard facts of mortality. The energy and reach of these poems opens a new chapter in Motions writing, remaining true to the elegiac subjects which have always been his main concern, while adding new depths of pathos and resonance.

Hiatos contém 81 poemas breves divididos em três séries: Corpos, Tecidos e Hábitos. Os tecidos integram os corpos, que se moldam pelos hábitos. Os versos são permeados pela disjunção, por palavras en

Nono livro de poemas de um dos mais consagrados poetas, contistas e tradutores brasileiros em atividade, este volume traz Paulo Henriques Britto em sua melhor forma. Avesso ao sentimentalismo, aos arroubos, a autocomiseraço, o autor criou uma poetica extraordinaria, com linguagem afiada e ironica, equilibrada entre o ceticismo e a descrença.Embora os poemas de Paulo Henriques Britto sugiram resignaço e pessimismo, uma segunda leitura pode revelar o sentido oposto. A propria insistencia em escrever em tentar encaixar o mundo na forma fixa do verso opera como um "impulso visceral, organico,/ que mantem o cerebro ativo/ e combate ataques de panico". Como ele demonstra na serie "Intransitivas", a funço terapeutica da poesia no pode ser descartada: "E palavra em lugar de droga,/ especie incorporea de ioga".No se trata, e claro, de imaginar que o poema possa oferecer soluçes para os problemas do mundo ou dar fim as nossas angustias individuais. Longe disso. Mas o humor mal-humorado e desesperançoso do poeta atesta que "o poema cria uma existencia/ no real, mas no de todo improvavel,/ uma presença falsa que compensa". E nessa ausencia, ou falsa presença, que a poesia mostra ser capaz de oferecer "o gosto, o som, a cor" e, assim, curiosamente, cumprir "o que promete".

Forty years after it was first published, Ted Hughess Flowers and Insects, Some Birds and a Pair of Spiders is presented in a beautifully redesigned edition with a new introduction by the nature writer Tim Dee. The sixteen poems gathered here brim and bristle with the life Hughes generates from the absolute attention he commits to whatever it is he is looking at. His knack for finding a language to animate its subject, without a trace of sentiment or nostalgia, singles out Hughes as one of the truly great poet-interpreters of the natural world.This edition gives full justice to the subtlety of the original watercolour illustrations, produced by Hughess long-term collaborator and friend, the American artist, Leonard Baskin.