Preventa de eBooks de Poesía contemporánea española del XIX al XXI

Esta antología ilustrada rinde homenaje a Julia Uceda y reivindica tanto su ejemplo moral como la fuerza y la singularidad de su poesía.Publicada con motivo del centenario del nacimiento de Julia Uceda, una de las autoras mas importantes de su generacion y de la poesia española contemporanea, esta antologia es fruto de la colaboracion entre la poeta, que trabajo en ella hasta poco antes de su muerte en 2024, y su sobrino el artista Francisco Uceda. A todo lo que pase y se borre y se pierda recoge poemas de sus diez libros publicados, desde Mariposa en cenizas (1959) hasta Escritos en la corteza de los arboles (2013), y los acompaña de ilustraciones expresamente realizadas para la ocasion, en una hermosa edicion que rinde homenaje a la memoria de Julia Uceda y reivindica tanto su perdurable ejemplo moral como la fuerza y la singularidad de su poesia.

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".

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

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.

Bringing together memoir, ekphrasis, and satire, plastic is based on Matthew Rices experience working in a plastic molding factory for ten years. Illustrating alienated twenty-first-century Irish labour in poetic form, plastic engages with the inflictions and implications of a post-industrial,post-Troubles society, all while weaving in depictions of factory work from literature, film, and the visual arts. plastic is a poem about feeling a calling whilst submerged in the world of menial labour, uniting what Jacques Ranciere calls the labourers in love with the intellectual nights and those intellectuals in love with the toilsome and glorious days of the labouring people. plastics evocation and lucidity moves with grace through working class realities and imaginings.

The ancient Greek word for tragedy () is a compound of goat () and song (). In Phoebe Giannisis Goatsong, the seam that connects human and animal, myths and history, is the body.In Giannisis language, life obeys myth. A man places a screaming cicada in his mouth, reminding us of a scene from Platos Phaedrus, where Socrates claims cicadas to have been humans who became entranced by the invention of singing, and didnt stop to eat or drink. When the goddess Thetis dips her newborn son, Achilles, into the River Styx to protect all but his famous heel where her hand grips, were told the place of the mothers grip / is the mark of death. Adjacent to the mythical setting is the material, where the rumination of goats, their digestive cycle chewing, swallowing, then recalling food back into the mouth to be reconsidered begins after weaning, and is lain alongside how we think: from the moment of separation / from the mother / they ruminate. In these lyric enactments, all is transformative and transformed; territories of land, the body and history are blurred, and nothing is still.From Homer to Donna Haraway, Derrida to state archives, klephtic ballads and rebetiko, to Parmenides and Giannisis dog, Ivan, the many human and animal voices of Goatsong form an incantatory lyricism and layered engagement unique in literature.

I guess I must have been in two minds about the new day as the daylight gods began to march in straight lines going I dont know wherefrom The Spare RoomIn his first collection for more than a decade, Tom Paulin revisits themes of place, occupation, conflict and legacy, primarily in the context of his native Northern Ireland. Stories and memories, even histories, are shown to be both frail and persistent, troubling and vital. There is a powerful austerity in play as he sets aside the rhetorical force and linguistic dazzle for which he is renowned, to speak simply of later life and the losses it brings: if only some idea / could find its way / through enemy territory / then Id at last begin / to look up at the sky. As outward-looking as ever, he also includes here intimate and resonant versions from Brecht and Ronsard, and from the contemporary Palestinian poet, Walid Khazendar.To say the [Fivemiletown] was one of the best books of the Eighties isnt enough: it is one of the best books I know, or for that matter, am capable of imagining . . . what British or Irish poet was doing anything like this? Michael Hofmann, London Review of BooksTom Paulin is among the best of a great generation of Irish poets.Sunday TelegraphPaulin often creates the illusion that the poem is being made up as he goes along. Spontaneity is difficult to pull off in poetry but it is a Paulin forte. The casualness is only possible because of the absolute control of form, each poem a windbreak for his words . . . Kate Kellaway[Tom Paulins] short, punchy poems are characterised by their ability to evoke images through the smallest details, or through sudden shifts of register ... Mr Paulins poems fight against lazy uses of language ... in Loves Bonfire Mr Paulin demonstrates the strength that comes with saying less, not unlike relying on only a spark for warmth.The Economist

Dafydd ap Gwilym, Waless greatest poet, explored love, desire and the natural world with startling frankness and virtuoso wit. In a sequence freely adapted from Dafydds work, Matthew Francis brings him to life for the modern English-speaking reader: as he waits in the woods for his lover, ogles the girls in church or causes chaos during a midnight assignation. Plants, birds and animals are fondly invoked while weather and the elements - wind, waves, fog and ice - play their part. Passionate in his treatment of sexual themes, Dafydd is equally ready to make fun of his own susceptibility. These delightful poems remain, across the centuries, intimate, urgent and timeless.One of our most skilled, intriguing and consistently ambitious poets. Sarah Crown, GuardianThe Mabinogi in Matthew Franciss poetic retelling . . . blazes with fresh and exciting strangeness. Marina Warner, Times Literary Supplement Books of the Year

Here is the definitive edition of Seamus Heaneys poetry, with illuminating critical notes, including uncollected poems and a selection of previously unseen material. This is the long-awaited, definitive edition of Seamus Heaneys poetry. It encompasses all the poems Heaney published in his lifetime as well as the small number that appeared after his death: twelve single volumes, from Death of a Naturalist (1966) to Human Chain (2010), and those poems published in pamphlets, journals and magazines or with limited circulation. In addition, the book includes a small selection of previously unseen material. It is a body of work that, in its entirety, resounds with the lyrical beauty and ethical depth cited by the Nobel committee: poems which exalt everyday miracles and the living past. Critical introductions to each collection and notes that illuminate the history and development of the poems make this the essential volume for admirers of the work.Heaneys voice, by turns mythological and journalistic, rural and sophisticated, reminiscent and impatient, stern and yielding, curt and expansive, is one of a suppleness almost equal to consciousness itself. Helen VendlerMore than any other poet since Wordsworth he can make us understand that the outside world is not outside, but what we are made of. John CareyHis is "closeup" poetry - close up to thought, to the world, to the emotions. Few writers at work today, in verse or fiction, can give the sense of rich, fecund, lived life that Heaney does. John BanvilleThese poems find - in the dowsers gift and the childs perception of the world - images of the marvellous that are also wonderfully grounded. . . Heaney is a poet who deserves to be read in entirety. Jamie McKendrickFor Heaney, there were marvels enough in this world, and never mind the next. Ordinary objects and places - a sofa, a wireless, a satchel, a gust of wind, the sound of rain - were sanctified. Blake Morrison

Esta edição reúne as três últimas obras de Manoel de Barros, em que se destacam o tom memorialístico, a paisagem natural do interior mato-grossense e a experiência quase sensorial de leitura. A ediçã

Debris collects poems from Daniel Huws first two books, Noth (1972) and The Quarry (1999), alongside a substantial set of new poems and translations, and a few occasional poems.Huws is now ninety-three and, while this is only his third collection of poems, Debris justifies Daniel Weissborts comment in PN Review: one difficulty in reviewing Huws is precisely that he never wrote, or at least released, a dud poem. Huws poems are true lyrics, seeming to emerge out of often difficult or obscure moments whose import and meaning only come into view as they find their brief lyric shape.Huws lifelong friend, Ted Hughes they studied together at Cambridge in the 1950s wrote of his poems that There is nothing fashionable about [Huws poems]. The all-inclusive, wholly human, wholly musical, final simplicity of the oldest folk-rhymes and songs was the ultimate aim of such a poet as Yeats... Anyone with an ear to hear will recognise the genuine substance and accent of that poetry in Daniel Huws. Ted Hughes is himself the subject of a witty, newly published occasional poem dedicated to Hughes on his accession to the role of British poet laureate.

The conversion of a local beauty spot into a municipal graveyard is the starting point for New Cemetery. From regular walks around the boundary near his moorland home in West Yorkshire, Simon Armitage chronicles the extraordinary transformation of landscape both outer and inner. These luminous and wry poems - composed in short-lined tercets - reflect the changing world: one of unstable weather patterns and unpredictable news events, all observed across a few acres of Pennine upland. As phases of lockdown come and go and the cemetery fills up with his new neighbours, Armitage charts personal losses of his own, often retreating to his garden shed to navigate blank paper with pen and ink - and the results are as surprising as they are life-enhancing.

A habilidade de ver e sentir a poesia nos detalhes da vida cotidiana vem perdendo a força diante da velocidade com que recebemos e enviamos informaçes. No tem sobrado tempo. Contos e fatos narrados em versos rimados traz uma coletanea de fatos e relatos que revelam a beleza oculta nos detalhes e as emoçes manifestas de forma sensivel e agradavel com um toque de comedia. Seja voce jovem ou nem tanto, certamente esta leitura ira despertar emoçes, memorias e saudades.

Todes poetas que integram esta antologia se posicionam, colocam suas vozes, trajetórias e corpos na contribuição do pensar, planejar e construir um novo mundo, um mundo mais gentil, mais plural, mais

Daring and vulnerable, this is the highly anticipated new collection from Griffin Poetry Prize winner Billy-Ray Belcourt.In The Idea of An Entire Life, Belcourt delivers an intimate examination of twenty-first-century anguish, love, queerness, and political possibility. Through lyric verse, sonnets, fieldnotes, and fragments, the poemssometimes heartbreaking, sometimes slyly humorousare always finely crafted, putting to use the autobiographical and philosophical style that has come to define Belcourts body of work. By its close, the collection makes the urgent argument that we are each our own little statues of grief and awe.When I wrote my first book of poetry, reflects Belcourt, I wrote from a place of desperation. I wanted very desperately to live a full queer Indigenous life and I wasnt sure if I would attain it. The Idea of an Entire Life began with the realization that I have that life now and so I wanted to think through the ways a queer Indigenous life is hampered by history but nonetheless full of possibility. What will the rest of my life make available to me? How has the twentieth century indelibly shaped me and my community? The book is about my reserve in northern Alberta, how the past tailgates me wherever I go. Its also about my coming-into-being as a queer Indigenous man and how Ive tried to remake my conditions of living to enable flourishing and possibility.

A obra poética completa de um dos principais nomes da literatura brasileira do século XX pela primeira vez reunida."O poeta abre seu arquivo — o mundo —/ E vai retirando dele alegria e sofrimento/ Pa

A partir de cartas reais trocadas por três grandes poetas do século XX, em seu novo livro de poemas Alberto Martins reinventa as vozes desses escritores para compor uma história de amor e exílio de a

Doze anos após o lançamento de sua última obra, Adélia Prado, vencedora dos prêmios Camões e Machado de Assis, retorna à poesia com O jardim das oliveiras, uma reunião de 105 poemas inéditos. Após do

"No entanto, não pensei que fosse capaz de sobreviver a uma noite inteira naquela cama, de resistir a essa maratona, nem que fosse tão peculiar o cheiro daquela dama, que habitava nesse latifúndio ch