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A Year of Misreading the Wildcats
'a year of misreading the wildcats' unravels a sprawling, year-long encounter with petroleum that began with a strip of plastic, caught between the branches of a maidenhair tree. This hybrid collection drills the archive for film scores, fiction, and scholarship, recovering the intertextual saturations of plastic and plankton, oil and oceans.
I Confess
How is a lyric poem like a polygraph machine? A personal, poetic examination of the technology of truth-telling. Eric Schmaltz’s I Confess delves into the complexities of truth-telling in poetry, and the history of technologies designed to produce truth from willing and unwilling subjects, considering what it means to use a device – poetry or polygraph – to draw out one’s most profound feelings and emotions. Exploring the intersection of power, technology, and language, I Confess meditates on lie detection and its history, including trials by ordeal and pseudoscientific technologies. The poet then turns to his own personal experiences working with a lie detector and polygraph analyst. Taking himself as the central subject of the book, Schmaltz puts his subjectivity and positionality under scrutiny. The answers to questions such as What does family mean to you? and Can you describe a time when you felt your best? inspire a range of forms from conventional lyrical verse to list poems to palindromes to visual poems. With an afterword by Orchid Tierney, I Confess is a personal, poetic document of truth’s performance under duress.
The Cambridge Companion to American Poetry and Politics since 1900
The Cambridge Companion to Twentieth Century American Poetry and Politics shows how American poets have addressed political phenomena since 1900. This book helps students, teachers, and general readers make sense of the scope and complexity of the relationships between poetry and politics. Offering detailed case studies, this book discusses the relationships between poetry and social views found in work by well-established authors such as Wallace Stevens, Langston Hughes, and Gwendolyn Brooks, as well as lesser known, but influential figures such as Muriel Rukeyser. This book also emphasizes the crucial role contemporary African-American poets such as Claudia Rankine and leading spoken word poets play in documenting political themes in our current moment. Individual chapters focus on specific political issues - race, institutions, propaganda, incarceration, immigration, environment, war, public monuments, history, technology - in a memorable and teachable way for poetry students and teachers.
The Cambridge Companion to Australian Poetry
An invaluable resource for staff and students in literary studies and Australian studies, this volume is the first major critical survey on Australian poetry. It investigates poetry's central role in engaging with issues of colonialism, nationalism, war and crisis, diaspora, gender and sexuality, and the environment. Individual chapters examine Aboriginal writing and the archive, poetry and activism, print culture, and practices of internationally renowned poets such as Lionel Fogarty, Gwen Harwood, John Kinsella, Les Murray, and Judith Wright. The Companion considers Australian leadership in the diversification of poetry in terms of performance, the verse novel, and digital poetries. It also considers Antipodean engagements with Romanticism and Modernism.
Places that the map can’t contain: Poetics in the Anthropocene
Inspired by Lynn Keller’s notion of “the self-conscious Anthropocene,” the book sets out to consider poetry as a privileged space for rethinking our basic epistemological assumptions. Poetry does not have the kind of agency a direct political intervention has; in fact, as W. H. Auden famously put it, “poetry makes nothing happen.” On the other hand, poetry is crucial when it comes to awakening our individual and collective imagination. Considering the statement by Lawrence Buell that the current ecological crisis is, in the first place, a crisis of the imagination, this function of poetry comes through as particularly important.
Teaching the Literature of Climate Change
Over the past several decades, writers such as Margaret Atwood, Paolo Bacigalupi, Octavia E. Butler, and Kathy Jetn̄il-Kijiner have explored climate change through literature, reflecting current anxieties about humans' impact on the planet. Emphasizing the importance of interdisciplinarity, this volume embraces literature as a means to cultivate students' understanding of the ongoing climate crisis, ethics in times of disaster, and the intrinsic intersectionality of environmental issues. Contributors discuss speculative climate futures, the Anthropocene, postcolonialism, climate anxiety, and the usefulness of storytelling in engaging with catastrophe. The essays offer approaches to teaching interdisciplinary and cross-listed courses, including strategies for team-teaching across disciplines and for building connections between humanities majors and STEM majors. The volume concludes with essays that explore ways to address grief and to contemplate a hopeful future in the face of apocalyptic predictions.
Sweet Jimmy
Bryan Brown has been telling stories with his distinctive Australian voice on TV and in film for a long time, but this time he's writing crime in his first book. 'Uniquely Australian and uncommonly good, I could hear the author's voice in every spare, haunting line. More please.' - Michael Robotham 'My friend Bryan Brown, quite apart from his other manifold talents, turns out to be an excellent writer. An authentic voice; highly imaginative yet completely believable, with a flair for fully realised characters and a gripping narrative ... a great story teller. This is utterly baffling. I'm furious.' - Sam Neill It was a gentle knock. Agnes had been waiting for it. Hoping he would be on time. ...
Orchids
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Primitivo americano
Testo a fronte Entra nella palude buia dove la lunga attesa ha fine. Il fagotto scivoloso, segreto, cade tra le erbacce. Piega il collo lungo e lo lecca tra due respiri indeboliti dalla spossatezza e dopo poco lui si alza e diventa una creatura come lei, ma molto piú piccola. Quindi adesso ce ne sono due. E camminano insieme come un sogno sotto gli alberi.
