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You Work Tomorrow: An Anthology Of American Labor Poetry, 1929-41 (Class Ser. (PDF))
by John Marsh Jim DanielsThis is the first-ever anthology of American labor poetry of the Great Depression. ""You Work Tomorrow"" provides a glimpse into a relatively unknown aspect of American literary and labor history - the remarkable but largely forgotten poems published in union newspapers during the turbulent 1930s. Members of all unions - including auto-workers, musicians, teachers, tenant farmers, garment workers, artists, and electricians - wrote thousands of poems during this period that described their working, living, and political conditions. From this wealth of material, John Marsh has chosen poetry that is both aesthetically appealing and historically relevant, dispelling the myth that labor poetry consisted solely of amateurish and predictable sloganeering. A foreword by contemporary poet Jim Daniels is followed by John Marsh's substantive introduction, detailing the cultural and political significance of union poetry. This anthology offers a unique opportunity for a wide range of readers, including literary critics, labor historians, union members, and general readers to learn how an earlier generation of workers confronted and challenged injustice and inequality.
You Wait Till I'm Older Than You!
by Michael RosenYAAAAAAAAAAAAAAAAGET OFF, GET OFF, GET OFF!Well what would you say if your brother kept whacking you with a spoon, or the spider made it all the way up the toilet bowl or your mum made you wear that horrible shirt?Find out in this fantastically funny collection of poems all about growing up from the brilliant Michael Rosen, Children's Laureate 2007 - 2009.
You Took the Last Bus Home: The Poems of Brian Bilston
by Brian BilstonYou Took the Last Bus Home is the first and long-awaited collection of ingeniously hilarious and surprisingly touching poems from Brian Bilston, the mysterious ‘Poet Laureate of Twitter’.With endless wit, imaginative wordplay and underlying heartache, he offers profound insights into modern life, exploring themes as diverse as love, death, the inestimable value of a mobile phone charger, the unbearable torment of forgetting to put the rubbish out, and the improbable nuances of the English language.Constantly experimenting with literary form, Bilston’s words have been known to float off the page, take the shape of the subjects they explore, and reflect our contemporary world in the form of Excel spreadsheets, Venn diagrams and Scrabble tiles.This irresistibly charming collection of his best-loved poems will make you question the very essence of the human condition in the twenty-first century.YOU TOOK THE LAST BUS HOMEyou tookthe last bus homedon’t know howyou got it through the dooryou’re always doing amazing stufflike the timewhen you caught that train
You Don't Have What It Takes to Be My Nemesis: And Other (Soma)tics
by CAConrad'A tremendous ball of fire hurled into the dark recesses of our world' Ocean Vuong'Radical . . . invites the reader to become an agent in a joint act of recovery' Tracy K. Smith'Psychotropic, visionary songs of love and defiance' Ralf Webb'Deeply informed by love, and a tenderness for the ravages and tumult of existence' Eileen Myles'Queer . . . gorgeous . . . just stunning' Joelle TaylorA captivating, original call for creative freedom from one of the most singular poets of our time'this mechanistic world . . . has required me to FIND MY BODY to FIND MY PLANET in order to find my poetry'Since their inception in 2005, CAConrad's (soma)tic poems have acted as an urgent appeal for an embodied, unfettered creative practice. Rooted in the Sanskrit 'soma', meaning 'to press and be newly born', and the Greek-derived 'somatic', relating to the body, Conrad's (soma)tic poetry reaches out from electrifying, esoteric rituals. Their methods are elaborate, and the results are unexpected: one, for instance, might begin by seeing the poet flood their body with the field calls of extinct animals - and end not only in a consideration of survivor's guilt and the destruction of ecosystems, but also in an elated sense of the presence, close at hand, of the many friends and lovers they lost to AIDS.Conrad draws on these rituals to enter a political, physical and spiritual state of consciousness, meditating on ecology, queerness and grief in powerful, dreamlike poetry that invites us to engage with the essence of things. This new selection is a testimony to poetry's capacity to reconnect us with the present moment and put an end to the alienation we feel: from our bodies, our surroundings, our planet.
You Don't Have to Be Everything: Poems for Girls Becoming Themselves
by Diana WhitneyA contemporary poetry anthology that offers girls and young women wisdom and compassion for a vital, formative time in their lives.
You and Me and the Wishing Tree: A special gift for little dreamers
by Nancy Tillman“I wish!” said I. “I wish!” said you.And so, our double wishes grew.Wishes are a magical part of childhood. Whether we wish on stars or blow out candles on a cake, our dreams matter.You and Me and the Wishing Tree by Nancy Tillman explores a gorgeous, technicolor dreamscape where anything you wish can come true. Young readers can revel in the joy of making wishes, loud and quiet, whether it's right at home in the company of their loving parents or high in the sky among the birds.Nancy Tillman is a New York Times bestseller whose work has touched the hearts of readers of all ages, from the youngest tots to new mums, from young friends to grandparents.
Yevtushenko: Selected Poems
by Yevgeny Yevtushenko Peter Levi Robin Milner-GullandThis volume contains a selection of early works by Yevgeny Alexandrovich Yevtushenko who blazed a trail for a generation of Soviet poets with a confident poetic voice that moves effortlessly between social and personal themes. ‘Zima Junction’ vividly describes his idyllic childhood in Siberia and his impressions of home after a long absence in Moscow. Private moments are captured in ‘Waking’, on the joys of discovering the unexpected in a lover, and ‘Birthday’, on a mother’s concern for her son, while ‘Encounter’ depicts an unexpected meeting with Hemingway in Copenhagen. ‘The Companion’ and ‘Party Card’ show war from a child’s eye, whether playing while oblivious to German bombs falling nearby or discovering a fatally wounded soldier in the forest, while Yevtushenko’s famous poem, ‘Babiy Yar’, is an angry exposé of the Nazi massacre of the Jews of Kiev.
Yes You Can, Cow
by Rashmi SirdeshpandeCow - Of course you can jump over the moon . . . READY, STEADY - Everyone knows the nursery rhyme . . . But Cow has disappeared - she's feeling shy . . . and quite frankly terrified . . . Will she ever jump over the moon? A gorgeous, heartwarming story about believing in yourself and doing your best, because some things aren't always within reach.
Yes, There Will Be Singing: Yes, There Will Be Singing (Poets On Poetry)
by Marilyn KryslYes, There Will Be Singing brings together Marilyn Krysl’s essays on the origins of language and poetry, poetic form, the poetry of witness, and poetry’s collaboration with the healing arts. Beginning with pieces on her own origins as a poet, she branches into poetry’s profound spiritual and political possibilities, drawing on rich examples from poets such as Anna Akhmatova, W.S. Merwin, and Vénus Khoury-Ghata. Krysl concludes with a selection of stories of her nursing and humanitarian work, powerfully connecting poetic expression with a generous and compassionate worldview.
Yertle the Turtle and Other Stories
by Dr. SeussIn this hilarious book, featuring three timeless fables, Dr. Seuss explores the pitfalls of growing too big for your boots!
Yer Ezhupathu and Tirukkai Vazakkam of Kambar
by KambarIn Yer Ezhupathu: (Plough Seventy) Poet Kambar is all praising the profession of agriculture right from ploughing the land till harvesting in seventy verses. In Tirukkai Vazhakkam, he praises the qualities of benovalence of Velalar community in sixty verses.
Yellow Tulips: Poems 1968–2011
by James FentonWinner of both the Queen's Gold Medal and the Whitbread Prize for Poetry, James Fenton has given readers some of the most memorable lyric verse of the past decades, from the formal skill that marked his debut, Terminal Moraine, to the dramatic and political monologues of The Memory of War and Children in Exile, through to the unforgettable love poems of Out of Danger and his most recent work: Poems is an essential selection by, as Stephen Spender put it, 'a brilliant poet of technical virtuosity'.Don't talk to me of love. I've had an earfulAnd I get tearful when I've downed a drink or two.I'm one of your talking wounded.I'm a hostage. I'm maroonded.But I'm in Paris with you.From 'In Paris With You' by James Fenton
Yellow Stars and Ice (Princeton Series of Contemporary Poets)
by Susan StewartFrom a sequence, "The Countries Surrounding the Garden of Eden": Gihon, that compasseth the whole land At the first frost we found our sheep with strangled hearts, lying on their backs in the frozen clover, their eyes wide open as if they were surprised by a constellation of drought or endless winter. The wolves walked into the snow, like men who have given up living without love; cows would no longer let go of their calves, hiding them deep in the birch groves. Everywhere the roads gave off their wild animal cries, running toward the edge of what we had thought was the world. And the names of things as we knew them would no longer bring them to us.
Yellow Stars and Ice (Princeton Series of Contemporary Poets #157)
by Susan StewartFrom a sequence, "The Countries Surrounding the Garden of Eden":Gihon, that compasseth the whole landAt the first frost we found our sheep with strangled hearts, lying on their backs in the frozen clover, their eyes wide open as if they were surprised by a constellation of drought or endless winter. The wolves walked into the snow, like men who have given up living without love; cows would no longer let go of their calves, hiding them deep in the birch groves. Everywhere the roads gave off their wild animal cries, running toward the edge of what we had thought was the world. And the names of things as we knew them would no longer bring them to us.
Yeats's "Vision" Papers: The Automatic Script - 5 November, 1917 to 23 September, 1918 (Yeats's 'Vision' Papers)
by W. B. YeatsThe first volume of a three-volume edition of the collected papers and notebooks which comprise the "automatic writing" of W.B.Yeats. This material, which spans the years between 1917 and 1920, contains Yeats' thoughts concerning literature and art, which in turn, comprises his "vision".
Yeats’s Vision Papers: Volume 3: Sleep and Dream Notebooks, Vision Notebooks 1 and 2, Card File (Yeats's 'Vision' Papers)
by W. B. YeatsThe third volume of a three volume edition of the collected papers and notebooks which comprise the "automatic writing" of W.B.Yeats. The material presented here is taken from the writings known as "the sleep and dreams" notebooks, the "vision" notebooks one and two and from Yeats' card files.
Yeats’s Poetry and Poetics
by Michael J. SidnellYeats's Poetry and Poetics brings together some of the finest Yeats criticism ever published, together with some new pieces specially written for this volume. Spanning the whole of Yeats's career, the essays are organised into three main parts. The first deals with Yeats's concern with the speaking voice and its bearing on public and private readings of his verse; and on his use of certain kinds of images in his poetry and plays, from ghosts and fairies, to figures borrowed from painters and sculptors and, extraordinarily, to the actual dancer for whom he makes room in his work. The second section puts Yeats's poetry in context with the work of Synge, D.H. Lawrence, Walter de la Mare and other 'Georgians', and with that of T.S. Eliot and other modernists; assessing the continuities (real and asserted) in Yeats's long poetic career against the revolutions in the poetry of his time. The profound connections between the writings of Yeats and Joyce, including the coupling of Finnegans's Wake and 'The Wanderings of Oisin' are also examined. Rounding off the volume 'Phantasmagoria', explores the implications for his poetics of Yeats's spiritualist philosophy, especially in terms of his conception of the poetic self, and, finally, the last section analyses two works animated by Yeats's quest for the 'faery bride' and his desperate attempt to attract, through his work, a real one.
Yeats’s Poems
by Warwick GouldWilliam Butler Yeats is considered Ireland's greatest poet. He is one of the most significant literary figures of the twentieth century. He was awarded the Nobel Prize for Literature in 1923. This is the definitive collection of his poems, encompassing the full range of his powers, from the love lyrics to the political poems, from poems meditating on the bliss of youth, to the verse that rails against old age. A detailed notes section and full appendix provide an invaluable key to the poems as well as biographical information on the life of the poet and a guide to his times. The collection includes Yeats's fourteen books of lyrical poems, his narrative and dramatic poetry, and his own notes on individual poems.
Yeats’s Poems
by W. B. YeatsHere in one volume is the entire canon of Yeat's verse, who was awarded the Nobel Prize for Literature in 1923. He was a poet and playwright, storyteller and visionary. The author also wrote "Yeats: Man and Poet".
Yeats’s Mask: Yeats Annual No. 19 (PDF)
by Margaret Mills Harper Warwick GouldYeats's Mask, Yeats Annual No. 19 is a special issue in this renowned research-level series. Fashionable in the age of Wilde, the Mask changes shape until it emerges as Mask in the system of A Vision. Chronologically tracing the concept through Yeats's plays and those poems written as 'texts for exposition' of his occult thought which flowers in A Vision itself (1925 and 1937), the volume also spotlights 'The Mask before The Mask' numerous plays including Cathleen Ni-Houlihan, The King's Threshold, Calvary, The Words upon the Window-pane, A Full Moon in March and The Death of Cuchulain. There are excurses into studies of Yeats's friendship with the Oxford don and cleric, William Force Stead, his radio broadcasts, the Chinese contexts for his writing of 'Lapis Lazuli'. His self-renewal after The Oxford Book of Modern Verse, and the key occult epistolary exchange 'Leo Africanus', edited from MSS by Steve L. Adams and George Mills Harper, is republished from the elusive Yeats Annual No. 1 (1982). The essays are by David Bradshaw, Michael Cade-Stewart, Aisling Carlin, Warwick Gould, Margaret Mills Harper, Pierre Longuenesse, Jerusha McCormack, Neil Mann, Emilie Morin, Elizabeth Müller and Alexandra Poulain, with shorter notes by Philip Bishop and Colin Smythe considering Yeats's quatrain upon remaking himself and the pirate editions of The Land of Heart's Desire. Ten reviews focus on various volumes of the Cornell Yeats MSS Series, his correspondence with George Yeats, and numerous critical studies. Yeats Annual is published by Open Book Publishers in association with the Institute of English Studies, University of London.
Yeats’s Legacies: Yeats Annual No. 21 (PDF)
by Warwick GouldThe two great Yeats Family Sales of 2017 and the legacy of the Yeats family’s 80-year tradition of generosity to Ireland’s great cultural institutions provide the kaleidoscope through which these advanced research essays find their theme. Hannah Sullivan’s brilliant history of Yeats’s versecraft challenges Poundian definitions of Modernism; Denis Donoghue offers unique family memories of 1916 whilst tracing the political significance of the Easter Rising; Anita Feldman addresses Yeats’s responses to the Rising’s appropriation of his symbols and myths, the daring artistry of his ritual drama developed from Noh, his poetry of personal utterance, and his vision of art as a body reborn rather than a treasure preserved amid the testing of the illusions that hold civilizations together in ensuing wars. Warwick Gould looks at Yeats as founding Senator in the new Free State, and his valiant struggle against the literary censorship law of 1929 (with its present-day legacy of Irish anti-blasphemy law still presenting a constitutional challenge). Drawing on Gregory Estate documents, James Pethica looks at the evictions which preceded Yeats’s purchase of Thoor Ballylee in Galway; Lauren Arrington looks back at Yeats, Ezra Pound, and the Ghosts of The Winding Stair (1929) in Rapallo. Having co-edited both versions of A Vision, Catherine Paul offers some profound reflections on ‘Yeats and Belief’. Grevel Lindop provides a pioneering view of Yeats’s impact on English mystical verse and on Charles Williams who, while at Oxford University Press, helped publish the Oxford Book of Modern Verse. Stanley van der Ziel looks at the presence of Shakespeare in Yeats’s Purgatory. William H. O’Donnell examines the vexed textual legacy of his late work, On the Boiler while Gould considers the challenge Yeats’s intentionalism posed for once-fashionable post-structuralist editorial theory. John Kelly recovers a startling autobiographical short story by Maud Gonne. While nine works of current biographical, textual and literary scholarship are reviewed, Maud Gonne is the focus of debate for two reviewers, as are Eva Gore-Booth, Constance and Casimir Markievicz, Rudyard Kipling, David Jones, T. S. Eliot and his presence on the radio.
Yeats's Legacies: Yeats Annual No. 21 (Yeats Annual Ser. #Vol. 21)
by Warwick GouldThe two great Yeats Family Sales of 2017 and the legacy of the Yeats family’s 80-year tradition of generosity to Ireland’s great cultural institutions provide the kaleidoscope through which these advanced research essays find their theme. Hannah Sullivan’s brilliant history of Yeats’s versecraft challenges Poundian definitions of Modernism; Denis Donoghue offers unique family memories of 1916 whilst tracing the political significance of the Easter Rising; Anita Feldman addresses Yeats’s responses to the Rising’s appropriation of his symbols and myths, the daring artistry of his ritual drama developed from Noh, his poetry of personal utterance, and his vision of art as a body reborn rather than a treasure preserved amid the testing of the illusions that hold civilizations together in ensuing wars. Warwick Gould looks at Yeats as founding Senator in the new Free State, and his valiant struggle against the literary censorship law of 1929 (with its present-day legacy of Irish anti-blasphemy law still presenting a constitutional challenge). Drawing on Gregory Estate documents, James Pethica looks at the evictions which preceded Yeats’s purchase of Thoor Ballylee in Galway; Lauren Arrington looks back at Yeats, Ezra Pound, and the Ghosts of The Winding Stair (1929) in Rapallo. Having co-edited both versions of A Vision, Catherine Paul offers some profound reflections on ‘Yeats and Belief’. Grevel Lindop provides a pioneering view of Yeats’s impact on English mystical verse and on Charles Williams who, while at Oxford University Press, helped publish the Oxford Book of Modern Verse. Stanley van der Ziel looks at the presence of Shakespeare in Yeats’s Purgatory. William H. O’Donnell examines the vexed textual legacy of his late work, On the Boiler while Gould considers the challenge Yeats’s intentionalism posed for once-fashionable post-structuralist editorial theory. John Kelly recovers a startling autobiographical short story by Maud Gonne. While nine works of current biographical, textual and literary scholarship are reviewed, Maud Gonne is the focus of debate for two reviewers, as are Eva Gore-Booth, Constance and Casimir Markievicz, Rudyard Kipling, David Jones, T. S. Eliot and his presence on the radio.
Yeats's Legacies: Yeats Annual No. 21 (Yeats Annual #21)
by Warwick GouldThe two great Yeats Family Sales of 2017 and the legacy of the Yeats family’s 80-year tradition of generosity to Ireland’s great cultural institutions provide the kaleidoscope through which these advanced research essays find their theme. Hannah Sullivan’s brilliant history of Yeats’s versecraft challenges Poundian definitions of Modernism; Denis Donoghue offers unique family memories of 1916 whilst tracing the political significance of the Easter Rising; Anita Feldman addresses Yeats’s responses to the Rising’s appropriation of his symbols and myths, the daring artistry of his ritual drama developed from Noh, his poetry of personal utterance, and his vision of art as a body reborn rather than a treasure preserved amid the testing of the illusions that hold civilizations together in ensuing wars. Warwick Gould looks at Yeats as founding Senator in the new Free State, and his valiant struggle against the literary censorship law of 1929 (with its present-day legacy of Irish anti-blasphemy law still presenting a constitutional challenge). Drawing on Gregory Estate documents, James Pethica looks at the evictions which preceded Yeats’s purchase of Thoor Ballylee in Galway; Lauren Arrington looks back at Yeats, Ezra Pound, and the Ghosts of The Winding Stair (1929) in Rapallo. Having co-edited both versions of A Vision, Catherine Paul offers some profound reflections on ‘Yeats and Belief’. Grevel Lindop provides a pioneering view of Yeats’s impact on English mystical verse and on Charles Williams who, while at Oxford University Press, helped publish the Oxford Book of Modern Verse. Stanley van der Ziel looks at the presence of Shakespeare in Yeats’s Purgatory. William H. O’Donnell examines the vexed textual legacy of his late work, On the Boiler while Gould considers the challenge Yeats’s intentionalism posed for once-fashionable post-structuralist editorial theory. John Kelly recovers a startling autobiographical short story by Maud Gonne. While nine works of current biographical, textual and literary scholarship are reviewed, Maud Gonne is the focus of debate for two reviewers, as are Eva Gore-Booth, Constance and Casimir Markievicz, Rudyard Kipling, David Jones, T. S. Eliot and his presence on the radio.
Yeats The Poet: The Measures of Difference
by Edward LarrissyThis work addresses Yeats's "antinomies", seeing their origin and structure in his divided Anglo-Irish inheritance and examining the notion of measure. It then explores how this relates to freemasonry, Celticism and Orientalism and looks at the Blakean esoteric language of contrariety and outline which provided Yeats with the vocabulary of self-understanding.