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Hop On Pop (Beginner Books(r) Ser.)
by Dr. SeussThis charming book introduces young children to words that rhyme, with classic Dr. Seuss fun!
Hoping It Might Be So: Poems 1974-2000
by Kit WrightHoping It Might Be So brings together all of Kit Wright's previous collections for adults as well as three dozen new poems. The collection, first published in 2000, was described by Christina Patterson in the Sunday Times as 'funny and profoundly humane' and by Sophie Hannah in the PN Review as 'full of verve and energy, with a strong musical quality that makes you want to read on and hear more'. Sean O'Brien in the Times Literary Supplement described Kit Wright as 'a masterly yet modest poet' while Ruth Padel in the Independent on Sunday said that 'all through his work there is that poignancy, darkness, brush with despair, which marks great comic work.' The poet Anthony Wilson said that Wright 'can be funny, serious and moving, and sometimes all three in the space of a single poem'.Hoping It Might Be So is a rewarding collection from an interesting, prolific and lively poet whose poems range from ribald to grief-stricken, elegiac to rambunctious
Hopkins and Heidegger (Continuum Literary Studies)
by Brian WillemsHopkins and Heidegger is a new exploration of Gerard Manley Hopkins' poetics through the work of Martin Heidegger. More radically, Brian Willems argues that the work of Hopkins does no less than propose solutions to a number of hitherto unresolved questions regarding Heidegger's later writings, vitalizing the concepts of both writers beyond their local contexts. Willems examines a number of cross-sections between the poetry and thought of Hopkins and the philosophy of Heidegger. While neither writer ever directly addressed the other's work - Hopkins died the year Heidegger was born, 1899, and Heidegger never turns his thoughts on poetry to the Victorians - a number of similarities between the two have been noted but never fleshed out. Willems' readings of these cross-sections are centred on Hopkins' concepts of 'inscape' and 'instress' and around Heidegger's reading of both appropriation (Ereignis) and the fourfold (das Geviert). This study will be of interest to scholars and postgraduates in both Victorian literature and Continental philosophy.
Hopkins and Heidegger (Continuum Literary Studies #191)
by Brian WillemsHopkins and Heidegger is a new exploration of Gerard Manley Hopkins' poetics through the work of Martin Heidegger. More radically, Brian Willems argues that the work of Hopkins does no less than propose solutions to a number of hitherto unresolved questions regarding Heidegger's later writings, vitalizing the concepts of both writers beyond their local contexts. Willems examines a number of cross-sections between the poetry and thought of Hopkins and the philosophy of Heidegger. While neither writer ever directly addressed the other's work - Hopkins died the year Heidegger was born, 1899, and Heidegger never turns his thoughts on poetry to the Victorians - a number of similarities between the two have been noted but never fleshed out. Willems' readings of these cross-sections are centred on Hopkins' concepts of 'inscape' and 'instress' and around Heidegger's reading of both appropriation (Ereignis) and the fourfold (das Geviert). This study will be of interest to scholars and postgraduates in both Victorian literature and Continental philosophy.
A Hopkins Chronology (Author Chronologies Series)
by J. McDermottThis Hopkins chronology describes the poet's family and early education, then gives a day-by-day account of what he was doing, reading and writing, and the people he met. Drawing on some material not published before, it illustrates the working life of a priest-poet whose work was not made public until more than thirty years after his death. There are additional sections on the religious and political background of a major Victorian writer whose life was essentially enigmatic and private.
Horace (Understanding Classics)
by Paul Allen MillerPerhaps no classical writer has been so consistently in vogue as Horace. Famous in his own lifetime as a close associate of the Emperor Octavian, to whom he dedicated several odes, Quintus Horatius Flaccus (65–8 BC) has never really been out of fashion. Petrarch, for example, modelled his letters on Horace's innovative Epistles, while also borrowing from his Roman forebear in composing his own Italian sonnets. The echo of Horace's voice can be found in almost every genre of medieval literature. And in later periods, this influence and popularity if anything increased. Yet, as Paul Allen Miller shows, while Horace may justifiably be called the poet for all seasons he is also in the end an enigma. His elusive, ironic contrariness is perhaps the true secret of his success. A cultured man of letters, he fought on the losing side of the Battle of Philippi (42 BC). A staunch Republican, he ended up eagerly (some said too eagerly) promoting the cause of Julio-Claudian imperialism. Viewed as the acme of Roman literary civilization, he was shaped by his Athens education at Plato's famous Academy. This new introduction reveals Horace in all his paradoxical genius and complexity.
Horace: A Life
by Peter LeviThe work of the great Roman poet, Horatius Flaccus (65 BC to 8 BC), spanned all aspects of Roman life: politics, the arts, religion, and the authority of the emperor, while his legendary poems (Satires, Odes, Epistles) about friendship, philosophy, love and sex still have widespread appeal. This biography attempts to present a complete picture of Horace's life and world. It considers the details of Horace's romantic liaisons and why he never married, what the status of his father - a freed man - meant to the poet, and his distinctive brand of philosophy. In this acclaimed biography, Peter Levi - a fellow poet - has produced a thrilling and eminently readable book, the definitive on Rome's greatest poet and the times during which he lived.
Horace (Understanding Classics)
by Paul Allen MillerPerhaps no classical writer has been so consistently in vogue as Horace. Famous in his own lifetime as a close associate of the Emperor Octavian, to whom he dedicated several odes, Quintus Horatius Flaccus (65–8 BC) has never really been out of fashion. Petrarch, for example, modelled his letters on Horace's innovative Epistles, while also borrowing from his Roman forebear in composing his own Italian sonnets. The echo of Horace's voice can be found in almost every genre of medieval literature. And in later periods, this influence and popularity if anything increased. Yet, as Paul Allen Miller shows, while Horace may justifiably be called the poet for all seasons he is also in the end an enigma. His elusive, ironic contrariness is perhaps the true secret of his success. A cultured man of letters, he fought on the losing side of the Battle of Philippi (42 BC). A staunch Republican, he ended up eagerly (some said too eagerly) promoting the cause of Julio-Claudian imperialism. Viewed as the acme of Roman literary civilization, he was shaped by his Athens education at Plato's famous Academy. This new introduction reveals Horace in all his paradoxical genius and complexity.
Horace and Housman (The New Antiquity)
by R. GaskinThe lyric poems of Horace and Housman are two enigmatic bodies of work that have much in common, and a close reading of each poet's writings can illuminate the other's. This is the first book to provide a detailed, critical comparison between these two poets, and also the first to make use of Housman's unpublished lectures on Horace.
Horace, The Odes: New Translations by Contemporary Poets (Facing Pages)
by HoraceThey have inspired poets and challenged translators through the centuries. The odes of Horace are the cornerstone of lyric poetry in the Western world. Their subtlety of tone and brilliance of technique have often proved elusive, especially when--as has usually been the case--a single translator ventures to maneuver through Horace's infinite variety. Now for the first time, leading poets from America, England, and Ireland have collaborated to bring all 103 odes into English in a series of new translations that dazzle as poems while also illuminating the imagination of one of literary history's towering figures. The thirty-five contemporary poets assembled in this outstanding volume include nine winners of the Pulitzer prize for poetry as well as four former Poet Laureates. Their translations, while faithful to the Latin, elegantly dramatize how the poets, each in his or her own way, have engaged Horace in a spirited encounter across time. Each of the odes now has a distinct voice, and Horace's poetic achievement has at last been revealed in all its mercurial majesty. In his introduction, J. D. McClatchy, the volume's editor and one of the translators, reflects on the meaning of Horace through the ages and relates how a poet who began as a cynical satirist went on to write the odes. For the connoisseur, the original texts appear on facing pages allowing Horace's ingenuity to be fully appreciated. For the general reader, these new translations--all of them commissioned for this book--will be an exhilarating tour of the best poets writing today and of the work of Horace, long obscured and now freshly minted. The contributors are Robert Bly, Eavan Boland, Robert Creeley, Dick Davis, Mark Doty, Alice Fulton, Debora Greger, Linda Gregerson, Rachel Hadas, Donald Hall, Robert Hass, Anthony Hecht, Daryl Hine, John Hollander, Richard Howard, John Kinsella, Carolyn Kizer, James Lasdun, J. D. McClatchy, Heather McHugh, W. S. Mervin, Paul Muldoon, Carl Phillips, Robert Pinsky, Marie Ponsot, Charles Simic, Mark Strand, Charles Tomlinson, Ellen Bryantr Voigt, David Wagoner, Rosanna Warren, Richard Wilbur, C. K. Williams, Charles Wright, and Stephen Yenser.
Horace, The Odes: New Translations by Contemporary Poets (Facing Pages #1)
by HoraceThey have inspired poets and challenged translators through the centuries. The odes of Horace are the cornerstone of lyric poetry in the Western world. Their subtlety of tone and brilliance of technique have often proved elusive, especially when--as has usually been the case--a single translator ventures to maneuver through Horace's infinite variety. Now for the first time, leading poets from America, England, and Ireland have collaborated to bring all 103 odes into English in a series of new translations that dazzle as poems while also illuminating the imagination of one of literary history's towering figures. The thirty-five contemporary poets assembled in this outstanding volume include nine winners of the Pulitzer prize for poetry as well as four former Poet Laureates. Their translations, while faithful to the Latin, elegantly dramatize how the poets, each in his or her own way, have engaged Horace in a spirited encounter across time. Each of the odes now has a distinct voice, and Horace's poetic achievement has at last been revealed in all its mercurial majesty. In his introduction, J. D. McClatchy, the volume's editor and one of the translators, reflects on the meaning of Horace through the ages and relates how a poet who began as a cynical satirist went on to write the odes. For the connoisseur, the original texts appear on facing pages allowing Horace's ingenuity to be fully appreciated. For the general reader, these new translations--all of them commissioned for this book--will be an exhilarating tour of the best poets writing today and of the work of Horace, long obscured and now freshly minted. The contributors are Robert Bly, Eavan Boland, Robert Creeley, Dick Davis, Mark Doty, Alice Fulton, Debora Greger, Linda Gregerson, Rachel Hadas, Donald Hall, Robert Hass, Anthony Hecht, Daryl Hine, John Hollander, Richard Howard, John Kinsella, Carolyn Kizer, James Lasdun, J. D. McClatchy, Heather McHugh, W. S. Mervin, Paul Muldoon, Carl Phillips, Robert Pinsky, Marie Ponsot, Charles Simic, Mark Strand, Charles Tomlinson, Ellen Bryantr Voigt, David Wagoner, Rosanna Warren, Richard Wilbur, C. K. Williams, Charles Wright, and Stephen Yenser.
Horace's Ars Poetica: Family, Friendship, and the Art of Living
by Jennifer Ferriss-HillA major reinterpretation of Horace's famous literary manualFor two millennia, the Ars Poetica (Art of Poetry), the 476-line literary treatise in verse with which Horace closed his career, has served as a paradigmatic manual for writers. Rarely has it been considered as a poem in its own right, or else it has been disparaged as a great poet's baffling outlier. Here, Jennifer Ferriss-Hill for the first time fully reintegrates the Ars Poetica into Horace's oeuvre, reading the poem as a coherent, complete, and exceptional literary artifact intimately linked with the larger themes pervading his work.Arguing that the poem can be interpreted as a manual on how to live masquerading as a handbook on poetry, Ferriss-Hill traces its key themes to show that they extend beyond poetry to encompass friendship, laughter, intergenerational relationships, and human endeavor. If the poem is read for how it expresses itself, moreover, it emerges as an exemplum of art in which judicious repetitions of words and ideas join disparate parts into a seamless whole that nevertheless lends itself to being remade upon every reading.Establishing the Ars Poetica as a logical evolution of Horace's work, this book promises to inspire a long overdue reconsideration of a hugely influential yet misunderstood poem.
Horace's Ars Poetica: Family, Friendship, and the Art of Living
by Jennifer Ferriss-HillA major reinterpretation of Horace's famous literary manualFor two millennia, the Ars Poetica (Art of Poetry), the 476-line literary treatise in verse with which Horace closed his career, has served as a paradigmatic manual for writers. Rarely has it been considered as a poem in its own right, or else it has been disparaged as a great poet's baffling outlier. Here, Jennifer Ferriss-Hill for the first time fully reintegrates the Ars Poetica into Horace's oeuvre, reading the poem as a coherent, complete, and exceptional literary artifact intimately linked with the larger themes pervading his work.Arguing that the poem can be interpreted as a manual on how to live masquerading as a handbook on poetry, Ferriss-Hill traces its key themes to show that they extend beyond poetry to encompass friendship, laughter, intergenerational relationships, and human endeavor. If the poem is read for how it expresses itself, moreover, it emerges as an exemplum of art in which judicious repetitions of words and ideas join disparate parts into a seamless whole that nevertheless lends itself to being remade upon every reading.Establishing the Ars Poetica as a logical evolution of Horace's work, this book promises to inspire a long overdue reconsideration of a hugely influential yet misunderstood poem.
Horace's Poetic Journey: A Reading of Odes 1-3
by David H. PorterDavid Porter's approach to Horace's most important lyric collection is through a close sequential reading of the eighty-eight poems in Odes 1-3. Taking into account the way an ancient book was read or recited, this view of the work as a continuously unfolding creation reveals a strong sense of forward movement and of thematic development, at times almost a narrative flow.Originally published in 1987.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Horoscopes for the Dead: Poems
by Billy CollinsHowever arresting, outlandish, or hilarious, the poems in Horoscopes for the Dead are typically prompted by the familiar things of the world: dogs, stars, food, love, and marriage as well as life's local triumphs and disappointments, joys and shames. Collins's gift is to unlock the mysterious in the ordinary, and he is always careful to take his reader with him. Indeed, no other living poet has done more to reengage and revitalize poetry's readership, or so deservedly earned its trust. Few poets have his ability to mix bold, unadorned statements with lyric invention and imaginative richness. And here in these new poems, Collins's inimitable tone - wry, smart, funny, and wise - takes on a darker shade, as the poems declare a deep awareness of transience and mortality. The result is the revelation of a world more precious, more fragile, richer in colour and form than ever. Praise for Billy Collins ‘A writer . . . fully aware of his work’s power to delight’ New York Times ‘A poet of plentitude, irony, and Augustan grace’ New Yorker
Horse Latitudes: Poems
by Paul MuldoonPaul Muldoon's new collection opens with a sonnet sequence, 'Horse Latitudes', written as the U.S. embarked on its foray into Iraq. Poems on historical battles where horses played an important part present us with a commentary on the political agenda of America today.
Horse Music (PDF)
by Matthew SweeneyMatthew Sweeney is one of our best-known poets - with a high profile in both Britain and Ireland - and moves from Cape to Bloodaxe with this collection.
Hosts and Guests: Poems (Princeton Series of Contemporary Poets #152)
by Nate KlugAn exciting new collection from a poet whose debut was praised by Colorado Review as “a seduction by way of small astonishments”Nate Klug has been hailed by the Threepenny Review as a poet who is “an original in Eliot’s sense of the word.” In Hosts and Guests, his exciting second collection, Klug revels in slippery roles and shifting environments. The poems move from a San Francisco tech bar and a band of Pokémon Go players to the Shakers and St. Augustine, as they explore the push-pull between community and solitude, and past and present. Hosts and Guests gathers an impressive range: critiques of the “immiserated quiet” of modern life, love poems and poems of new fatherhood, and studies of a restless, nimble faith. At a time when the meanings of hospitality and estrangement have assumed a new urgency, Klug takes up these themes in chiseled, musical lines that blend close observation of the natural world, social commentary, and spiritual questioning. As Booklist has observed of his work, “The visual is rendered sonically, so perfectly one wants to involve the rest of the senses, to speak the lines, to taste the syllables.”
Hosts and Guests: Poems (Princeton Series of Contemporary Poets #152)
by Nate KlugAn exciting new collection from a poet whose debut was praised by Colorado Review as “a seduction by way of small astonishments”Nate Klug has been hailed by the Threepenny Review as a poet who is “an original in Eliot’s sense of the word.” In Hosts and Guests, his exciting second collection, Klug revels in slippery roles and shifting environments. The poems move from a San Francisco tech bar and a band of Pokémon Go players to the Shakers and St. Augustine, as they explore the push-pull between community and solitude, and past and present. Hosts and Guests gathers an impressive range: critiques of the “immiserated quiet” of modern life, love poems and poems of new fatherhood, and studies of a restless, nimble faith. At a time when the meanings of hospitality and estrangement have assumed a new urgency, Klug takes up these themes in chiseled, musical lines that blend close observation of the natural world, social commentary, and spiritual questioning. As Booklist has observed of his work, “The visual is rendered sonically, so perfectly one wants to involve the rest of the senses, to speak the lines, to taste the syllables.”
Hotel Raphael
by Rachael BoastHotel Raphael, Rachael Boast’s fourth collection, charts a journey through heat, drought and pain, and describes not only the reality of chronic illness, but living with it at a time of global crisis. Raphael is the patron saint of travellers and pilgrims, and also of healing; in the search for remedy, we pass through the balm of landscape, and brush against the worlds of artists, writers and filmmakers, whose angels broadcast to us from other rooms. We also encounter the biblical figure of Job, who poses the question of a terrible forbearance: how much suffering can we take, and what can we realistically change? While we fight to relieve our own pain, address the planet’s ecological imbalance and make efforts, large or small, to right its shocking injustices, we must also simply find a way through. Hotel Raphael sees Boast compose an extraordinary travelling song, one that shows us how to bear our pain without trying to erase its source.
Hothouses: Poems, 1889 (Facing Pages #2)
by Maurice MaeterlinckOn May 31, 1889, a young Belgian lawyer from a wealthy bourgeois family in Ghent published a book of 33 poems in 155 copies. Maurice Maeterlinck's legal career was floundering but his road to literary greatness had begun. Long overshadowed by the plays that later won him the Nobel Prize, Serres chaudes (Hothouses) nonetheless came to be widely regarded as one of the cornerstones of literary Modernism after Baudelaire. While Max Nordau soon seized upon Maeterlinck's--tumult of images--as symptomatic of a pervasive social malaise, decades later Antonin Artaud pronounced, "Maeterlinck was the first to introduce the multiple riches of the subconscious into literature." Richard Howard's translation of this quietly radical work is the first to be published in nearly a century, and the first to accurately convey Maeterlinck's elusive visionary force. The poems, some of them in free verse (new to Belgium at the time), combine the decadent symbolism and the language of dislocation that Maeterlinck later perfected in his dramas. Hothouses reflects the influence not only of French poets including Verlaine and Rimbaud, but also of Whitman. As for the title, the author said it was "a natural choice, Ghent . . . abounding in greenhouses." The poems, whose English translations appear opposite the French originals, are accompanied by reproductions of seven woodcuts by Georges Minne that appeared in the original volume, and by an early prose text by Maeterlinck imaginatively describing a painting by the sixteenth-century Flemish artist Pieter Brueghel. A feat of daring power extraordinarily immediate and inventive, Hothouses will appeal to all lovers of poetry, and in particular to those interested in Modernism. Maeterlinck's enormous fame may have faded, but twentieth-century writers such as Beckett are still our masters who testify to its undying influence.
Hothouses: Poems, 1889
by Maurice Maeterlinck Richard HowardOn May 31, 1889, a young Belgian lawyer from a wealthy bourgeois family in Ghent published a book of 33 poems in 155 copies. Maurice Maeterlinck's legal career was floundering but his road to literary greatness had begun. Long overshadowed by the plays that later won him the Nobel Prize, Serres chaudes (Hothouses) nonetheless came to be widely regarded as one of the cornerstones of literary Modernism after Baudelaire. While Max Nordau soon seized upon Maeterlinck's--tumult of images--as symptomatic of a pervasive social malaise, decades later Antonin Artaud pronounced, "Maeterlinck was the first to introduce the multiple riches of the subconscious into literature." Richard Howard's translation of this quietly radical work is the first to be published in nearly a century, and the first to accurately convey Maeterlinck's elusive visionary force. The poems, some of them in free verse (new to Belgium at the time), combine the decadent symbolism and the language of dislocation that Maeterlinck later perfected in his dramas. Hothouses reflects the influence not only of French poets including Verlaine and Rimbaud, but also of Whitman. As for the title, the author said it was "a natural choice, Ghent . . . abounding in greenhouses." The poems, whose English translations appear opposite the French originals, are accompanied by reproductions of seven woodcuts by Georges Minne that appeared in the original volume, and by an early prose text by Maeterlinck imaginatively describing a painting by the sixteenth-century Flemish artist Pieter Brueghel. A feat of daring power extraordinarily immediate and inventive, Hothouses will appeal to all lovers of poetry, and in particular to those interested in Modernism. Maeterlinck's enormous fame may have faded, but twentieth-century writers such as Beckett are still our masters who testify to its undying influence.
A House in St John’s Wood: In Search Of My Parents
by Matthew SpenderAn intimate portrait of Stephen Spender’s extraordinary life written by Matthew Spender, shifting between memoir and biography, with new insights drawn from personal recollections and his father’s copious unpublished archives.
The House of Being (Why I Write)
by Natasha TretheweyAn exquisite meditation on the geographies we inherit and the metaphors we inhabit, from Pulitzer Prize winner and nineteenth U.S. poet laureate Natasha Trethewey “Searching and intimate, this impresses.”—Publishers Weekly In a shotgun house in Gulfport, Mississippi, at the crossroads of Highway 49, the legendary highway of the Blues, and Jefferson Street, Natasha Trethewey learned to read and write. Before the land was a crossroads, however, it was a pasture: a farming settlement where, after the Civil War, a group of formerly enslaved women, men, and children made a new home. In this intimate and searching meditation, Trethewey revisits the geography of her childhood to trace the origins of her writing life, born of the need to create new metaphors to inhabit “so that my story would not be determined for me.” She recalls the markers of history and culture that dotted the horizons of her youth: the Confederate flags proudly flown throughout Mississippi; her gradual understanding of her own identity as the child of a Black mother and a white father; and her grandmother’s collages lining the hallway, offering glimpses of the world as it could be. With the clarity of a prophet and the grace of a poet, Trethewey offers up a vision of writing as reclamation: of our own lives and the stories of the vanished, forgotten, and erased.
