Ecocriticism and the Poiesis of Form: Holding on to Proteus demonstrates how a fractal imagination helps one hold the form of a poem within the reaches of Deep Time, and it explores the kinship between the hazy, liminal moment when Sound becomes Syllable and the hazy, liminal moment when the sage energy of the Atom made a leap toward the gaze of the first cell, to echo Merwin. Moe distills his methodology as follows: "My work?—I point," asserted the aphorism. "That’s what I do." To point, the project integrates a wide range of interdisciplinary ideas—including biosemiotics, fractals, phi, trauma theory, the Mandelbrot Set, hyperobjects, meditative chants, Goethe’s morphology, Ramanujan’s summation, a spiderweb’s sonic properties, and Thoreau’s sense of the plant-like burgeoning force of an Atom—in order to open up multiple trajectories. In this context, the volume foregrounds the insights of poets/storytellers including Hillman, Snyder, Anzaldúa, EEC, okpik, Whitman, Dickinson, Gladding, Melville, Morrison, and Toomer, for they are most attentive to that liminal moment when the vibratory hum in language, and in the cosmos, turns kinetic. As this volume draws on a wide range of writers from many backgrounds, it allows the myriad voices to engage with one another across differences in race, gender, and ethnicity. These writers show us how, to echo Dickinson, the "Freight / Of a delivered Syllable - " can split and how the energy unleashed came from, and points us back toward, the energy (un)making the forms of Gaia. The starting point for discussing the energy of a poem can no longer begin with the human; rather, Holding on explores how the poem’s energy is but a sliver of a hyperobject "massively distributed" throughout the cosmos—a sage energy that brings forth form.
Zoopoetics assumes Aristotle was right. The general origin of poetry resides, in part, in the instinct to imitate. But it is an innovative imitation. An exploration of the oeuvres of Walt Whitman, E. E. Cummings, W. S. Merwin, and Brenda Hillman reveals the many places where an imitation of another species’ poiesis (Greek, makings) contributes to breakthroughs in poetic form. However, humans are not the only imitators in the animal kingdom. Other species, too, achieve breakthroughs in their makings through an attentiveness to the ways-of-being of other animals. For this reason, mimic octopi, elephants, beluga whales, and many other species join the exploration of what zoopoetics encompasses. Zoopoetics provides further traction for people interested in the possibilities when and where species meet. Gestures are paramount to zoopoetics. Through the interplay of gestures, the human/animal/textual spheres merge making it possible to recognize how actual, biological animals impact the material makings of poetry. Moreover, as many species are makers, zoopoetics expands the poetic tradition to include nonhuman poiesis.
In Cultural Analysis, the fourth collection of his essays posthumously published by Transaction, Wildavsky argues that American politics, public law, and public administration are the contested terrain of rival, inescapable political cultures. Analysts of American politics distinguish liberals from conservatives and Democrats from Republicans, but do not explain how these categories of political allegiance develop, maintain themselves, or change. Wildavsky offers a cultural-functional explanation for ideological and partisan coherence and realignment. Wildavsky also felt that these dualisms did not adequately capture the ideological and partisan variation he observed on the political landscape. Like others, he detected another recurring strain of political allegiance: that of classical liberalism or libertarianism. People of this political stripe valued freedom more than equality (the primary political value of contemporary liberals), and also more than order, the primary political value of conservatives.
Zoopoetics assumes Aristotle was right. The general origin of poetry resides, in part, in the instinct to imitate. But it is an innovative imitation. An exploration of the oeuvres of Walt Whitman, E. E. Cummings, W. S. Merwin, and Brenda Hillman reveals the many places where an imitation of another species’ poiesis (Greek, makings) contributes to breakthroughs in poetic form. However, humans are not the only imitators in the animal kingdom. Other species, too, achieve breakthroughs in their makings through an attentiveness to the ways-of-being of other animals. For this reason, mimic octopi, elephants, beluga whales, and many other species join the exploration of what zoopoetics encompasses. Zoopoetics provides further traction for people interested in the possibilities when and where species meet. Gestures are paramount to zoopoetics. Through the interplay of gestures, the human/animal/textual spheres merge making it possible to recognize how actual, biological animals impact the material makings of poetry. Moreover, as many species are makers, zoopoetics expands the poetic tradition to include nonhuman poiesis.
“The Freedom Foundation is figuratively and literally writing the book on how to defeat government unions in America.” —Mike Huckabee, Former Governor of Arkansas “Aaron Withe and his team at the Freedom Foundation are doing work that I wish could have been done in Britain decades ago. If America is to continue to be the most free and prosperous country in the world, then the Freedom Foundation must win its fight against government unions. They have already been able to help hundreds of thousands of public employees to leave their unions, forcing union bosses into early retirement.” —Nigel Farage Critical race theory. Defunding the police. Closing down schools and keeping our children’s faces forever masked. What do these “woke” policies have in common? They are pushed and funded by government unions, which are the primary bankroller of the leftist causes that are growing Big Government and destroying American public education. The Freedom Foundation, a self-described “battle tank,” is dedicated to eliminating the pernicious influence of these unions. The Freedom Foundation’s CEO, Aaron Withe, is an English-born former college basketball player who is now dunking for American liberty. In Freedom Is the Foundation, Withe gives an insider account of his organization’s always aggressive, sometimes controversial, and undeniably successful campaign to recapture America from government unions. Taking advantage of a recent landmark US Supreme Court decision, the Freedom Foundation has helped liberate hundreds of thousands of government workers from their unions, saving them an average of $1,100 in yearly dues and depriving the unions of hundreds of millions of dollars—and rising—that would otherwise have been spent promoting radical causes and candidates. Blending frontline reporting with inspiring stories of courageous men and women who are standing up for their rights, Freedom Is the Foundation is both a roadmap to recovering freedom in America and a stirring account of how dedicated patriots are taking on—and intending to defeat—the most powerful lobby for wokeness and Big Government bullying in America.
For thousands of years the immortal Gilgamesh has presided over the legendary Ur-Bar, witnessing history unfold from within its walls. Some days it is a rural tavern, others a fashionable wine shop. It may appear as a hidden speakeasy or take on the form of your neighborhood local. For most patrons it is simply a place to quench their thirst, but for a rare few the Ur-Bar is where they will meet their destiny. Join R.K. Nickel, Rachel Atwood, Kari Sperring, Jean Marie Ward, Gini Koch, Jacey Bedford, William Leisner, Garth Nix, Diana Pharaoh Francis, David Keener, Mike Marcus, Kristine Smith, Aaron M. Roth, and Juliet E. McKenna as they recount all new tales from the Ur-Bar. From humor to horror, from the Roman Empire to Martian Colonies, there’s something to please everyone. Just remember to beware when the mysterious bartender offers you the house special ...
The year is 2090. Earth is a dystopian nightmare filled with lonely people seeking connection in virtual worlds while corporate conglomerates profit from war and secretly run every country's government. So, nothing's changed. Except there are more robots! Like the one the slovenly Null Lasker (he's your hero, unfortunately) controls from the comfort of his living room in order to fight for SKIRM® in a distant warzone. Think of SKIRM® as like Uber for war, except there are less benefits and the pay is somehow worse. Everything goes well until Null pushes the system too far and finds himself in a world of trouble — and on the run from his employer. Elon Musk, Jeff Bezos, the George Orwell estate, Olive Garden... these are just a few of the potential plaintiffs in lawsuits that could come from this book. Oh, and Uber now. One last thing: 10% of all book sales go to shatterproof.org — forever. For all time. Contributing to a charity was a huge part of this project and it goes towards a cause we're very passionate about. Enjoy.
Ecocriticism and the Poiesis of Form: Holding on to Proteus demonstrates how a fractal imagination helps one hold the form of a poem within the reaches of Deep Time, and it explores the kinship between the hazy, liminal moment when Sound becomes Syllable and the hazy, liminal moment when the sage energy of the Atom made a leap toward the gaze of the first cell, to echo Merwin. Moe distills his methodology as follows: "My work?—I point," asserted the aphorism. "That’s what I do." To point, the project integrates a wide range of interdisciplinary ideas—including biosemiotics, fractals, phi, trauma theory, the Mandelbrot Set, hyperobjects, meditative chants, Goethe’s morphology, Ramanujan’s summation, a spiderweb’s sonic properties, and Thoreau’s sense of the plant-like burgeoning force of an Atom—in order to open up multiple trajectories. In this context, the volume foregrounds the insights of poets/storytellers including Hillman, Snyder, Anzaldúa, EEC, okpik, Whitman, Dickinson, Gladding, Melville, Morrison, and Toomer, for they are most attentive to that liminal moment when the vibratory hum in language, and in the cosmos, turns kinetic. As this volume draws on a wide range of writers from many backgrounds, it allows the myriad voices to engage with one another across differences in race, gender, and ethnicity. These writers show us how, to echo Dickinson, the "Freight / Of a delivered Syllable - " can split and how the energy unleashed came from, and points us back toward, the energy (un)making the forms of Gaia. The starting point for discussing the energy of a poem can no longer begin with the human; rather, Holding on explores how the poem’s energy is but a sliver of a hyperobject "massively distributed" throughout the cosmos—a sage energy that brings forth form.
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