Denis Roches new domain, or realm, for poetry as evidenced in ros nergumne (Eros Raving: ditions du Seuil) is poetry derived from pulsion, an undeniable inner force or energy that drives the poem into being and controls and mandates its origin, source, structure, form, content, rhythm and outcome. This creative energy is clearly the reason the erotic takes such precedence and possession of the poetic. It is also quite understandable, with this complex demand for a new poetic where poems are neither viewed nor recited, why Roche turned to photography and the visual autobiography of his photographs, having perhaps pushed poetry to an absolute limit beyond letter and sound. He asserts, however, that this is a meaningless distinction, one only that critics make, because for him there is no difference between the creative acts of photography and writing. For Roche the difference between literature and photography is profound: with literature one can only speak about time without ever showing it. One discourses about time, one does not figure it. With photography, yes. He also says: Jcris pour tre seul, je photographie pour disparitre. (I write to be alone, I photograph in order to disappear.)
The famous frescos in the Campo Santo at Pisa painted in the 1340's include striking images of "The Triumph of Death," "The Devil," "Hell", and "The Last Judgement." The cemetery of the Campo Santo contains shiploads of earth imported from the Holy Land. The Campo Santo was damaged by Allied air strikes during World War II. The restoration of the frescos revealed the drawings beneath the frescos, which have also been meticulously and wonderully restored. I visited Pisa three times to see the Leaning Tower, which I climbed on my first visit, now no longer permitted. It was a dizzying and unbalanced experience, a feeling that produced new insights and ideas. At my home one evening rocking in my family rocker where my mother rocked and nursed her eight children, I almost lost my balance and tipped over backward, which made me think of The Leaning Tower of Pisa and Galileo's experiments with gravity there. I also remembered that Copernicus lived in a leaning tower. The opening passage of my poem reproduces the feeling of being out-of-balance. The "Premonitions" poems are fitting prophecies.
Nearly all of the poems in this collection were written within a period of three months, consecutively, one a day. I deliberately set myself the task of writing a poem a day for as long as I could sustain the effort and keep my creative energy flowing. I had before in my writing career brief periods of intense creativity where I wrote poems every day; for example, when I was finishing my sonnet sequence, Mediterranean Sonnets, I wrote fourteen sonnets in as many days. These are memorable creative episodes because they don’t come often and the poems deriving from such an intense focused activity are always unified and consistent in a qualitative manner, by form and technique, metrics, and poetic pulsion. The imagination grasps things with unusual claritas. These sessions are always pleasurable because—as Seamus Heaney once said to me after he himself had experienced such a period of creativity and productivity—they bolster a bit the poet’s belief in his own genius. Not that genius should be measured by the bucketful, but there is a certain confirmed value in sustained performance. Many poets, of course, have achieved similar and greater feats of poetic muscularity, in the modern era Rilke for one, in writing Sonnets to Orpheus (February 2 – 5, 1922, at Chateau de Muzot in Switzerland), and William Carlos Williams, who wrote something every day for a year for Kora in Hell: Improvisations (1917- September 1918; published in 1920), and this while he was working every day as a pediatrician and general physician in his “other” profession. Williams vowed not to change a word as written; of course this did not happen, as his critical faculties prevailed, as have mine in this collection. I am myself pleased and surprised by how many of these poems stand as first written.
Collects Wolverine #900 And #1000; Wolverine Annual #2; Rampaging Wolverine #1; Wolverine: The Amazing Immortal Man & Other Bloody Tales, Under The Boardwalk, Wendigo!, Carni-Brawl, Savage, Mr. X, Dust From Above And Debt Of Death; And Material From Wolverine: Switchback. Wolverine unleashed in savage stories spanning his century-long life! Logans long life has taken him to every corner of the globe from terrifying crowds in a 1930s freak show; to battling Nazi werewolves during World War II; to fighting pirates in Korea, mobsters in New Jersey and a mythical creature in the American Southwest. Now, in rarely seen tales by an army of top talent, watch Wolverine take on ninjas, monsters, zombies, Morlocks and more and face off against both the Hulk and Thor! Plus: Grudge matches with Mojo, the Wendigo and more! Its Wolverine as you like him best!
I have written many Concrete Visual and Shaped (CVS) poems over the years. Most of them were designed to be broadsides or poster poems, large and impressive by their size and presence. Most of them, however, were never published commercially because the cost of the artwork and print runs were too expensive for me. It is also difficult to find printers who want to set up and run a limited edition of 500 or fewer broadside or poster poems, especially if they require careful color registration and special printing and paper. The only poem that was printed in the manner I envisioned and planned was "Lonely Nights & Wild Women Auto Poem State Four." This I printed under the imprint of my own press, Light ٠ Gravity, which I founded in 1970. Artwork and camera-ready versions were also completed for two other poems included here, "Elbow" and "Voyageurs Metropolitains." Ten of the CVS poems in this collection were privately printed and distributed by me in 2006 in a special edition I prepared for my friends under the imprint of my own press, Light ٠ Gravity, Berkeley, California. That was their first limited public appearance. Friends who knew about these CVS poems requested that I provide copies for them, which I did. Some of the recipients of the limited edition are listed in the acknowledgements to this edition. For the privately printed edition. individually numbered and signed, I selected ten CVS poems that I created and designed entirely myself, and provided a brief history and background for each poem and an essay on "How to Read," which I have also included here. This commercial edition includes four additional poems previously published in my other books of poems, but which I think important to add to this collection of my CVS poems.
Collects Wolverine (1988) #159-172, Wolverine Annual 2000-2001. Two of the fiercest crime lords in New York City are on a quest to decipher an ancient petrified tablet - whose secrets promise great power! It's an indisputable classic by two of Marvel's greatest creators, Stan Lee and John Romita Sr. - and that's not all they have in store! J. Jonah Jameson has the Daily Bugle working overtime to brand Spider-Man as public enemy number one, the Prowler hits the scene, the Black Widow debuts her sultry new spy gear - and the origin of Peter's parents is revealed! Plus: The Kingpin comes back for more, and this time it's a family affair! Also featuring Gwen Stacy and the gang…whose heads are really going to turn when an ill Peter Parker strolls into a party in his Spider-Man costume?! Collecting AMAZING SPIDER-MAN (1963) #68-85 and AMAZING SPIDER-MAN ANNUAL (1964) #5.
Collects Daredevil (1964) #173-181 - plus material from What If? (1977) #28 and #35, Bizarre Adventures #28 and Marvel Fanfare (1982) #1. In issue after issue, Frank Miller redefined the Man Without Fear with work that stands atop the peak of comic book storytelling. When Miller introduced Elektra, readers could not get enough of the assassin from Matt Murdock's past. In this volume, her saga ratchets up as she and Daredevil fight the unstoppable ninjas of The Hand. Miller also introduces Stick, the gruff mentor who trained a young Murdock and who now must help him regain his radar sense before the Kingpin closes in. Also featuring a deadly reckoning for Ben Urich and a double-sized battle with Bullseye that ends in one of the most scintillating moments in comics history. Plus: A pair of essential WHAT IF? rarities and an Elektra solo mission!
Collects Absolute Carnage: Lethal Protectors (2019) #1-3, Absolute Carnage: Avengers (2019) #1. The cult of Carnage comes to New York City! When he was last seen, John Jameson was being recovered from the site of a massacre in Doverton, Colorado, by Misty Knight. Since then, they've both been MIA. So how, then, did they become the only two people poised to prevent chaos as a deadly foe of Spider-Man's is resurrected in the basement of the Ravencroft Institute for the Criminally Insane? Can the team of Iron Fist, Morbius and Cloak Dagger help them defeat the back-from-the-dead Demogoblin?! Plus: Years ago, Cletus Kasady used the Carnage symbiote to take over Doverton - as well as the team of Avengers who arrived to stop him! Now Captain America, Hawkeye, Wolverine and the Thing must assemble once more when they discover the town's fate!
Collects DAREDEVIL (1964) #182-191, and material from ELEKTRA SAGA #1-4 and THE OFFICIAL HANDBOOK OF THE MARVEL UNIVERSE (1983). The Marvel Masterworks caps off Frank Miller's early '80s writer/artist run on DAREDEVIL with a volume that stands tall with the best comics of all time! In the aftermath of Elektra's death, Matt Murdock is at a crossroads - obsessed with the idea she might not really be dead. Can he pull it together in time to stop the Kingpin's criminal machinations and bring justice to Bullseye? Enter Black Widow to help the man she once loved more than any other - but she finds far more than she ever bargained for as the duo steps into the midst of a duel between the Hand and the Chaste to resurrect Elektra!
Collects Absolute Carnage Vs. Deadpool (2019) #1-3, Absolute Carnage: Captain Marvel (2019) #1. What's red and black with dead all over? Carnage takes on Deadpool once again in the mother of all sequels! At long last, Wade Wilson is ready to get his head on straight, so the Merc with a Mouth checks himself in to the prestigious Ravencroft Institute. Unfortunately, the facility has another new arrival: the psychopathic symbiote called Carnage! And he isn't there for a therapy session! In their last battle, Deadpool ended up hosting five separate symbiotes - and now, that's made him a prime target for codex hunters! The deadly Dark Carnage has put a target on Wade's back, and the Marvel Universe's most dangerous forces are on his trail! Deadpool's only way out will give new meaning to Absolute Carnage! Madness and mayhem abound in the can't-miss showdown of the year! Plus: Chewie's been Carnagized, and Carol ain't happy about it! It's Earth's Mightiest Hero against a symbiotic space cat!
Collects X-Men: Apocalypse/Dracula #1-4. One is a villain that has been plaguing civilization since the time of the Pharaohs. The other is the deadliest vampire to ever walk the earth. Enemies since the Crusades, they've met again in 19th century London. It's the battle to end all battles as Apocalypse confronts Dracula!
Collects Daredevil: The Man Without Fear (1993) #1-5. Continuing the series of graphic novels handpicked by Marvel Editorial to showcase pivotal storylines written and drawn by some of Marvel’s most acclaimed creators! A fire burns deep within Matt Murdock. He was raised by a single father, an over-the-hill prizefighter with one last chance to make it good — a chance that cost him his life. Taunted and tormented by the other children while growing up, Matt’s life was irrevocably altered after he was blinded by radioactive materials while saving an old man’s life. The payoff? Though his sight was gone forever, his other four senses had become superhumanly enhanced — and his difficult childhood had instilled in him a keen intelligence and an unbreakable will. Matt Murdock’s story is one of love, pain, disappointment and strength. Witness the tour de force origin of Daredevil, the Man Without Fear, by industry legends Frank Miller and John Romita Jr.!
Collects Howard the Duck (1976) #1-14; Marvel Treasury Edition (1974) #12; material from Fear (1970) #19; Man-Thing (1974) #1; Giant-Size Man-Thing (1974) #4-5; FOOM (1973) #15. Trapped in a Masterworks he never made! There were several worthy candidates for the milestone 300th Marvel Masterworks, but only one waddled away with victory: Howard the Duck! Steve Gerber and artistic cohorts Val Mayerik, Frank Brunner and Gene Colan crafted one of comics’ most iconoclastic and hilarious characters. Now Howard’s inaugural Masterworks kicks things off with his quirky first appearance as a “fowl out of water,” teaming with the macabre Man-Thing to protect Cleveland from the Man-Frog and Hellcow! The satirical stories continue with Howard and gal-pal Beverly Switzler taking on dire threats like the Space Turnip, the Beaver and — public transportation?! And just wait until Howard runs for president! All restored in Masterworks glory!
Collects Savage Wolverine (2013) #1-5. Wolverine awakens to find himself in the Savage Land — and labeled public enemy number one! With no memory of how he got there and Shanna the She-Devil his only ally, Logan must unravel the mystery of the Savage Land before it kills him! The ferocious duo venture into the depths of the Forbidden Island, where they face a brutal gauntlet of battles with the island natives, wild dinosaurs, giant apes and a deadly threat from another world. When another hero crash-lands on the island, he just might turn the tide of the battle — but is he friend or foe? Featuring guest appearances by Amadeus Cho, Man-Thing and the Incredible Hulk!
Collects Daredevil (1964) #159-172; material from Bizarre Adventures (1981) #25. One of the most influential runs in not just Marvel history, but all of comics history begins with the arrival of Frank Miller as the creative force behind DAREDEVIL! Miller remade the mythos of the Man Without Fear, first illustrating Roger McKenzie’s scripts with art partner Klaus Janson, then taking over as both writer and artist. Miller grinds the grit of New York City’s streets into every page, blending super heroics with the dark tone of noir crime thrillers. DD squares off against Doctor Octopus, the Hulk, Gladiator and the psychotic side of Bullseye before Miller introduces a new icon: the assassin Elektra! And her tempestuous relationship with Matt Murdock will form the unforgettable backdrop to DD’s war against the Kingpin!
Collects Ravencroft (2020) #1-5. Ravencroft’s history has been shrouded in mystery for years — but no longer! In the wake of ABSOLUTE CARNAGE, the past of the Ravencroft Institute for the Criminally Insane has started to unravel — revealing hidden chapters in the lives of some of the Marvel Universe’s most recognizable heroes and villains! Efforts to reconstruct Ravencroft are well underway, but the ruins of its history are there to be explored — by Misty Knight, John Jameson, Mister Fantastic…and Mayor Wilson Fisk, the onetime Kingpin of Crime! Prepare to learn how the Institute cast its dark shadow over the villains called Carnage and Sabretooth — not to mention the lord of the undead, Dracula himself! But what does Ravencroft’s hidden history have to do with a sinister scientist named Nathaniel Essex?
Collects Venom (2018) #13-15, Web of Venom: Cult of Carnage #1. The comics event of the year makes landfall in the world of the wicked web-slinger! As the War of the Realms rages, Venom gets swept up in Malekith’s campaign to take over the Ten Realms! The Dark Elf conqueror has designs for the sinister symbiote — and they may prove fatal! While chaos reigns across Manhattan, Venom has teamed up with an unlikely group to try to stop the war — or die trying. Battered, bleeding and at the end of his rope, Eddie Brock may be overwhelmed by Malekith’s War Witches and their henchmen! Plus: A new terror rises in the depths of space — even as a terrible evil claims victim after victim on Earth in the name of the killer called Carnage.
Collects Marvel Apes: Prime Eight #1, Marvel Zombies: Evil Evolution #1, Marvel Zombies 5 #1-5, Marvel Zombies Supreme #1-5, Marvel Zombies Destroy #1-5 And Marvel Zombies Halloween #1. Zombies on infinite earths! First, it’s monkey on the menu as the original Marvel Zombies invade the dimension of the Marvel Apes! Then, to uncover an antidote to the zombie plague, Machine Man and Howard the Duck set out across the multiverse — battling zombies in the Wild West, Camelot, a future megacity, during a Martian invasion, and on a world suspiciously similar to our own! But back home, undead clones of the Squadron Supreme have overrun Project P.E.G.A.S.U.S., and only a long-dead former Avenger can stop them! And when the Marvel Universe is targeted by a dimension of Nazi zombies, Howard the Duck must assemble a brigade of misfits to beat them back!
In the 20th century, American male decathletes have won 10 Olympic medals and set 22 world decathlon records. From Dennis Adama, a world-class high jumper while at Indiana State University, to Matt Zuber, who won 8 out of his 41 career decathlons, this work summarizes the career records of 319 of the most important American decathletes of the 20th century, including Jim Thorpe, Dan O'Brien, Bob Mathias, Rafer Johnson, and Bruce Jenner. All Olympians, international team members, national and collegiate champions, and members of the United States National team are profiled. Each entry describes the individual athlete's accomplishments and provides a statistical record of his entire decathlon career. A section on decathlon coaches and a comprehensive list of all world and United States decathlon rankings are provided.
These erotic and passionate love songs, Frank Cebulski's eighth book of poetry, have deep echoes in the enduring myth of Eros and Psyche, as so wonderfully told in The Golden Ass of Lucius Apuleius (second century CE), the main classical source for their story, where Apuleius also recounts his own metamorphoses, first into an ass and then his miraculous retransformation by the Goddess Isis into human form again. These poems therefore speak profoundly of the transformative power of love and erotic passion in its many guises. Each song, in fact, relates actual events of love and love making and the magic of sexual encounters where the physical touches and enflames the psyche.
I have written many Concrete Visual and Shaped (CVS) poems over the years. Most of them were designed to be broadsides or poster poems, large and impressive by their size and presence. Most of them, however, were never published commercially because the cost of the artwork and print runs were too expensive for me. It is also difficult to find printers who want to set up and run a limited edition of 500 or fewer broadside or poster poems, especially if they require careful color registration and special printing and paper. The only poem that was printed in the manner I envisioned and planned was "Lonely Nights & Wild Women Auto Poem State Four." This I printed under the imprint of my own press, Light ٠ Gravity, which I founded in 1970. Artwork and camera-ready versions were also completed for two other poems included here, "Elbow" and "Voyageurs Metropolitains." Ten of the CVS poems in this collection were privately printed and distributed by me in 2006 in a special edition I prepared for my friends under the imprint of my own press, Light ٠ Gravity, Berkeley, California. That was their first limited public appearance. Friends who knew about these CVS poems requested that I provide copies for them, which I did. Some of the recipients of the limited edition are listed in the acknowledgements to this edition. For the privately printed edition. individually numbered and signed, I selected ten CVS poems that I created and designed entirely myself, and provided a brief history and background for each poem and an essay on "How to Read," which I have also included here. This commercial edition includes four additional poems previously published in my other books of poems, but which I think important to add to this collection of my CVS poems.
Denis Roches new domain, or realm, for poetry as evidenced in ros nergumne (Eros Raving: ditions du Seuil) is poetry derived from pulsion, an undeniable inner force or energy that drives the poem into being and controls and mandates its origin, source, structure, form, content, rhythm and outcome. This creative energy is clearly the reason the erotic takes such precedence and possession of the poetic. It is also quite understandable, with this complex demand for a new poetic where poems are neither viewed nor recited, why Roche turned to photography and the visual autobiography of his photographs, having perhaps pushed poetry to an absolute limit beyond letter and sound. He asserts, however, that this is a meaningless distinction, one only that critics make, because for him there is no difference between the creative acts of photography and writing. For Roche the difference between literature and photography is profound: with literature one can only speak about time without ever showing it. One discourses about time, one does not figure it. With photography, yes. He also says: Jcris pour tre seul, je photographie pour disparitre. (I write to be alone, I photograph in order to disappear.)
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