In this collection, Jacqueline Osherow gives us perfectly formed, musical poems that glide between the worlds of art, architecture, literature, and religion. Traveling through Europe, Tel Aviv, and New York, Osherow observes with a keen eye the details of objects -- beautiful buildings and ancient artifacts -- and of the conversations and interactions she has with others. Finely constructed and always engaging, her poems uncover the startling truths of memory and coax our own forgotten moments from the recesses of the mind.
In My Lookalike at the Krishna Temple, Jacqueline Osherow considers expressions of spirituality from cultures all over the world and investigates previously unexplored aspects of her relationship to Judaism and Jewish history. While some poems reflect on practitioners of self-imposed isolation, from the monks in Fra Angelico’s frescoed cells to Emily Dickinson to the Kotzker Rebbe, others explore topics as varied as architecture, geometry, faith, war, and genocide. Osherow finds beauty in Joseph’s dreams, the euphony of crickets, and the gamut of symmetries on display in the Alhambra. The scent of lindens serves as a meditative bridge between Darmstadt, Germany, alien and unnerving, and a familiar front porch in Salt Lake City, where the poet freely engages with the natural world: “Don’t worry, moon; we all lose our bearings. / You don’t have to rise. Stay here instead. / I’ll spot you; we could both use an ally / and rumor has it disorientation / is the least resistant pathway to what’s holy.” Osherow takes readers on a journey as tourists and global citizens, trying to find meaning in an often painful and chaotic world.
Dramatically urgent from the get-go, many of Jacqueline Osherow's poems approach inconsistencies and mysteries in Biblical texts. From traditional poetic forms (sonnet, terza rima, villanelle, sestina, acrostic, loose ottava rima) to an austere free verse, Osherow mixes humor and seriousness while maintaining a conversational tone. These poems deal with Jewish tradition and the land of Israel in revelatory new ways. Jacqueline Osherow is the author of four previous poetry collections. Her work has appeared in The Norton Anthology of Jewish American Literature, The Penguin Book of the Sonnet, Best American Poetry (1995 and 1998) and The Extraordinary Tide: New Poetry by American Women. Awards include fellowships from the Guggenheim Foundation and the NEA. She is a distinguished professor of English at the University of Utah.
In "Poem for Jenne," which opens Jacqueline Osherow's ambitious and challenging newcollection, a neighbor has planted larkspur and delphinium in the poet's yard and is tending them hoping to bring color and light into a household stricken by personal tragedy. As the bright blue, star-shaped flowers bloom for a second time, the poet writes, "earth's reaching for her heavens, I for words / or any chink of rapture I can claim." The pervasive theme, in this poem and throughout Whitethorn, is that human suffering may be irremediable, yet in nature and language one may find a key to unlock the mysteries of sorrow. Osherow searches for that cipher by exploring a range of suffering, from the personal to the historical and cultural. In the poem "Orders of Infinity" she visits Treblinka and, in her inability to count the stones or quantify the real loss of the Holocaust, ponders the impossibility of imagining the unborn generations of the victims' descendants, an infinity of lives not lived, "undreamed daydreams, mute conversations, ungratified indulgences, failed hints..." In Whitethorn, a book of enormous scope and emotional intelligence, Osherow unflinchingly examines the pain of her own personal history and courageously probes the greater mystery of evil and suffering in the world.
Dramatically urgent from the get-go, many of Jacqueline Osherow's poems approach inconsistencies and mysteries in Biblical texts. From traditional poetic forms (sonnet, terza rima, villanelle, sestina, acrostic, loose ottava rima) to an austere free verse, Osherow mixes humor and seriousness while maintaining a conversational tone. These poems deal with Jewish tradition and the land of Israel in revelatory new ways. Jacqueline Osherow is the author of four previous poetry collections. Her work has appeared in The Norton Anthology of Jewish American Literature, The Penguin Book of the Sonnet, Best American Poetry (1995 and 1998) and The Extraordinary Tide: New Poetry by American Women. Awards include fellowships from the Guggenheim Foundation and the NEA. She is a distinguished professor of English at the University of Utah.
In "Poem for Jenne," which opens Jacqueline Osherow's ambitious and challenging newcollection, a neighbor has planted larkspur and delphinium in the poet's yard and is tending them hoping to bring color and light into a household stricken by personal tragedy. As the bright blue, star-shaped flowers bloom for a second time, the poet writes, "earth's reaching for her heavens, I for words / or any chink of rapture I can claim." The pervasive theme, in this poem and throughout Whitethorn, is that human suffering may be irremediable, yet in nature and language one may find a key to unlock the mysteries of sorrow. Osherow searches for that cipher by exploring a range of suffering, from the personal to the historical and cultural. In the poem "Orders of Infinity" she visits Treblinka and, in her inability to count the stones or quantify the real loss of the Holocaust, ponders the impossibility of imagining the unborn generations of the victims' descendants, an infinity of lives not lived, "undreamed daydreams, mute conversations, ungratified indulgences, failed hints..." In Whitethorn, a book of enormous scope and emotional intelligence, Osherow unflinchingly examines the pain of her own personal history and courageously probes the greater mystery of evil and suffering in the world.
The reach of Divine Ratios is global, ranging from Tang Dynasty China and the Florentine Renaissance to contemporary Baltimore, post–World War II Berlin, and the landscapes of the Mountain West. The speed and mobility evoked in this new collection by Jacqueline Osherow are not only physical—a traveler’s movement in a crowded, thrilling world—but imaginative, and its poetic idiom is no less varied, as a breezy conversational tone serves as a counterpoint to traditional form. With striking juxtapositions of natural and cultural wonders, this enrapturing volume asks, what is the right proportion—or “ratio”—for living in a world of such splendors, horrors, and possibilities?
A witty and formally versatile collection of poetry exploring life, faith, and history by the Witter Bynner Prize-winning poet. With Dead Men’s Praise, Jacqueline Osherow gives us her fourth and most ambitious collection of poetry to date. Her hybrid inspiration ranges from Dante’s terza rima, to free verse, to biblical psalms, all delivered in a casually conversational voice. Combining the self-mocking inflections of Yiddish jokes with the pure lyric inspiration of biblical verse, these poems range in theme from Italian hill towns to contemporary art installations in Los Angeles to the vanished Jewish world of the Ukraine. Her effortless humor and sharp insights take us from imaginings of the future to recovery of the past, and her distinctive voice becomes a fusion of the sublime and the down-to-earth. “Like Elizabeth Bishop, who wove her voice into a sestina so effortlessly you forget the form is there, Osherow makes villanelles, sonnets, and even Dante’s terza rima feel genuinely conversational.” —David Yaffe, The Village Voice
Able Muse, Winter 2017 (No. 24 - print edition): a review of poetry, prose & art This is the seminannual Able Muse Review (Print Edition) - Winter 2017 issue, Number 24. This issue continues the tradition of masterfully crafted poetry, fiction, essays, art & photography, and book reviews that have become synonymous with the Able Muse-online and in print. After more than a decade of online publishing excellence, Able Muse print edition maintains the superlative standard of the work presented all these years in the online edition, and, the Able Muse Anthology (Able Muse Press, 2010). Includes the winning story and poems from the 2017 Able Muse contest winners and finalists. ". . . [ ABLE MUSE ] fills an important gap in understanding what is really happening in early twenty-first century American poetry." - Dana Gioia.
In this collection, Jacqueline Osherow gives us perfectly formed, musical poems that glide between the worlds of art, architecture, literature, and religion. Traveling through Europe, Tel Aviv, and New York, Osherow observes with a keen eye the details of objects -- beautiful buildings and ancient artifacts -- and of the conversations and interactions she has with others. Finely constructed and always engaging, her poems uncover the startling truths of memory and coax our own forgotten moments from the recesses of the mind.
“A collection that is down-to-earth and sparkling in its self-deprecating wit . . . Osherow’s poems cast a magical light on whatever she beholds.” —Library Journal In With a Moon in Transit, Jacqueline Osherow has given us her most accomplished poetry to date. Integrating the strengths of her earlier work—humor, honesty, artifice, testimony—into compelling poems of great vigor and charm, she combines the often antithetical impulses of lyric and narrative verse. The result is an aesthetic largely her own, one that permits Osherow to treat emotionally charged events and elaborate ideas with remarkable control. Osherow’s observations are by turns gossipy, grand, sober, and hilarious. She sustains a disarming tone and manages to assimilate elements of both high and popular culture without apparent strain. While firmly rooted in the Hebrew Bible, her verse is also informed by authors as various as Dante and Dickinson. Yet for all that these poems are alive to the literary past, they remain sensitive to the rhythms of conversation and the tones of everyday speech. Osherow’s poems are composed with great clarity and rigor, but they never cease to sound casually spoken. “Marked by an inimitable anecdotal expansiveness and uncompromising control, Jacqueline Osherow’s poems are among the most ambitious being written.” —Mark Strand, Pulitzer Prize–winning poet “Abundant in whimsy, philosophical speculation, and earthly affections, Jacqueline Osherow’s poems inhabit their forms with insouciance and wit . . . Whether in mourning or celebration, hers is a voice of dazzling confidence, and humane and generous wisdom.” —Rosanna Warren, author of So Forth: Poems
In My Lookalike at the Krishna Temple, Jacqueline Osherow considers expressions of spirituality from cultures all over the world and investigates previously unexplored aspects of her relationship to Judaism and Jewish history. While some poems reflect on practitioners of self-imposed isolation, from the monks in Fra Angelico’s frescoed cells to Emily Dickinson to the Kotzker Rebbe, others explore topics as varied as architecture, geometry, faith, war, and genocide. Osherow finds beauty in Joseph’s dreams, the euphony of crickets, and the gamut of symmetries on display in the Alhambra. The scent of lindens serves as a meditative bridge between Darmstadt, Germany, alien and unnerving, and a familiar front porch in Salt Lake City, where the poet freely engages with the natural world: “Don’t worry, moon; we all lose our bearings. / You don’t have to rise. Stay here instead. / I’ll spot you; we could both use an ally / and rumor has it disorientation / is the least resistant pathway to what’s holy.” Osherow takes readers on a journey as tourists and global citizens, trying to find meaning in an often painful and chaotic world.
A witty and formally versatile collection of poetry exploring life, faith, and history by the Witter Bynner Prize-winning poet. With Dead Men’s Praise, Jacqueline Osherow gives us her fourth and most ambitious collection of poetry to date. Her hybrid inspiration ranges from Dante’s terza rima, to free verse, to biblical psalms, all delivered in a casually conversational voice. Combining the self-mocking inflections of Yiddish jokes with the pure lyric inspiration of biblical verse, these poems range in theme from Italian hill towns to contemporary art installations in Los Angeles to the vanished Jewish world of the Ukraine. Her effortless humor and sharp insights take us from imaginings of the future to recovery of the past, and her distinctive voice becomes a fusion of the sublime and the down-to-earth. “Like Elizabeth Bishop, who wove her voice into a sestina so effortlessly you forget the form is there, Osherow makes villanelles, sonnets, and even Dante’s terza rima feel genuinely conversational.” —David Yaffe, The Village Voice
In this collection, Jacqueline Osherow integrates a poetry of historical and political reality - especially that of World War II - with a traditional, formal poetry of personal lyricism. Relating and rendering anecdotes told to her by Holocaust survivors, Osherow uses lyricism to approach the historically unknowable, to acknowledge the interrelationship of personal existence and history." ""The events of World War II have begun to appear often in my work," Osherow says, "but not because I hope in any way to say anything about them themselves or in any way to convey their horror. For my generation - those born in the aftermath of the war - the horror is a fact of life. Indeed, it defined the world to us. It is as a testament to this predicament that I wish these poems to stand."" "The title poem in Conversations with Survivors won the 1992 John Masefield Memorial Award from the Poetry Society of America. In the award's citation, Stanley Plumly praised the narrative poem's "quietly powerful yet ironic voice," the ability of its speaker "to make...the implicit world of the death camps part of the larger explicit world of all survivors.""--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
“A collection that is down-to-earth and sparkling in its self-deprecating wit . . . Osherow’s poems cast a magical light on whatever she beholds.” —Library Journal In With a Moon in Transit, Jacqueline Osherow has given us her most accomplished poetry to date. Integrating the strengths of her earlier work—humor, honesty, artifice, testimony—into compelling poems of great vigor and charm, she combines the often antithetical impulses of lyric and narrative verse. The result is an aesthetic largely her own, one that permits Osherow to treat emotionally charged events and elaborate ideas with remarkable control. Osherow’s observations are by turns gossipy, grand, sober, and hilarious. She sustains a disarming tone and manages to assimilate elements of both high and popular culture without apparent strain. While firmly rooted in the Hebrew Bible, her verse is also informed by authors as various as Dante and Dickinson. Yet for all that these poems are alive to the literary past, they remain sensitive to the rhythms of conversation and the tones of everyday speech. Osherow’s poems are composed with great clarity and rigor, but they never cease to sound casually spoken. “Marked by an inimitable anecdotal expansiveness and uncompromising control, Jacqueline Osherow’s poems are among the most ambitious being written.” —Mark Strand, Pulitzer Prize–winning poet “Abundant in whimsy, philosophical speculation, and earthly affections, Jacqueline Osherow’s poems inhabit their forms with insouciance and wit . . . Whether in mourning or celebration, hers is a voice of dazzling confidence, and humane and generous wisdom.” —Rosanna Warren, author of So Forth: Poems
Able Muse, Winter 2017 (No. 24 - print edition): a review of poetry, prose & art This is the seminannual Able Muse Review (Print Edition) - Winter 2017 issue, Number 24. This issue continues the tradition of masterfully crafted poetry, fiction, essays, art & photography, and book reviews that have become synonymous with the Able Muse-online and in print. After more than a decade of online publishing excellence, Able Muse print edition maintains the superlative standard of the work presented all these years in the online edition, and, the Able Muse Anthology (Able Muse Press, 2010). Includes the winning story and poems from the 2017 Able Muse contest winners and finalists. ". . . [ ABLE MUSE ] fills an important gap in understanding what is really happening in early twenty-first century American poetry." - Dana Gioia.
The animations of Japan’s Studio Ghibli are amongst the highest regarded in the movie industry. Their delightful films rank alongside the most popular non-English language films ever made, with each new eagerly-anticipated release a guaranteed box-office smash. Yet this highly profitable studio has remained fiercely independent, producing a stream of imaginative and individual animations. The studio’s founders, long-time animators Isao Takahata and Hayao Miyazaki, have created timeless masterpieces. Although their films are distinctly Japanese their themes are universal—humanity, community, and a love for the environment. No other film studio, animation or otherwise, comes close to matching Ghibli for pure cinematic experience. All their major works are examined here, as well the early output of Hayao Miyazaki and Isao Takahata, exploring the cultural and thematic threads that bind these films together.
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