In "Return of the Heroes," Walt Whitman refers to the casualties of the American Civil War: "the dead to me mar not. . . . / they fit very well in the landscape under the trees and grass. . . ." In her new poetry collection, Jude Nutter challenges Whitman's statement by exploring her own responses to war and conflict and, in a voice by turns rueful, dolorous, and imagistic, reveals why she cannot agree. Nutter, who was born in England and grew up in Germany, has a visceral sense of history as a constant, violent companion. Drawing on a range of locales and historical moments—among them Rwanda, Sarajevo, Nagasaki, and both world wars—she replays the confrontation of personal history colliding with history as a social, political, and cultural force. In many of the poems, this confrontation is understood through the shift from childhood innocence and magical thinking to adult awareness and guilt. Nutter responds to Whitman from another perspective as well. It was Whitman who wrote that he could live with animals because, among other things, they are placid, self-contained, and guiltless. As counterpoint, Nutter weaves a series of animal poems—a kind of personal bestiary—throughout the collection that reveals the tragedy and violence also inherent in the lives of animals. Here, as in much of Nutter's previous work, the boundaries between the animal and human worlds are permeable; the urgent voice of the poet insists we recognize that "Even from a distance, suffering / is suffering." Here is both acknowledgment and challenge: distance may be measured in terms of time, culture, or place, or it may be caused by the gap between animals and humans, but it is our responsibility to speak against atrocity and bloodshed, however voiceless we may feel.
In "Return of the Heroes," Walt Whitman refers to the casualties of the American Civil War: "the dead to me mar not. . . . / they fit very well in the landscape under the trees and grass. . . ." In her new poetry collection, Jude Nutter challenges Whitman's statement by exploring her own responses to war and conflict and, in a voice by turns rueful, dolorous, and imagistic, reveals why she cannot agree. Nutter, who was born in England and grew up in Germany, has a visceral sense of history as a constant, violent companion. Drawing on a range of locales and historical moments—among them Rwanda, Sarajevo, Nagasaki, and both world wars—she replays the confrontation of personal history colliding with history as a social, political, and cultural force. In many of the poems, this confrontation is understood through the shift from childhood innocence and magical thinking to adult awareness and guilt. Nutter responds to Whitman from another perspective as well. It was Whitman who wrote that he could live with animals because, among other things, they are placid, self-contained, and guiltless. As counterpoint, Nutter weaves a series of animal poems—a kind of personal bestiary—throughout the collection that reveals the tragedy and violence also inherent in the lives of animals. Here, as in much of Nutter's previous work, the boundaries between the animal and human worlds are permeable; the urgent voice of the poet insists we recognize that "Even from a distance, suffering / is suffering." Here is both acknowledgment and challenge: distance may be measured in terms of time, culture, or place, or it may be caused by the gap between animals and humans, but it is our responsibility to speak against atrocity and bloodshed, however voiceless we may feel.
Pictures of the Afterlife' explores not only the possibility of the spirit's existence after the death of the body, it also includes poems that look at how we navigate the earthly life after loss, trauma, or any event that realigns our consciousness
We Are Okay meets They Both Die at the End in this YA debut about queer first love and mental health at the end of the world-and the importance of saving yourself, no matter what tomorrow may hold. Avery Byrne has secrets. She's queer; she's in love with her best friend, Cass; and she's suffering from undiagnosed clinical depression. But on the morning Avery plans to jump into the river near her college campus, the world discovers there are only nine days left to live: an asteroid is headed for Earth, and no one can stop it. Trying to spare her family and Cass additional pain, Avery does her best to make it through just nine more days. As time runs out and secrets slowly come to light, Avery would do anything to save the ones she loves. But most importantly, she learns to save herself. Speak her truth. Seek the support she needs. Find hope again in the tomorrows she has left. If Tomorrow Doesn't Come is a celebration of queer love, a gripping speculative narrative, and an urgent, conversation-starting book about depression, mental health, and shame.
World populations are increasing, as are pathogens capable of causing human disease. These infectious diseases contribute to global “wicked problems.” As infection numbers rise, and dangerous pathogens evolve, the complexity of these problems increase. Current biotechnological advances can be used to design more effective methods of combatting infectious diseases. This text, Biotechnology and Infectious Disease, will document a core set of infectious agents, as a method of describing ways to update diagnostic and therapeutic tools. The book begins with an introduction to the pathogenic mechanisms displayed by various diseases. Pathogen descriptions of are followed up by such topics as use assays for low-level detection, application of nanosized agents for drug delivery, and design of vaccines for emerging infections, including Ebola and Zika. New technologies are being developed as fast as infectious evolve. The key to taming these wicked pathogens will be in finding commonalities between organisms and applying biotechnological advances.
It's 24 December 1999, Byron Easy, a poverty-stricken poet, half-cut and suicidal, sits on a stationary train at King's Cross waiting to depart. He has in his lap a bin-liner containing his remaining worldly goods - an empty wine bottle, a few books, a handful of crumpled banknotes. As the journey commences he conjures memories (painful and euphoric alike) of the recent past, of his rollercoaster London life, and, most distressingly, of Mandy - his half-Spanish Amazonian wife - in an attempt to make sense of his terrible, and ordinary, predicament...So what has led him to this point? Where are his friends, his family, his wife? What happened to his dreams. And what awaits him at the end of his journey?Byron Easy is an epic, baroque sprawling monster of a novel, and a unique portrait of love and marriage, of the flux of memory, and of England in the dying days of the twentieth century from a young British writer of exceptional promise.
The collected writings of cult English artist and rock musician Jude Rawlins, including extensive liner notes and specially written anecdotes and biographical details.
Pictures of the Afterlife' explores not only the possibility of the spirit's existence after the death of the body, it also includes poems that look at how we navigate the earthly life after loss, trauma, or any event that realigns our consciousness
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