A companion volume to "A-quiver with Significance : Marianne Moore, 1932-1936" ... reproduces "What Are Years" in full, as well as the earliest published version of each poem it contains, and provides variant tables that note all of the changes Moore made to the poems in revising them"--Page 4 of cover.
A landmark definitive edition of one of our most innovative and beloved poets The landmark oeuvre of Marianne Moore, one of the major inventors of poetic modernism, has had no straight path from beginning to end; until now, there has been no good vantage point from which to see the body of her remarkable work as a whole. Throughout her life Moore arranged and rearranged, visited and revisited, a large majority of her existing poetry, always adding new work interspersed among revised poems. This makes sorting out the complex textual history that she left behind a pressing task if we mean to represent her work as a poet in a way that gives us a complete picture. New Collected Poems offers an answer to the question of how to represent the work of a poet so skillful and singular, giving a portrait of the range of her voice and of the modernist culture she helped create. William Carlos Williams, remarking on the impeccable precision of Moore’s poems, praised “the aesthetic pleasure engendered when pure craftsmanship joins hard surfaces skillfully.” It is only in New Collected Poems that we can understand her later achievements, see how she refashioned her earlier work, and get a more complete understanding of her consummate craftsmanship, innovation, and attention to detail. Presented and collected by Heather Cass White, the foremost scholar of Moore’s work, this new collection at last allows readers to experience the untamed force of these dazzling poems as the author first envisioned them.
These notes, in turn, point readers to narrative accounts of Moore's associations with her early publishers that offer a range of historical, contextual, biographical, and bibliographic information about the publication events of Moore's poems and explore her attempts to shape her literary career in concert with some of her most famous modernist peers - Richard Aldington, H. D., Harriet Monroe, Ezra Pound, and William Carlos Williams."--BOOK JACKET.
Marianne Moore's correspondence makes up the largest and most broadly significant collection of any modern poet. It documents the first two-thirds of this century, reflecting shifts from Victorian to modernist culture, the experience of the two world wars, the Depression and postwar prosperity, and the changing face of the arts in America and Europe. Moore wrote letters daily for most of her life—long, intense letters to friends and family; shorter, but always distinctive letters to an ever-widening circle of acquaintances and fans. At the height of her celebrity, she would occasionally write as many as fifty letters a day. Both Moore and her correspondents appreciated the value of their exchange, so that an extraordinary number of letters, approximately thirty thousand, have been preserved. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
Marianne Moore's Observations stands with T. S. Eliot's The Waste Land, Ezra Pound's early Cantos, and Wallace Stevens's Harmonium as a landmark of modern poetry. But to the chagrin of many admirers, Moore eliminated a third of its contents from her subsequent poetry collections while radically revising some of the poems she retained. This groundbreaking book has been unavailable to the general reader since its original publication in the 1920s. Presented with a new introduction by Linda Leavell, the author of the award-winning biography Holding On Upside Down: The Life and Work of Marianne Moore, this reissue of Observations at last allows readers to experience the untamed force of Moore's most dazzling innovations. Her fellow modernists were thrilled by her originality, her "clear, flawless" language--to them she was "a rafter holding up . . . our uncompleted building." Equally forceful for subsequent generations, Observations was an "eye-opener" to the young Elizabeth Bishop, its poems "miracles of language and construction." John Ashbery has called "An Octopus" the finest poem of "our greatest modern poet." Moore's heroic open-mindedness and prescient views on multiculturalism, biodiversity, and individual liberty make her work uniquely suited to our times. Impeccably precise yet playfully elusive, emotionally complex but stripped of all sentiment, the poems in Observations show us one of America's greatest poets at the height of her powers.
Marianne Moore's correspondence makes up the largest and most broadly significant collection of any modern poet. It documents the first two-thirds of this century, reflecting shifts from Victorian to modernist culture, the experience of the two world wars, the Depression and postwar prosperity, and the changing face of the arts in America and Europe. Moore wrote letters daily for most of her life—long, intense letters to friends and family; shorter, but always distinctive letters to an ever-widening circle of acquaintances and fans. At the height of her celebrity, she would occasionally write as many as fifty letters a day. Both Moore and her correspondents appreciated the value of their exchange, so that an extraordinary number of letters, approximately thirty thousand, have been preserved. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
These notes, in turn, point readers to narrative accounts of Moore's associations with her early publishers that offer a range of historical, contextual, biographical, and bibliographic information about the publication events of Moore's poems and explore her attempts to shape her literary career in concert with some of her most famous modernist peers - Richard Aldington, H. D., Harriet Monroe, Ezra Pound, and William Carlos Williams."--BOOK JACKET.
A landmark definitive edition of one of our most innovative and beloved poets The landmark oeuvre of Marianne Moore, one of the major inventors of poetic modernism, has had no straight path from beginning to end; until now, there has been no good vantage point from which to see the body of her remarkable work as a whole. Throughout her life Moore arranged and rearranged, visited and revisited, a large majority of her existing poetry, always adding new work interspersed among revised poems. This makes sorting out the complex textual history that she left behind a pressing task if we mean to represent her work as a poet in a way that gives us a complete picture. New Collected Poems offers an answer to the question of how to represent the work of a poet so skillful and singular, giving a portrait of the range of her voice and of the modernist culture she helped create. William Carlos Williams, remarking on the impeccable precision of Moore’s poems, praised “the aesthetic pleasure engendered when pure craftsmanship joins hard surfaces skillfully.” It is only in New Collected Poems that we can understand her later achievements, see how she refashioned her earlier work, and get a more complete understanding of her consummate craftsmanship, innovation, and attention to detail. Presented and collected by Heather Cass White, the foremost scholar of Moore’s work, this new collection at last allows readers to experience the untamed force of these dazzling poems as the author first envisioned them.
This book clearly explains bioethical issues and their philosophical foundations to science students, encouraging critical thinking about the ethics of biotechnology.
A half-Danish, half-German woman grows up in the midst of World War II before leaving Europe for America in this debut memoir. Born to a Danish mother and a German father in 1938 Berlin, Farrin's earliest memories include her mother's severe warning: "Don't say anything to anyone at any time." Later, she remembers their apartment being destroyed by a bomb in 1943. After the author's father went missing in the war, her mother took her, her little sister, Irene, and a baby brother affected by Down syndrome, Jurgen, to Denmark. There, they slowly adjusted to living the subtle stigma of their German connections until their mother found a new community in the Mormon Church. The fifteen-year-old author's mother soon secured visas and passage to America, and the teen's life was drastically changed yet again after they arrived in Salt Lake City. They eventually settled in California, living in a small cottage just off Hollywood Boulevard. Farrin's reluctance about America later gave way to ambition; she attended Stanford University and met her future husband, Jim. Together, they raised five children in nine different foreign cities. Although the daily trials of life as a foreigner and immigrant weighed on the author throughout her life, she continued to derive strength from her faith and her fiercely determined mother. She ably relates the complex character of her mother, and her account of her strange symbiosis with Mutti is equally engaging. Anyone with an interest in history or immigrant experiences will still find Farrin's tale to be thrilling. Kirkus Review
This stimulating collection of essays by prominent scholars honours Turid Karlsen Seim. Bodies, Borders, Believers brings together biblical scholars, ecumenical theologians, archaeologists, classicists, art historians, and church historians, working side by side to probe the past and its receptions in the present. The contributions relate in one way or another to Seim's broad research interests, covering such themes as gender analysis, bodily practices, and ecumenical dialogue. The editors have brought together an international group of scholars, and among the contributors many scholarly traditions, theoretical orientations, and methodological approaches are represented, making this book an interdisciplinary and border-crossing endeavour. A comprehensivebibliography of Seim's work is included.
Sabrina and her sister, Samara, are Anglo-Indian girls raised by strong-minded and free-spirited parents. Their father proudly represented Mysore State as a passionate young athlete and their mother, already a successful teacher, chose to pursue her Masters degree in Literature at the age of 50. They were the ideal parents who brought their daughters up to be strong, independent women but at the same time, took care of their needs and were present whenever they needed the support. Who could have guessed that these two solid individuals, who never had the word “can’t” in their vocabulary, would be reduced to mere vegetative states, as the dreaded Parkinson’s disease hit them one after the other? Heartbroken, Sabrina and Samara watch their parents degenerate slowly, with no hope for recovery or an end to their misery. As they go through the trials of life, their growing family struggles to come to terms with Parkinsonism, a disease that presently has no cure. Through all the highs and lows, Sabrina recognizes the value of living in the moment and treasuring the beautiful memories one makes with family—even with a bend in the river of life.
Is the Miranda warning, which lets an accused know of the right to remain silent, more about procedural fairness or about the conventions of speech acts and silences? Do U.S. laws about Native Americans violate the preferred or traditional "silence" of the peoples whose religions and languages they aim to "protect" and "preserve"? In Just Silences, Marianne Constable draws on such examples to explore what is at stake in modern law: a potentially new silence as to justice. Grounding her claims about modern law in rhetorical analyses of U.S. law and legal texts and locating those claims within the tradition of Nietzsche, Heidegger, and Foucault, Constable asks what we are to make of silences in modern law and justice. She shows how what she calls "sociolegal positivism" is more important than the natural law/positive law distinction for understanding modern law. Modern law is a social and sociological phenomenon, whose instrumental, power-oriented, sometimes violent nature raises serious doubts about the continued possibility of justice. She shows how particular views of language and speech are implicated in such law. But law--like language--has not always been positivist, empirical, or sociological, nor need it be. Constable examines possibilities of silence and proposes an alternative understanding of law--one that emerges in the calling, however silently, of words to justice. Profoundly insightful and fluently written, Just Silences suggests that justice today lies precariously in the silences of modern positive law.
In choosing to present Elizabeth Bishop's life in poetry through her friendships with Marianne Moore and Robert Lowell, David Kalstone reminds us that what really matters in the life of a writer is the life of the imagination ... Becoming a Poet is an indispensable study, not only for scholars and lovers of Bishop's poetry, but for anyone curious about how creative minds make art out of the unpromising materials of life ... A first-rate piece of criticism. --Katha Pollitt.
Organoiron Compounds" A, Ferrocene 10 systematicalty covers the literature through the end of 1986 and includes so me references published more recently. A formula index provides ready access to the compounds covered. This volume ends the description of mononuclear unbridged disubstituted ferrocenes, 1 2 FeC HRR . The description of the unbridged disubstituted ferrocenes was initiated with lO a 1 2 "Organoiron Compounds" A, Ferrocene 7 (starting with R and R containing C and Hand 1 containing halogen at least in R\ and continuing with compounds containing 0 at least in R to form alcohols and phenols, their esters, ethers, acetals, and aldehydes), and was foltowed 1 by "Organoiron Compounds" A, Ferrocene 8 (with at least R containing 0). "Organoiron 1 Compounds" A, Ferrocene 9 treated compounds in wh ich at least R contains N, S, Se, B, or Si. This volume now comprises the rest of the disubstituted ferrocenes containing P, As, or a 1 metal at least in R . Beyond that it includes the description of alt the mononuclear unbridged trisubstituted ferrocenes, FeClOH7R1R2R3. Series A so far comprises volumes A 1 to A 10 and has been surveyed in the preface to A 7 (1980). The data in tables are given in abbreviated form without dimensions; for dimensions, explanations, and further abbreviations used, see p. X (next page). Additional remarks are given in the headings of the tables where necessary.
This book demonstrates how the roles of “author,” “marketer,” and “reviewer” are being redefined, as online environments enable new means for young adults to participate in the books they love. Prior to the expansion of digital technologies around reading, teachers, parents and librarians were the primary gatekeepers responsible for getting books into the hands of young people. Now publishers can create disintermediated digital enclosures in which they can communicate directly with their reading audience. This book exposes how teens contribute their immaterial and affective labor as they engage in participatory reading experiences via publishers’ and authors’ interactive websites and use of social media, and how in turn publishers are able to use such labor as they get invaluable market research, peer-to-peer recommendations, and even content which can be used in other projects all virtually free-of-charge.
How the British rock band Radiohead subverts the idea of the concept album in order to articulate themes of alienation and anti-capitalism is the focus of Marianne Tatom Letts's analysis of Kid A and Amnesiac. These experimental albums marked a departure from the band's standard guitar-driven base layered with complex production effects. Considering the albums in the context of the band's earlier releases, Letts explores the motivations behind this change. She places the two albums within the concept-album/progressive-rock tradition and shows how both resist that tradition. Unlike most critics of Radiohead, who focus on the band's lyrics, videos, sociological importance, or audience reception, Letts focuses on the music itself. She investigates Radiohead's ambivalence toward its own success, as manifested in the vanishing subject of Kid A on these two albums.
A volume in the Poets on Poetry series, which collects critical works by contemporary poets, gathering together the articles, interviews, and book reviews by which they have articulated the poetics of a new generation. The line between poetry (the delicate, surprising not-quite) and the essay (the emphatic so-there!) is thin, easily crossed. Both welcome a deep mulling-over, endlessly mixing image and idea and running with scissors; certainly each distrusts the notion of premise or formulaic progression. Marianne Boruch’s essays in The Little Death of Self emerged by way of odd details or bothersome questions that would not quit—Why does the self grow smaller as the poem grows enormous? Why does closure in a poem so often mean keep going? Must we stalk the poem or does the poem stalk us until the world clicks open? Boruch’s intrepid curiosity led her to explore fields of expertise about which she knew little: aviation, music, anatomy, history, medicine, photography, fiction, neuroscience, physics, anthropology, painting, and drawing. There’s an addiction to metaphor here, an affection for image, sudden turns of thinking, and the great subjects of poetry: love, death, time, knowledge. There’s amazement at the dumb luck of staying long enough in an inkling to make it a poem at all. Poets such as Keats, Stevens, Frost, Plath, Auden, and Bishop, along with painters, inventors, doctors, scientists, composers, musicians, neighbors, friends, and family—all traffic blatantly or under the surface—and one gets a glimpse of such fellow travelers now and then.
Written by a pediatrician/adolescent medicine specialist and a developmental psychologist, this book is a collection of informative, nonredundant yet comprehensive studies on adolescent pregnancy and parenting. More than 200 adolescent women in an ethnically diverse sample were studied prenatally and at regular 6-month intervals for 3½ years postpartum. Most of the teens were poor, unmarried, first-time mothers who resided within Southeast San Diego, a poor urban area approximately 10 miles north of the U.S.-Mexico border. The purpose of this book was to offer researchers, practitioners, program directors, teachers, and graduate and medical students a better understanding of teenage pregnancy and parenthood within the following domains: * adolescent prenatal care and postpartum maternal and infant health outcomes, * immediate repeat pregnancy, * adolescent mothers' parenting, * the role of the adolescent's mother in teenage mothers' parenting, and * the baby's father.
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