In these poems, Michelle Boisseau troubles sound into music and light into color. She renders the physics of absence and the deceptions of presence: a garage full of haunted tools, the ordinary and odd lives embodied in medieval paintings, the voice of a father traveling on radio waves. The poems' contemplative, rigorous intelligence affirms pleasure in the fallen world, picking out the golden thread in a dark tapestry. Moving through us in waves of light and sound, the words and trappings of the material world brim here with spiritual force and resonate with the power of things poised on the brink of revelation: trembling the air.
DivMichelle Boisseau is professor of English at the University of Missouri- Kansas City where she also serves as associate editor of BkMk Press. She is the author of three books of poetry, No Private Life; Understory, winner of the Samuel French Morse Prize; and Trembling Air (University of Arkansas Press), a PEN USA finalist. She is coauthor of the popular book Writing Poems, now in its seventh edition./div
A Sunday in God-Years takes its title from the notion that if we consider ourselves inside the long stretch of geologic time, human history happens in the blink of God’s eye as he rolls over during a Sunday nap. The book is centered around the long poem “A Reckoning” made up of fifteen shorter poems/sections (some sections are documents like wills and runaway slave notices). This long poem tries to reckon and recognize the sticky webs that bind the heirs of those who were slave holders (like the Boisseaus) and of those who were held as slaves. “A Reckoning” builds the context for the rest of the book which, among other things, looks through the metaphors from geology to confront the historic and personal: Boisseau’s paternal ancestors fled religious persecution in France in 1685 and soon after their arrival in Virginia became entangled in slave ownership. When one looks on human history through the lens of geologic time, when one shifts the scale from the now and near to the distant, and takes a sky-perch, like God, some fascinating things begins to happens. Looking down on us from a satellite, from a conjectural place in deeper spaces from which our cameras have never looked, or from a moment long before humans ventured from trees, human history is thrillingly diminished and immediate human compassion becomes essential as air.
This four-volume reset edition presents a wide-ranging collection of primary sources which uncover the language and behaviour of local and state authorities, of peasants and town-dwellers, and of drinking companions and irate wives.
The Social Cognition and Object Relations Scale-Global Rating Method (SCORS-G) is a clinician rated measure that can be used to code various forms of narrative material. It is comprised of eight dimensions which are scored using a seven-point Likert scale, where lower scores are indicative of more pathological aspects of object representations and higher scores are suggestive of more mature and adaptive functioning. The volume is a comprehensive reference on the 1) validity and reliability of the SCORS-G rating system; 2) in depth review of the empirical literature; 3) administration and intricacies of scoring; and 4) the implications and clinical utility of the system across settings and disciplines for clinicians and researchers.
William F. “Buffalo Bill” Cody, star of the American West, began his journey to fame at age twenty-three, when he met writer Ned Buntline. The pulp novels Buntline later penned were loosely based on Cody’s scouting and bison-hunting adventures and sparked a national sensation. Other writers picked up the living legend of “Buffalo Bill” for their own pulp novels, and in 1872 Buntline produced a theatrical show starring Cody himself. In 1883, Cody opened his own show, Buffalo Bill’s Wild West, which ultimately became the foundation for the world’s image of the American frontier. After the Civil War, new transcontinental railroads aided rapid westward expansion, fostering Americans’ long-held fascination with their western frontier. The railroads enabled traveling shows to move farther and faster, and improved printing technologies allowed those shows to print in large sizes and quantities lively color posters and advertisements. Cody’s show team partnered with printers, lithographers, photographers, and iconic western American artists, such as Frederic Remington and Charles Schreyvogel, to create posters and advertisements for Buffalo Bill’s Wild West. Circuses and other shows used similar techniques, but Cody’s team perfected them, creating unique posters that branded Buffalo Bill’s Wild West as the true Wild West experience. They helped attract patrons from across the nation and ultimately from around the world at every stop the traveling show made. In Art and Advertising in Buffalo Bill’s Wild West, Michelle Delaney showcases these numerous posters in full color, many of which have never before been reproduced, pairing them with new research into previously inaccessible manuscript and photograph collections. Her study also includes Cody’s correspondence with his staff, revealing the showman’s friendships with notable American and European artists and his show’s complex, modern publicity model. Beautifully designed, Art and Advertising in Buffalo Bill’s Wild West presents a new perspective on the art, innovation, and advertising acumen that created the international frontier experience of Buffalo Bill’s Wild West.
In these poems, Michelle Boisseau troubles sound into music and light into color. She renders the physics of absence and the deceptions of presence: a garage full of haunted tools, the ordinary and odd lives embodied in medieval paintings, the voice of a father traveling on radio waves. The poems' contemplative, rigorous intelligence affirms pleasure in the fallen world, picking out the golden thread in a dark tapestry. Moving through us in waves of light and sound, the words and trappings of the material world brim here with spiritual force and resonate with the power of things poised on the brink of revelation: trembling the air.
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