In To Forget Venice, Peg Boyers sets for herself and the reader a most improbable challenge. Venice is the site of several unforgettable years of her own adolescence, and remains the city she returns to year after year. It is also a place that is both adored and reviled by the speakers in this various and unconventionally polyphonic book of poems. Throughout the book, the voices we hear belong not only to imagined characters from literature, like the mother of Tadzio (from Death in Venice ), or the companion of Vladimir Illych Lenin, or the Victorian prophet John Ruskin and his wife Effie, but to wall moss, sand, andmost especiallya speaker who, at the age of thirteen, landed in Venice in 1965 and never quite recovered from the formative experiences that shaped her there. Ranging over the several stages of a life that features adolescent heartbreak and betrayal, marriage and children, friendship and loss, the book insistently addresses the speaker s desire to get to the bottom of her obsession with a place that has imprinted itself so indelibly on her consciousness. Intense and beautifully crafted, it is also a book of genuine grandeur, where transcendence and self-disgust clash to create a human life.
The author has written poetry as if it were that of someone else: Natalia Ginzburg (1916- ), an Italian born of a Catholic mother and a Jewish father, and the writer, herself, of novels, plays, essays, and newspaper columns.
A Meteor of Intelligent Substance" "Something was Missing in our Culture, and Here It Is" In a short time since its launch, Liberties - A Journal of Culture and Politics, a quarterly, has become essential reading for those engaged in the cultural and political issues and causes of our time. The writers in Liberties offer deep experience from across borders, national identities, political affiliations and artistic achievements. As the introductory essay in the inaugural edition noted, "At this journal we are betting on what used to be called the common reader, who would rather reflect than belong and asks of our intellectual life more than a choice between orthodoxies." Each issue of Liberties features original in-depth essays and compelling new poetry from some of the world's most significant writers, artists, and scholars, as well as introducing new talent, to inspire and impact the intellectual and creative lifeblood of today's culture and politics.
To Forget Venice is the improbable challenge and the title of Peg Boyers’s newest collection of poems. The site of several unforgettable years of her adolescence, the place she has returned to more frequently than any other, the city of Venice is both adored and reviled by the speakers in this varied and unconventionally polyphonic work. The voices we hear in these poems belong not only to characters like the mother of Tadzio (think Death in Venice), or the companion of Vladimir Ilych Lenin, or the Victorian prophet John Ruskin and his wife, Effie, but also to wall moss, and sand, and—most especially—an authorial speaker who in 1965, at age thirteen, landed in Venice and never quite recovered from the formative experiences that shaped her there. Ranging over several stages of a life that features adolescent heartbreak and betrayal, marriage and children, friendship and loss, the book insistently addresses the author’s desire to get to the bottom of her obsession with a place that has imprinted itself so profoundly on her consciousness.
The author has written poetry as if it were that of someone else: Natalia Ginzburg (1916- ), an Italian born of a Catholic mother and a Jewish father, and the writer, herself, of novels, plays, essays, and newspaper columns.
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