Richard Hugo, who died suddenly in 1982, was, in James Wright's words, 'a great poet, true to our difficult life, ' Making Certain It Goes On brings together, as Hugo wished, the poems published in book form during his lifetime, together with the moving and courageous new poems he wrote in his last years. This, then, is the definitive collection of a major American poet's enduring works.
Richard Hugo has been described by Carolyn Kizer as "one of the most passionate, energetic, and honest poets now living." Nowhere has that passion, energy, and honesty been more evident than in ?White Center, his newest volume of poems. "That Richard Hugo's poetry creates in his readers an almost indistinguishable desire for more," writes the critic and poet Dave Smith, "is the mark of his ability to reach those deep pools in us where we wait for passionate engagement. What Hugo gives us is the chance to begin again and a world where that beginning is ever possible." Here, for his ever-growing body of readers, are more of those opportunities.
Richard Hugo, whom Carolyn Kizer has called” one of the most passionate, energetic, and honest poets living,” here offers an extraordinary collection of new poems, each one a “letter” or a “dream.” Both letters and dreams are special manifestations of alone-ness; Hugo’s special senses of alone-ness, of places, and of other people are the forces behind his distinctively American and increasingly authoritative poetic voice. Each letter is written from a specific place that Hugo has made his own (a “triggering town,” as he has called it elsewhere) to a friend, a fellow poet, an old love. We read over the poet’s shoulder as the town triggers the imagination, the friendship is re-opened, the poet’s selfhood is explored and illuminated. The “dreams” turn up unexpectedly (as dreams do) among the letters; their haunting images give further depth to the poet’s exploration. Are we overhearing them? Who is the “you” that dreams?
Here is a collection of poems by a writer whom the poet Carolyn Kizer calls "one of the most passionate, energetic, and honest poets living." Hugo's most important subject is the American West. In the present volume, people, places, dreams, and memories are explored again--always in search of the poet's self.
Richard Hugo's free-swinging, go-for-it remarks on poetry and the teaching of poetry are exactly what are needed in classrooms and in the world."—James Dickey Richard Hugo was that rare phenomenon of American letters—a distinguished poet who was also an inspiring teacher. The Triggering Town is Hugo's now-classic collection of lectures, essays, and reflections, all "directed toward helping with that silly, absurd, maddening, futile, enormously rewarding activity: writing poems." Anyone, from the beginning poet to the mature writer to the lover of literature, will benefit greatly from Hugo's sayd, playful, profound insights and advice concerning the mysteries of literary creation.
Of Richard Hugo's Making Certain It Goes On, David Wagoner has written: "Richard Hugo spared himself (and us) no pains or joys in making the wonderful, vigorous original poems brought together in this single collection. His was and is a very important voice in modern American poetry." Hugo was also an editor of the Yale Younger Poets series and a distinguished teacher and master of the personal essay. Now many of his essays have been assembled and arranged by Ripley Hugo, the poet's widow and a writer and teacher, and Lois and James Welch, writers and close friends of the poet. Together the essays constitute a compelling autobiographical narrative that takes Hugo from his lonely childhood through the war years and his working and creative life to an interview just before his death in 1982. William Matthews, also a friend of Hugo's, has written an introduction.
Richard Hugo's concern is the unenviable, the unvisited, even the uninviting, which he must invest with his own deprivations, his own private war. The distinctiveness of impulse int he language, the movement organized in single syllables by the craving mind, this credible richness is related to, is even derived from, the poverty of the places, local emanations, free (or freed) to be the poet's own." --Richard Howard "Richard Hugo is such an important poet because the difficulties inherent in his art provide him a means of saying what he has to say. It is no accident that he must develop a negative in order to produce a true image." --Richard Howard
The American poet's fifth collection continues his concern with and explorations and celebrations of the people, places, landscapes, and events of his remembered West and his evolving self
Six Kentucky historical dramas, too This “murder for love” story charmed the world with its great lure for romanticism. In 1825, Solomon P. Sharp, a promising politician in Frankfort, Kentucky, was murdered at his doorstop by the apprentice that idolized him. Jereboam O. Beauchamp claimed he was defending the honor of his wife, Anna Cooke, who accused Sharp of fathering her child and abandoning her; both were executed and buried in the same grave. Songs, poems, novels, and plays responded around the globe. Even Edgar Allan Poe tried his hand at it in his drama Politian, but to safeguard himself changed the names, setting, date, and title. Its fiction failed to interest Poe and his public. Now, The Kentucky Tragedy, as it was known, can appear as Poe had dreamed it. BOTHERUM An old farmhouse, mid-Nineteenth Century Lexington, Kentucky. Widower Madison Conyers Johs purchases a farm with an unexpected enslaved family. Conyers, brother-in-law of abolitionist Cassius M. Clay, and the enslaved foreman overcome the situations that separate them, and develop a lasting friendship that surpasses social position and race. Two Kentucky Gentlemen of the Old School. BEATING THE DARK HOME Dressing room of the Pekin Theater in Chicago, 1906. Vaudeville performers Amos and Andy Tribble confront one another with their love and hatred of the stage. While Amos returns to the farm, Andy is left to reinvent his stage presence or lose it. DAY OF RELEASEMENT Shaker Village, Harrodsburg, Kentucky 1812 and 1999. Enslaved servant Patsy Williamson is not only gifted with freedom and equality at Shaker Village, but also with spiritual songs — music that connects her to the love of Andy, separated from her by almost two hundred years. These star - crossed lovers discover a hidden portal to bring them together: their music. Pioneer Christmas in Kentucky The Old Log Meeting House, on the road to the first county seat of Madison County, Kentucky, Christmas 1788. The residents of Milford unite with a plot to stop a group of marauding and murdering bandits. Moon Above Benson Valley Two taverns during Prohibition, one below the town belonging to John Fallis, the murderous and radical “King of Craw,” and the other atop Bald Knob, belonging to the low key, compliant, ever - bachelor William Vest, collide in the unsolved murder of an Italian immigrant.
This sweeping literary encounter with the Western idea of the city moves from the early novel in England to the apocalyptic cityscapes of Thomas Pynchon. Along the way, Richard Lehan gathers a rich entourage that includes Daniel Defoe, Charles Dickens, Emile Zola, Bram Stoker, Rider Haggard, Joseph Conrad, James Joyce, Theodore Dreiser, F. Scott Fitzgerald, and Raymond Chandler. The European city is read against the decline of feudalism and the rise of empire and totalitarianism; the American city against the phenomenon of the wilderness, the frontier, and the rise of the megalopolis and the decentered, discontinuous city that followed. Throughout this book, Lehan pursues a dialectic of order and disorder, of cities seeking to impose their presence on the surrounding chaos. Rooted in Enlightenment yearnings for reason, his journey goes from east to west, from Europe to America. In the United States, the movement is also westward and terminates in Los Angeles, a kind of land's end of the imagination, in Lehan's words. He charts a narrative continuum full of constructs that "represent" a cycle of hope and despair, of historical optimism and pessimism. Lehan presents sharply etched portrayals of the correlation between rationalism and capitalism; of the rise of the city, the decline of the landed estate, and the formation of the gothic; and of the emergence of the city and the appearance of other genres such as detective narrative and fantasy literature. He also mines disciplines such as urban studies, architecture, economics, and philosophy, uncovering material that makes his study a lively read not only for those interested in literature, but for anyone intrigued by the meanings and mysteries of urban life.
This new collection updates, integrates, and contextualizes Richard Sheppard's essays on the historical avant-garde. Sheppard examines responses of modernist writers, artists, and philosophers to a changed sense of reality and human nature. With its combination of previously published and new essays and its perspective on the theoretical avant-garde-modernism debate in the U.S., the volume provides the specialist and the general reader insight into European scholarly discourse on this hotly debated subject.
This is at once the biography of an Englishman who became the pioneering charterboat skipper of an American yacht, and a history of the charterboat business in the islands. Morris Nicholson’s story reflects a time now all but vanished in the islands, beginning when they were neglected colonial outposts and a single yacht meant income for the islanders. In no other book is there an account of how skippered yachts, bareboats, and headboats came to sail the Caribbean Sea and became an economic sector. However it is Nicholson’s story—and his stories of others—that drives the narrative and fills it with human interest.
Robert Lehman (1891-1969), one of the foremost art collectors of his generation, embraced the work of both traditional and modern masters. This volume catalogues 130 nineteenth- and twentieth-century paintings that are now part of the Robert Lehman Collection at The Metropolitan Museum of Art. The majority of the works are by artists based in France, but there are also examples from the United States, Latin America, and India, reflecting Lehman's global interests. The catalogue opens with outstanding paintings by Ingres, Théodore Rousseau, and Corot, among other early nineteenth-century artists. They are joined by an exemplary selection of Impressionist and Post-Impressionist works by Degas, Renoir, Sisley, Pissarro, Seurat, Signac, Van Gogh, Cézanne, and Gauguin. Twentieth-century masters represented here include Bonnard, Matisse, Rouault, Dalí, and Balthus. There are also newly researched modern works by Vicente do Rego Monteiro, Kees van Dongen, Dietz Edzard, and D.G. Kulkarni (dizi). Robert Lehman's cultivated taste for nineteenth-century French academic practitioners and his intuitive eye for emerging young artists of his own time are documented and discussed. Three hundred comparative illustrations supplement the catalogue entries, as do extensively researched provenance information, exhibition histories, and references. The volume also includes a bibliography and indexes.
Huelsenbeck’s memoirs bring to life the concerns—intellectual, artistic, and political—of the individuals involved in the Dada movement and document the controversies within the movement and in response to it.
Although the length of commercially distributed feature films has remained relatively standardized since the mid-1910s, there is also a small but substantial body of ambitious works that utilize their extraordinarily long durations to give cinema the character of a religious ritual. While their methods and overall goals vary considerably, these works actively participate in a modernist exploration of the relationship between form and content, often taking their innovations to what seem to be their limits, simultaneously establishing and exhausting their own paradigms. Their makers strove to create cinematic cathedrals, monuments to the imagination that promise profound transformations of vision, selfhood, and experience. Unique both in their formal adventurousness and their modes of presentation, works like Napoléon (Abel Gance, 1927), Eniaios (Gregory Markopoulos, 1947-1992), Out 1 (Jacques Rivette, 1971), and Histoire(s) du cinéma (Jean-Luc Godard, 1988-1998) utilize their temporal scale to create a particularly intense form of spectatorial engagement that is wedded to or related to a larger utopian program. Synthesizing their disparate influences into magisterial edifices, these projects treat cinema as a space in which the most ancient forms can be made radically new.
In this ambitious and exciting work Richard Maxwell uses nineteenth-century urban fiction--particularly the novels of Victor Hugo and Charles Dickens--to define a genre, the novel of urban mysteries. His title comes from the "mystery mania" that captured both sides of the channel with the runaway success of Eugene Sue's Les mysteres de Paris and G. W. M. Reynold's Mysteries of London. Richard Maxwell argues that within these extravagant but fact-obsessed narratives, the archaic form of allegory became a means for understanding modern cities. The city dwellers' drive to interpret linked the great metropolises with the discourses of literature and art (the primary vehicles of allegory). Dominant among allegorical figures were labyrinths, panoramas, crowds, and paperwork, and it was thought that to understand a figure was to understand the city with which it was linked. Novelists such as Hugo and Dickens had a special flair for using such figures to clarify the nature of the city. Maxwell draws from an array of disciplines, ideas, and contexts. His approach to the nature and evolution of the mysteries genre includes examinations of allegorical theory, journalistic practice, the conventions of scientific inquiry, popular psychiatry, illustration, and modernized wonder tales (such as Victorian adaptations of the Arabian Nights). In The Mysteries of Paris and London Maxwell employs a sweeping vision of the nineteenth century and a formidable grasp of both popular culture and high culture to decode the popular mysteries of the era and to reveal man's evolving consciousness of the city. His style is elegant and lucid. It is a book for anyone curious about the fortunes of the novel in thenineteenth century, the cultural history of that period, particularly in France and England, the relations between art and literature, or the power of the written word to produce and present social knowledge.
A Cyclops is popularly assumed to be nothing more than a flesh-eating, one-eyed monster. In an accessible and academically authoritative investigation, this book explores the depth and subtlety of their mythology and reception, from classical antiquity to the present day, to demonstrate that there is far more to the monster than meets the eye.
Talented and resolutely independent, Marie d’Agoult (1805–76) was one of the most remarkable women of her time. Abandoning her privileged position in society, she eloped with her great love, the pianist and composer Franz Liszt, and later won fame as a writer under the penname Daniel Stern. She published fiction, articles on literature, music, art, and politics, and a history of the revolution of 1848, and she was an eloquent advocate for democracy, the eradication of poverty, and the emancipation of women. Drawing on her memoirs, letters, and other unpublished writings, Richard Bolster’s engrossing biography sets Marie d’Agoult’s eventful life against a backdrop of dramatic political change in France. Courted by many important figures of her day, she married a nobleman and became a member of the court of Charles X. Her passion for music eventually brought her into contact with Liszt, with whom she moved to Italy and had three children. After their idealistic romance degenerated into disenchantment, d’Agoult returned to Paris, began her writing career, and established a salon for artists, reformers, and freethinkers. Bolster explains how George Sand became d’Agoult’s friend and then betrayed her by giving Balzac information about her affair with Liszt, which he used in his novel Béatrix. He concludes with a moving account of d’Agoult’s last years.
This collection contains six stories from the fourth series of Robin of Sherwood books based on the classic ITV show: What Was Lost After losing Marion to Holy Orders, Robin spends his waking hours in an increasingly drunken state and the outlaw band are left without a leader. Robin Hood has become a ghost. Meanwhile, Abbot Hugo has cleaned out the family coffers and secured a release for his brother, the Sheriff, from King John's prisons. But the Sheriff isn't convinced that his deadliest enemy has entirely vanished from Sherwood... The Power of Three Why had Herne called Marion to his cavern and not Robin? And why was she afraid to tell him what the Lord of the Trees had shown her? Forced to face his personal nightmares and his darkest secret, the Hooded Man needs his friends more than ever but the outlaws are afraid… and no one knows who to trust. To make matters worse, an old enemy is stalking Sherwood - but which one? To Have and To Hold After returning from fighting in Normandy, Sir Guy of Gisburne has reluctantly returned to the Sheriff’s employ but his loyalty is about to be tested. The Sheriff’s new plan to capture the outlaws requires Gisburne’s agreement and Abbot Hugo’s committed involvement. Meanwhile, the merry band of Sherwood outlaws are preparing for a long-awaited set of nuptials to take place in Sherwood Forest... Queen of the Black Sun A landslide uncovers an unknown cave in Sherwood, which Marion and Much squeeze through the entrance of to explore. Inside, they feel a sense of unease but find a treasure trove of gold coins and a strange black jewel. Outside, a dense fog has appeared, a strange eclipse begins to block out the sun and the Merries end up being separated from each other... The Servant Rumours are circulating that a mysterious order called the Knights of the Apocalypse are gaining power and growing stronger. After Jerrard hears the Captain of the Guard blackmailing Sir Guy of Gisburne in relation to these Knights, he fears that the Earl’s greatest secret might be revealed... Knights of the Apocalypse England in the reign of King John and a dark force is intent on conquest. Only the hooded man can stand against it… The church lies impotent at the mercy of the Pope and the interdict against the kingdom. With the people living in fear and a series of disappearances that threaten the very fabric of noble society, Robin ‘i’ the hood and his band of outlaws must race to rescue the past so that the future may be protected…
A Vintage Shorts “Short Story Month” Selection As his parents’ marriage disintegrates, a precocious if distracted fifth-grader starts to daydream about baseball, spaghetti, and his place in the universe. Pulitzer Prize-winning Richard Russo is one of America’s finest writers, and here, truthfully and with compassion, he unwinds the slow disillusionment of childhood. A selection from Russo’s tenderhearted collection of short stories, The Whore’s Child. An ebook short. Look for Richard Russo's new book, Somebody's Fool, coming soon.
In the same period Wagner was deeply inspired by the works of Shakespeare, an influence that runs throughout this volume. The title essay, "Actors and Singers," is one of Wagner's most deliberate and philosophical writings. He wrote, "Art ceases, strictly speaking, to be Art from the moment it presents itself as Art to our reflecting consciousness. " He described how the unconsciousness of art, and thus art's power, connected natural genius to cultivate traditions.
A first collection of theatre plays by Richard Mousseau. Plays are suitable for amateur and professional theatre groups. Sparse, or elaborate sets will enhance the plays. Some plays are adaptable to a radio play format. Range of acceptance is general public. All plays are generated from the aspect of the common person, and all audiences will be amused by the drama and comedy."--
Tourniquet is a gripping, hair-raising tale about the age-old conflict in the Middle East. It portrays an unthinkable yet plausible scenario leading to a no-win holocaust if the present situation goes unresolved. In his crisp, unique writing style, Monson proceeds to link the Middle East to the flash-point of the American border with Mexico. Fly with Israeli Air Force Daniel Kaplan as he protects Haifa Bay from the cold-blooded Osvaldo Sabino deep in the water below / Partner with Senator Madena as he flies to Mexico City with the Presidents plan for the Mexican borderhis Tourniquet / Hear A.E. Smith debate his love of the beautiful Alicia Roth, architect of the Tourniquet . . . and a Jew / Crash through the Mexican out-back with A.E. and Hector as they search for Alicia, captured and wounded by a band of Osvaldos outlaws / Live the suspense as in 2017 a plan is hatched to destroy the entire coastal Middle East / Escape the Mediterranean aboard the USS Kitty Hawk / See the bombing of the Gold Key Casino in Laughlin / Feel the heat as Alicia learns her real-estate father used her to engage in insider-trading / Warm to A.E. and Alicia as they dance and romance at the Cotton Ball in Memphis / Fly with Major Kaplan as he rescues a special artifact from ruins in Jerusalem / Marvel at Dr. Sobols spectacular museum on the El Sasabe river / And join the celebration as the great diversity that is Tourniquet comes together in a thrilling and amazing conclusion.
The new collection from Richard Bean, one of Britain’s leading playwrights and the fastest-selling playwright in the history of the West End. This volume features an introduction by Mark Lawson and includes the plays: The Heretic, The Big Fellah and England People Very Nice.
Over 300 pages of timeless terror from a master storyteller! Horror comics visionary and coloring pioneer Richard Corben has been a voice of creativity and change for over four decades. For the first time ever, Corben's legendary Creepy and Eerie short stories and cover illustrations are being collected into one deluxe hardcover! With an informative foreword by artist and comic book colorist José Villarrubia—who also provides color restoration—this volume features Richard Corben's original stories, Edgar Allan Poe adaptations, and collaborations with cast of comic-book writers.
People who have faced death often speak of their lives flashing before their lives. Something much different happened to dolphin trainer Richard O'Barry when one of the dolphins that played Flipper on television died of stress in his arms. He realized that most of his career as an animal trainer had been a mistake and that dolphins have as much right to freedom as humans. He vowed not to rest until he freed every last dolphin that could be returned to the wild successfully. This is a true story that will move not only animal lovers but everyone who loves a well-told tale. Ric O'Barry had everything-money, flashy cars, pretty women-but it wasn't enough to keep his conscience at bay. He began to understand that dolphins were easy to train because of their great intelligence, not his great talent, and keeping them in captivity was cruel and morally wrong. While research and entertainment are important to human life, they are not worth the cost to these beautiful and gentle animals. O'Barry was arrested trying to free a dolphin, but that didn't stop him, and he now devotes his life to untraining dolphins and returning them to their natural habitats. Once the pride of the billion-dollar dolphin captivity industry, he has since become its nemesis.
The sport’s best guide, Lacrosse Essentials, provides instruction on the fundamentals that players need in order to start competing confidently. Coverage includes skills such as passing, catching, shooting, clearing, and goaltending; offensive and defensive plays; simple strategies; and plenty of drills and activities to speed learning and improve performance.
The best vicar ever' - Caitlin Moran THE NO. 1 SUNDAY TIMES BESTSELLING AUTHOR OF THE CANON CLEMENT SERIES FATHOMLESS RICHES is the Reverend Richard Coles' warm, witty and wise memoir in which he divulges with searing honesty and intimacy his pilgrimage from a rock-and-roll life of sex and drugs in the Communards to one devoted to God and Christianity. The result is one of the most unusual and readable life stories of recent times, and has the power to shock as well as to console. 'Sex, drugs, death, religion, more sex... it has got it all' - Guardian 'All the humour, quirky characters and incidents that life - and death- serve up' - Mail on Sunday 'One of the most immensely readable - and redeemable - memoirs of the year' - Sunday Times 'A frank, worldly-wise, bleakly comic memoir' - The Times 'Full of wit and humour about finding God, and Jimmy Sommerville' - Independent on Sunday
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