In this book Robert Pinsky writes about contemporary poetry as it reflects its modernist and Romantic past. He isolates certain persistent ideas about poetry's situation relative to life and focuses on the conflict the poet faces between the nature of words and poetic forms on one side, and the nature of experience on the other. The author ranges for his often surprising examples from Keats to the great modernists such as Stevens and Williams, to the contents of recent magazines. He considers work by Ammons, Ashbery, Bogan, Ginsberg, Lowell, Merwin, O'Hara, and younger writers, offering judgments and enthusiasms from a viewpoint that is consistent but unstereotyped. Like his poetry, Robert Pinsky's criticism joins the traditional and the innovative in ways that are thoughtful and unmistakably his own. His book is a bold essay on the contemporary situation in poetry, on the dazzling achievements of modernism, and on the nature or "situation" of poetry itself.
Challenging the common perception of poets as standing apart from the mainstream of American culture, Robert von Hallberg gives us a fresh and unpredictable assessment of the poetry that has come directly out of the American experience since 1945. Who reads contemporary American poetry? More people than were reading new poetry in the 1920s, von Hallberg shows. How do poets respond to the public preoccupations of their readers? Often with fascination. Von Hallberg put the poems of Robert Creeley and John Ashbery together with the postwar outburst of systems analysis. The 1950s tourist poems of John Hollander, Adrienne Rich, W. S. Merwin, and James Merrill are treated as the cultural side of America's postwar rise to global political power There are chapters on the political poems of the 1950s and 1960s, and on Robert Lowell's sympathy for the imperialism of his liberal contemporaries. Poems of the 1970s on pop culture, especially Edward Dorn's Slinger, and some from the suburbs of the 1980s, are shown to reflect a curious peace between the literary and the mass cultures.
The Wall Street Journal called him “a living legend.” The London Times dubbed him “the most famous art detective in the world.” In Priceless, Robert K. Wittman, the founder of the FBI’s Art Crime Team, pulls back the curtain on his remarkable career for the first time, offering a real-life international thriller to rival The Thomas Crown Affair. Rising from humble roots as the son of an antique dealer, Wittman built a twenty-year career that was nothing short of extraordinary. He went undercover, usually unarmed, to catch art thieves, scammers, and black market traders in Paris and Philadelphia, Rio and Santa Fe, Miami and Madrid. In this page-turning memoir, Wittman fascinates with the stories behind his recoveries of priceless art and antiquities: The golden armor of an ancient Peruvian warrior king. The Rodin sculpture that inspired the Impressionist movement. The headdress Geronimo wore at his final Pow-Wow. The rare Civil War battle flag carried into battle by one of the nation’s first African-American regiments. The breadth of Wittman’s exploits is unmatched: He traveled the world to rescue paintings by Rockwell and Rembrandt, Pissarro, Monet and Picasso, often working undercover overseas at the whim of foreign governments. Closer to home, he recovered an original copy of the Bill of Rights and cracked the scam that rocked the PBS series Antiques Roadshow. By the FBI’s accounting, Wittman saved hundreds of millions of dollars worth of art and antiquities. He says the statistic isn’t important. After all, who’s to say what is worth more --a Rembrandt self-portrait or an American flag carried into battle? They're both priceless. The art thieves and scammers Wittman caught run the gamut from rich to poor, smart to foolish, organized criminals to desperate loners. The smuggler who brought him a looted 6th-century treasure turned out to be a high-ranking diplomat. The appraiser who stole countless heirlooms from war heroes’ descendants was a slick, aristocratic con man. The museum janitor who made off with locks of George Washington's hair just wanted to make a few extra bucks, figuring no one would miss what he’d filched. In his final case, Wittman called on every bit of knowledge and experience in his arsenal to take on his greatest challenge: working undercover to track the vicious criminals behind what might be the most audacious art theft of all.
For years Robert Cohen has been praised by reviewers and readers alike for his masterful prose and his exuberant and penetrating comic vision. The New York Times has even called his writing redemptive -- so satisfying as to "remind readers why they continue to cast their lines into the shrinking lake of contemporary fiction...his prose is not merely gorgeous, it's also terrifically funny; his humor is the ghastly variety embedded in everyday life." Now, the critically acclaimed and bestselling author of Inspired Sleep delivers a collection of ten dazzling stories that not only show off Cohen's exhilarating prose and startling ironic humor but also provide a platform for his virtuoso range of tone and style and his ongoing investigation of the hazy, bedraggled American sensibility. In "Oscillations," a man verbally paralyzed by his obsession with language retreats to a special institute, where he will relearn the art of communication. "Points of Interest" is an ingenious and timely exploration of the boundaries between life and art, as told through the revolving -- and dizzyingly revealing -- perspectives of its three self-absorbed protagonists. The title story features a hilariously out-of-touch psychology professor whose introductory lecture becomes an inadvertent confession of his own long, disastrous career of sexual mistakes. And in the more somber, moving "The Boys at Night," a suburban teenager, on the fringes of a family crisis, makes his first tentative forays into maturity, discovering how accidents at once reveal, imperil, and sustain us. In each of these stories, the characters must wrestle with the slippery, invisible curtain between the world and their own fevered misapprehensions of it. What results is the urgently serious comedy we call Romanticism -- the yearning of the mind for contact with the actual, which is always receding from view. That these characters' desires and anxieties are familiar to us is the second thing we realize upon reading these stories. The first is how much we're laughing.
From the National Book Award winner, a powerful and timely rumination on how we can draw on historical examples of “survivor power” to understand the upheaval and death caused by the COVID-19 pandemic—and collectively heal "Lifton shows us why we must confront reality in order to save democracy." —Peter Balakian, Pulitzer Prize–winning author of Ozone Journal In this moving and ultimately hopeful meditation on the psychological aftermath of catastrophe, award-winning psychiatrist Robert Jay Lifton calls forth his life’s work to show us how to cope with the lasting effects and legacy of the COVID-19 pandemic. The result is a thought-provoking examination of life in the face of COVID-19 from one of the most profound thinkers of our time. When the people of Hiroshima experienced the unspeakable horror of the atomic bombing, they responded by creating an activist “city of peace.” Survivors of the Nazi death camps took the lead in combating mass killing of any kind and converted their experience into art and literature that demonstrated the resilience of the human spirit. Drawing on the remarkably life-affirming responses of survivors of such atrocities, Lifton, “one of the world’s foremost thinkers on why we humans do such awful things to each other” (Bill Moyers), shows readers how we can carry on and live meaningful lives even in the face of the tragic and the absurd. Surviving Our Catastrophes offers compelling examples of “survivor power” and makes clear that we will not move forward by denying the true extent of the pandemic’s destruction. Instead, we must truly reckon with COVID-19’s effects on ourselves and society—and find individual and collective forms of renewal.
Performing Without a Stage is a lively and comprehensive introduction to the art of literary translation for readers of foreign fiction and poetry who wonder what it takes to translate, how the art of literary translation has changed over the centuries, what problems translators face in bringing foreign works into English and how they go about solving these problems. This book will also be of interest to translators, writers, editors, critics, and literature students, dealing as it does, often controversially, with such matters as the translator's fidelity to the author, the publishing and reviewing of translations, the nearly nonexistent public image of the stageless translator, and the value for writers and scholars of studying and practicing translation.
As pediatric cardiology becomes more and more neonatal cardiology and even fetal cardiology, Neonatal Heart Disease by Robert M. Freedom, MO, Leland N. Benson, MD, and Jeffrey F. Smallhorn, MB is extraordinarily timely. Neonatal Heart Disease consists of 50 chapters by 25 distinguished contributors and is a worthy successor to The Neonate With Congenital Heart Disease by Richard D. Rowe, MD and his colleagues (1968 and 1981). The first ~dition of this book in 1968 established Richard D. Rowe, MD as the father of neonatal cardiology. As most pediatric cardiologists now know, Dick Rowe died on January 18, 1988 after a brief illness. It will therefore come as no surprise that the present volume is dedicated to this great and gentle man. Nor will it come as a surprise that I have been asked to devote this Foreword to Richard D. Rowe, MD, pioneering neonatal cardiologist and incomparable personal friend. What can one say about Dick Rowe? Well, there are at least two very different tales. There is Dick Rowe the public man -the factual account of Dick Rowe's achievements as a physician, educator, and research man - the Dick Rowe that virtually "everyone" knows. And then there is Dick Rowe the private man -the extraordinary human being who only his personal friends were privileged to know. I shall try to tell something of both stories. First, the public man - the factual account - is really quite amazing.
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