Imagine making poems the way an architect designs buildings or an engineer builds bridges. Such was the ambition of João Cabral de Melo Neto. Though a great admirer of the thing-rich poetries of Francis Ponge and of Marianne Moore, what interested him even more, as he remarked in his acceptance speech for the 1992 Neustadt International Prize for Literature, was "the exploration of the materiality of words," the "rigorous construction of (. . .) lucid objects of language." His poetry, hard as stone and light as air, is like no other.
Major Oliver Thornley never expected to see the man who saved his life at the battle of Waterloo again. He certainly never expected to fall over him in the street. When Thornley stumbles over a pile of rags, he is horrified to discover it is the man who dragged him from the battlefield to safety.
Taking the man back to his Mayfair home, Thornley nurses Daniel back to health as he battles with his own forbidden desires. Then he learns Daniel shares his feelings, as well. Though it feels so right when they are in each other’s arms, Thornley knows their mutual secret could see them hang. Is there a way for them to be together despite the class difference that separates them? Can he admit he’s fallen in love before Daniel leaves for good?
This insightful collection is the perfect gift for Michael Morpurgo fans who want to understand how writing works and where stories begin. Revealing essays from Michael about more than twenty of his most popular novels are combined with key extracts from his books along with historical context and illuminating background information from Michael’s brother Mark. Stunning illustrations from Michael Foreman, photographs and facsimiles complete the immersive experience.
“The narrating voice in Living Room is insistent but quiet, though it sometimes achieves loudness without any apparent effort. At other times it seems to continue in the -reader’s mind even after stopping for the day.
It is an important new presence, faintly disturbing and endly attractive.”—John Ashbery Readers may be voyeurs, but the subtler gifts are not for the fast glancers. Take a good slow second look at Geoff Bouvier’s Living Room . . . bravura performances, both accessible and elegant, both immediate and subtle, both hilarious and serious. . . . With virtuoso reversals, switches of vantage, changes of scale, inside-outings, they accomplish metaphysical, not only physical, effects.—from the introduction by Heather McHugh Each of Geoff Bouvier’s prose poems brims with industry and rest attention, and the dramas they contain are manifold. Here a solitary mind and there a whole social sphere are cross-sectioned for observation at moments rife with emotional collisions—awesome tediums, mad reliefs. In style and substance, Living Room enacts the urgency one feels to stretch out against cramped quarters.
Introduced by Heather McHugh. From Savings Plan To save things, collect them in an unremarkable place—behind a row of history books, in the corner of the garage—where you wouldn’t usually look. Then forget about these things completely. When you remember what you’re saving—a photograph of an ex, the fattening candy bars—but forget where you’re saving it, you may worry, even curse yourself. But remember how this is your plan, and how the plan is succeeding. The savings are protected, hidden away, even if you can’t find them until many days after a rainy day. Geoff Bouvier holds degrees from the University of Connecticut and from Bard College. He lives in San Diego, where he waits tables at Tapenade Restaurant and publishes journalistic prose with the San Diego Reader.
"Silenziosi sui loro piedi nudi gli schiavi attraversano duecento anni di storia danese senza lasciare altra traccia che due righe nei libri di scuola: la Danimarca fu il primo paese ad abolire il traffico degli schiavi. Migliaia di uomini, donne e bambini. E di loro non resta che una frase.
Per di più falsa." Quel traffico continuerà per decenni dopo l’abolizione ufficiale, ma nessuno schiavo ha mai raccontato la sua storia: per dar voce a quelle migliaia di esseri umani privati della libertà, incatenati, venduti e trascinati dall'altra parte dell'oceano, Thorkild Hansen va a cercare le tracce dei loro passi nella Guinea danese, l'attuale Ghana, lungo le rive del Volta, tra le rovine dei forti che dominavano con le loro mura bianche quella costa bordata di palme e battuta dalla risacca. E come guida si serve di diari, lettere, documenti lasciati da sette "testimoni oculari" che si sono succeduti nel corso di due secoli tra quelle mura: un tenente, due sacerdoti, un mercante, un medico, un contabile e un governatore. Spinti dall'ambizione, dall'avventura o da ideali, chi approfittando di quel commercio e chi combattendolo: "gente comune, buona e cattiva, ma per lo più buona, forte e debole, ma per lo più debole", che, con le proprie vicende, è parte della storia, tra i vincitori o tra i perdenti, ma più probabilmente solo impotente davanti a un meccanismo ben più vasto che chiama in causa re, ricchi e filosofi, che siano Hobbes, Kierkegaard o Rousseau. Non sarà forse quando non è più redditizio che si ferma quel traffico diventato illegale? Il bisogno di rendere una tardiva giustizia a quei dannati che, come nell'Inferno di Dante, non proiettano ombra nella storia, porta Hansen a raccontare i destini di singoli che non fanno che porre "le solite vecchie domande": l'uomo è cattivo? è buono? o è solo debole?
He was seeking justice for those he loved . . .
Adam Hilliard, secret Earl of Keswick, lives for one thing: To kill the man who slew his parents. Raised in secrecy by the League of the Blade, he would do anything to restore his family's honor. She was desperate to escape propriety . . . Lady Florence Becket is the key to his revenge. But when he kidnaps her, Florrie is neither frightened nor furious, as most other young ladies would be. The bold and powerful stranger who spirited her from her father's castle could give her the freedom and adventure she craves. They would find far more than they ever desired . . . She is moved by his quest. He is captivated by her courage. They have no defense against the passion ignited by a single kiss. Adam has taken her from all she's ever known—but now Florrie will delight in her scandalous seduction.