Preventa de eBooks de Poesía contemporánea española del XIX al XXI

The definitive edition of Plaths poetry for readers, scholars and studentsSylvia Plaths first Collected Poems was published in 1981. This present volume emerges out of decades of research and almost doubles the content of that previous edition.The book is in two parts. It begins with the poems Plath composed in the last ten years of her life and on which her reputation is founded, and follows with those poems written in childhood and through her student years, sourced from diaries and letters, published in school magazines, and copied into the manuscript book that Plath kept for her own records. In each instance, the editors have dated and selected the most authoritative text, and provide critical notes that offer insight into Plaths extraordinary evolution as a poet - from her early, precocious determination to be a writer to her place in literary history as the twentieth-centurys most fiercely burning star.

T. S. Eliot took George Barker onto the Faber poetry list in 1935 with Poems, when Barker was only twenty-two. This was the beginning of a publishing association which would endure through nineteen further volumes. There was an earlier Collected Poems published in 1957, but this edition, published in 1987 towards the end of the writers life, is the definitive edition. Here, readers have access to the contents of all of those volumes together with lesser-known work published by smaller presses and journals both in the UK and abroad. The book allows us to follow the evolution of a major talent who subscribed to no school and scorned all affiliation, but whose work is uncompromisingly true in both its stylistic integrity and its unswerving conception of poetic responsibility.His work was passionate, intellectually challenging and highly original, his language incantatory and often hypnotic. Peter Wilby, Guardian

La obra de un poeta imprescindible, reunida en un solo volumen.«Poéticamente atesora una austeridad y una sobriedad que entroncan más con la poesía inglesa que con la latina, pero que se ocupan de un

Poemas que encarnan la conciencia de una mujer de nuestro tiempo y una rabiosa reivindicación de la escritura y del deseo.Cara de antigua es un poemario íntimo y vigoroso que pone palabras a la experiencia de crecer en un ambito que vulnera los cuerpos y la subjetividad desde la niñez. Lucia Baskaran traza un itinerario de la construccion de una identidad marcada por el amor, el deseo, el genero, el aborto, la culpa y la violencia patriarcal.La infancia, los afectos, la maternidad, los dictados de belleza y la disidencia corporal aparecen entrelazados con imagenes del cuerpo de una honestidad conmovedora. A traves de sus versos, que oscilan entre la furia y la ternura, la autora desmonta mitologias domesticas, religiosas y sociales, y denuncia con ironia el discurso patriarcal que pretende reglar los afectos, el deseo y los cuerpos.El poemario Cara de antigua supone la conciencia encarnada en una mujer de nuestro tiempo que ha habita los margenes, y que desde alli construye una poetica de la resistencia: rabiosa reivindicacion de la escritura como forma de volver a nacer.

La recopilación de todos los poemas que Raúl Quinto ha escrito hasta la fecha, con un apéndice inédito.Un idioma siempre al borde de la extinción recoge toda la producción poética publicada hasta la fecha por Raul Quinto desde que en 2002 apareciera su primer poemario, Grietas. Esta edicion, que abarca mas de dos decadas, contiene los seis libros que le siguieron, asi como tambien una antologia de poemas dispersos y un librito inedito, escrito durante los dias del confinamiento, titulado Cuaderno de la peste de 1348 y que aparece aqui por primera vez.Su poesia, a medio camino entre lo lirico y lo que Luis Bague ha llegado a denominar instalaciones discursivas, funciona como un mecanismo textual donde se pone de relieve el conflicto permanente entre la realidad y el lenguaje desde un compromiso en el que lo estetico y la busqueda de sus limites pesan tanto como lo politico o lo existencial. A traves de un trabajo formal depurado y en continua transformacion se nos presentan los temas que recorren toda su obra: la historia, el poder, la incomunicacion, la identidad, el horror y la belleza, y que lo han convertido en una de las voces mas relevantes y reconocidas de la poesia española de este siglo.

Rooted in religion, grounded and earthy, the debut collection from the Poetry Critic for the Sunday Times delivers frank and humorous poems about mortality, desire, and the joys and griefs of fatherhood.In Dirt Rich, Richardson digs deep into his past: a childhood in the Nottinghamshire coalfield, his hatch / match / dispatch duties as a Church of England Parish Priest, and years of work with Archaeological Science in Germany.These poems deal with the dirt we dish, the mud we sling, the treasure we bury. In this startlingly honest first collection, love is celebrated, loss confronted, and lifes trade-offs presented do we choose loving or knowing, faith or the void, time or eternity? In coalmines and churchyards and fossil-hunting digs, the hope of resurrection persists. These are poems of personality and beauty, to be learnt by heart and taken to heart.

Words will go their own way, and carry the poet with them, on many a wild goose chase, in and out of the past, haunted by and revisiting the island where he came of age. In the new collection from the Welsh Forward Prize-shortlisted poet, nature writer and editor of the eco-literary magazine Archipelago, McNeillie explores his deep sense, in his older age, of not belonging anywhere other than in mind and in the wild.McNeillie recovers and renews Pytheas the Greeks exploration of fourth century BC Britain and Thomas Pennants account of Wales, but A Wild Goose Chase lays these historical accounts of the natural world beside the authors own experiences. The poems moving and not unmelancholy late recollections blur temporal and spatial boundaries as they stay alive to the impacts of climate change and globalization.

The never-before-published poems of one of the great American poets, edited and introduced by Shane McCrae.Only Sing is a continuation of John Berrymans vast project The Dream Songs. These 152 never-before-published poems are an expansion of this epic of the American twentieth-century psyche. In the voice and figure of Henry - riddled with desire, self-loathing and a permanent sense of being odds with the world - Berryman created, in the words of McCrae, a hero for a disenchanted nation.Berryman never saw these dream songs in print but he was content that if they ever appeared, it would be up to the reader to fit those poems in among the published ones.

I am drawing a map of distances. The swimmer. The sleeper. The dreamer. Another afternoon traipsing the incomprehensible corridors of the brain. Nothing uttered.Alia Kobuszkos poetry is as immediate as it is mysterious. She is unafraid of detonating form or trusting a quiet phrase, and saturates these poems with surreal and sensuous aspects. In this enchanting and piercing debut, strange horses gallop - embodying metamorphic freedom and power. The speaker becomes the rider, the horse itself and even the field, enacting how the poet inhabits and unanchors their subject so that girl and horse / stand still- / field runs through them.

The first English-language collection from one of Indias most hard-hitting writers, these poems brilliantly exemplify writing as an act of resistance. Militant, satirical, and biting, Kalyani Charal pulls no punches in eviscerating paternalistic - and patriarchal - bourgeois socialists who speak on behalf of others.Writing from lived experience, Charal delineates the bourgeois values that fuel the social machinery of caste oppression, while drawing parallels with social and racial marginalisation around the world. Thus, in her poetry, the specificity of Dalit lives in Bengal, a region which prides itself on its Leftist history and enlightened culture, and whose partition into India and Bangladesh has left a legacy of communal tension, refugees, and statelessness, is at the same time the universality of precarity, marginality and dispossession. Finally, there is space for love - wistful and full-throated, with an attentiveness to the natural world that speaks to her claim that "all Dalit woman writers are eco feminists".

Forty years after it was first published, Ted Hughess Flowers and Insects, Some Birds and a Pair of Spiders is presented in a beautifully redesigned edition with a new introduction by the nature writer Tim Dee. The sixteen poems gathered here brim and bristle with the life Hughes generates from the absolute attention he commits to whatever it is he is looking at. His knack for finding a language to animate its subject, without a trace of sentiment or nostalgia, singles out Hughes as one of the truly great poet-interpreters of the natural world.This edition gives full justice to the subtlety of the original watercolour illustrations, produced by Hughess long-term collaborator and friend, the American artist, Leonard Baskin.

Welcome to Kathryn Grays Hollywood or Home, a poetry collection with as much ruthless glamour as any Old Hollywood movie. These worldly-wise poems explore celebrity culture in a mode that is both seriously playful and playfully serious. Here, melancholy and humour, irony and sincerity can be often found in the same poem, creating a rich experience for the film buff or fan of celebrity culture, as the book is full of easter eggs and movie references.Spectres of Hollywood haunt the collection: moguls, politicians, starlets, and monsters. They leap from screen and stage to page, as in Portrait of my Superego as Mommie Dearest: youre / the one swinging the axe, Mommie.Famous actors drop in to entertain, for example in Meryl Streep is my Therapist or Six Ways of Looking at John Cazale, while writers do their best to pitch their best ideas, working hard to convince: Its "relatable". / Its really "relatable" stuff (High-concept).Film memorabilia is explored, likeThe Deer Hunter s bandana, as well as movie-business secrets: the title of As told by Alan Smithee refers to the alter ego that directors use in movie credits when they want to disown their films.Stock characters and plots show up, like the Handome Weeping Boy, and The Meet-Cute, that scene in a romantic comedy where a couple have a first hilarious or cute meeting. Classic 1980s movies like Pretty in Pink andTop Gun make their cameos. Power couples take their place, like Frank Sinatra and Ava Gardner in Night and Day, 1957, and melodrama heightens to Douglas Sirks grand levels in Love. All the stories and characters loom larger than life, and asthe narrator asks, contemplating celebrity Tweets in Fresh Hell,Why cant life be EVERYTHING IN CAPS LIKE CHER?.In decadent celebrity culture, where a star is born every minute and becomes a flop even more quickly, these fierce and funny poems open space for the writer to reassess failures and successes, to overcome writers block, and to remember that we never stop longing for our old dreams to come true. Gray is writing at the top of her game with her much-anticipated second collection. Out of Hollywoods brutal disdain for failure, Gray manages to find spectacle and survival.Grays long-awaited second collection both celebrates and accuses the glamour and imagination of the movies in particular, and of art in general. Whether its Meryl Streep or Ferris Bueller or John Cazale shes writing of, Gray is illuminating, funny, and frequently moving. Underpinning the comedy and satire, though, is a real pain at lifes jolts and times relentlessness: "What happened to the script?", Nick Laird, author of Feel FreeHollywood or Home shines a light on the filmic quality of daily life, reminding us just how thin the membrane between fiction and reality can be. Within its pages we encounter the Mind in various guises: as an invalid from the nineteenth century, a rain-streaked window-pane and (my favourite) a cabinet populated by indescribable figurines. Bristling with energy, humour and kick-ass bravura, at the same time these poems tremble with deeply felt emotion. - Julia Copus, author of Girlhood

Throughout Girling, the boundaries between living and death, between history and present, and how these are preordained for us in the fabric of our DNA, but also via our geographical or cultural spaces, are wrestled and contended with throughout this open-hearted debut collection. Through a personal relationship with illness and a closeness to death, the author asks the reader, I hope its ok to die. I can / be something / like actualised metaphor.Recounted is the story of a father left abandoned in a church, a grandmothers home in a travellers caravan. Grief is portrayed with a tongue in cheek, cosmic register, as the speaker invests in lions mane, attempts to feel super-radiant, and moves into moon pose, while we watch electronic deep-sea claws on YouTube, and google what to do if your mum died last night.Philosophical, funny, pertinent, ecological, global and intimate, this is a collection of poems for the contemporary moment, a book deeply personal yet communal in its intention, beginning from a personal history then resonating outwards, ending on a note so gorgeously hopeful, as life moves towards the speaker, gloriously close.

Moving through somnambulant states, Sleep Gate evokes Inger Christensens description of the necessity for us to dream our way inward. The poems in Sleep Gate push Christensens dream inward further, into biological dreaming itself. Fully absorbed in the fabric of sleep, enfolded into the inventory of dreams, these poems become part of the process of sleep respiration, so that we might consider the world around us from another perspective. Moving through the changing states of peoplesdreamscapes and what might affect them, like nightmares, insomnia and other sleep disorders, Sleep Gate captures the disjunctive, jump-cutting quality of dreams: within the unspoken context of deep-sleep tectonic logic, these poems jump from a time before the clouds are inventoried to the present, from Winters gnashing bruxism to a garden anointed with gluey residue. A collection that, as on waking, assembles the world through distortion and towards clarity.

From the former Poet Laureate, a remarkable contemplation of departure and return.Andrew Motions new collection gives a moving account of the friction and interplay between past and present. In the opening elegies for friends and former versions of the self, and in the long title sequence which completes the book, he explores the ways in which regrets compete with hope, and the appetite for life is always a prey to hard facts of mortality. The energy and reach of these poems opens a new chapter in Motions writing, remaining true to the elegiac subjects which have always been his main concern, while adding new depths of pathos and resonance.

Set during a single twelve-hour night shift in a factory, plastic is a book-length poem exploring the life of the industrial worker turned poet.Bringing together memoir, ekphrasis and satire, Bplastic is based on Matthew Rices experience working in a plastic moulding factory for ten years. Illustrating alienated twenty-first-century Irish labour in poetic form, plastic engages with the inflictions and implications of a post-industrial, post-Troubles society, all while weaving in depictions of factory work from literature, film and the visual arts.Time-stamped to highlight the claustrophobia of the workers experience, this is a poem about feeling a calling while being submerged in the world of menial labour making plastic airplane parts by night, making poetry by day, uniting what Jacques Ranciere calls the labourers in love with the intellectual nights and those intellectuals in love with the toilsome and glorious days of the labouring people.plastics evocation and lucidity moves with grace through working class realities and hopeful imaginings.

POESIA QUE ABRAÇA, PROVOCA E TRANSFORMA — NINGUÉM SAI ILESO DAS PALAVRAS DE PEDRO SALOMÃO.Pedro Salomão escreve com sinceridade. Com vontade, fôlego, urgência... e alma. Ler sua poesia é um caminho s

In 2021, Magorzata Lebda ran the entire length of the longest river in Poland, the Vistula, from its source in the Beskid Mountains to its mouth at the Baltic Sea. She set out to run as a poet, not as an athlete, to use the rhythms of her own body as a means of understanding and connecting to the rhythms of the rivers body of water, under threat of environmental ruin. Her collection Mer de Glace, which won the Szymborska Prize, is the culmination of her remarkable journey, and a profound meditation on the porosity, reactivity and receptivity of both the body and the natural world, and of their influences on one another.

In his latest collection, Ryan Van Winkle explores the themes of abandonment, imprisonment, generational incomprehension and the very notion of how we end up where we are. The poet looks at his life through a lens to get closer to meditate on the anxieties and insecurities of a life, and how we remember and mis-remember, how memories and people can be difficult and at times hurtful to hold onto it. In reading this collection it becomes clear that although these recollections may be ordered, the emotions and impressions surrounding them are not.