Preventa de eBooks de Poesía contemporánea española del XIX al XXI

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

This is the first substantial selection of poems by SuAndi, whose work as performer, writer for stage and arts curator has recently been celebrated by the award of the Benson Medal by the Royal Society of Literature, of which she is an honorary fellow, for services to literature across her career, which recognised her poems fierce, vividly powerful and dramatic depictions of womens lives in Manchester, the city she grew up in and of Black communities and the lives of those whose voices are not often heard, even now, in contemporary British literature.In this selection, the rhythms of speech and performance echo off the page. Though she is as at home with the dramatic monologue as the lyric and the ballad, SuAndis poems defy easy categorisation and make visible on the page a remarkable trailblazing writing career.

La poeta incita a mirar lo que nos rodea con la pausa que necesita la vida, para darles forma a nuestros sueños y nuestra libertad.El miedo es una emoción universal que nace del instinto más profundo de supervivencia, una alarma interior que nos advierte del peligro y nos hace pensar, reflexionar antes de saltar al vacio. En ese espacio cuarteado al que nos aferramos cuando sentimos el vertigo es donde arraigan estos poemas de Rocio Rojas-Marcos. La primera parte de Miedo, que da su titulo al libro, esta formada por cuatro secciones donde la palabra desbordada fluye como la corriente torrencial de un rio. Son poemas en los que, mirandose desde la distancia, la voz poetica se aleja de los miedos que necesita conjurar, hasta llegar al ultimo de ellos donde salta como si se defendiese ante un espejo de si misma. La segunda parte, "Gaman", palabra japonesa que nombra la capacidad de soportar las dificultades sin mostrar debilidad, esta formada por treinta haikus escritos al mismo tiempo que los poemas, a modo de breves resumenes y destilacion final de todas las palabras antes dichas.

En la celebración de su 80 cumpleaños, Pere Gimferrer condensa en Balada décadas de búsqueda poética en un único canto de deslumbrante intensidad. Con Balada, Pere Gimferrer nos presenta una obra plena de madurez: un poema erudito y torrencial de naturaleza sinfonica, en ocho movimientos que compendian la memoria lucida del mundo y del lenguaje, sus fastos verbales e imaginativos, entre claroscuros y fulgores. Balada es la celebracion de una vida y una escritura, incesante, indagatoria, visionaria, a traves de un repertorio de referencias culturales, literarias, cinematograficas y urbanas que constituyen la memoria encendida de Gimferrer. Asi, sus versos destellan entre los ecos de Calderon y Shakespeare, Cernuda, Alberti o Keats, las ciudades de Barcelona y Madrid a Paris y Delhi--, las peliculas y los pintores sobre los que pivota su memoria, a partir del Greco y su retablo manierista.A sus ochenta años, Pere Gimferrer condensa en su escritura decadas de busqueda poetica en un unico canto de deslumbrante intensidad. Esta Balada es una ceremonia celebratoria.Este libro no solo celebra los 80 años de un creador ineludible en nuestra literatura: confirma una voz que, desde hace decadas, nos recuerda que la poesia es el arte de volver tangible lo que abrigan las sombras.

«El legado de Ernesto Cardenal nos enseña que la poesía es una búsqueda de la verdad con vocación de atravesar continentes, constelaciones y espíritus» [Aitana Monzón].La obra de Ernesto Cardenal (Gr

A reunião da poesia de Adão Ventura (1939-2004) era há muito aguardada. Nascido numa terra que, para nossa sorte, já foi e continua sendo cantada por tantos grandes poetas, ele lançou uma voz única d

to be affected in many ways is the sole ambition of the daysthrums grows out of Clarks celebrated collection, that which appears, in an extension and affirmation of that books particular aesthetic. Including poems first published in London Review of Books and New York Review of Books, the poems closely observed landscapes tell of presence and loss, of change and precarious continuity.One of Scotlands most distinctive writers, a vivid minimalist, ruralist and experimentalist, his selected poems, The Threadbare Coat (2020), is also published by Carcanet.

The Banquet explores the fragile, intricate links between language and longing how words can reconstruct great cities out of memories and dreams, tear them apart, or carry them from one place to another, as if each city, house and chamber were made of sonic and visual images rather than walls and bricks. Moving between the worlds of philosophy, theatre and poetry from Dantes Florence to Wittgensteins Cambridge; from Tom Stoppards theatre stage to the harsh landscapes of Rimbauds poetryThe Banquet explores the ever-growing tensions between words and action, knowledge and ethics.

Men of the Same Name is satirical, elegiac and memorable, bringing together lost books, burned libraries, Goethe, the lives and deaths of Presocratic philosophers, Paris, statues of Niobe, patterns in history, war, displacement, the evils of ambition, and Pachynian tuna.What if, Jones asks, instead of using the ancient world as a metaphor for modern life, the poet uses modern life as a metaphor for the ancient world? Working in this way between allegory and reality, the book rethinks poetrys changing relationships to politics and our historical moment.A celebrated translator of Cavafy, here Jones blends translation (Goethe, Lucian of Samosata, Diogenes Laertius) with original poetry so that the world of his writing is distant yet familiar, both unequivocally our own and boldly inventive.

SHORTLISTED FOR THE T. S. ELIOT PRIZEI guess I must have been in two minds about the new day as the daylight gods began to march in straight lines going I dont know where.from The Spare RoomIn his first collection for more than a decade, Tom Paulin revisits themes of place, occupation, conflict and legacy, primarily in the context of his native Northern Ireland. Stories and memories, even histories, are shown to be both frail and persistent, troubling and vital. There is a powerful austerity in play as he sets aside the rhetorical force and linguistic dazzle for which he is renowned, to speak simply of later life and the losses it brings: if only some idea / could find its way / through enemy territory / then Id at last begin / to look up at the sky. As outward-looking as ever, he also includes here intimate and resonant versions from Brecht and Ronsard, and from the contemporary Palestinian poet, Walid Khazendar.To say the [Fivemiletown] was one of the best books of the Eighties isnt enough: it is one of the best books I know, or for that matter, am capable of imagining . . . what British or Irish poet was doing anything like this? Michael Hofmann, London Review of BooksTom Paulin is among the best of a great generation of Irish poets.Sunday TelegraphPaulin often creates the illusion that the poem is being made up as he goes along. Spontaneity is difficult to pull off in poetry but it is a Paulin forte. The casualness is only possible because of the absolute control of form, each poem a windbreak for his words . . . Kate Kellaway[Tom Paulins] short, punchy poems are characterised by their ability to evoke images through the smallest details, or through sudden shifts of register ... Mr Paulins poems fight against lazy uses of language ... in Loves Bonfire Mr Paulin demonstrates the strength that comes with saying less, not unlike relying on only a spark for warmth.The Economist

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".

The ancient Greek word for tragedy () is a compound of goat () and song (). In Phoebe Giannisis Goatsong, the seam that connects human and animal, myths and history, is the body.In Giannisis language, life obeys myth. A man places a screaming cicada in his mouth, reminding us of a scene from Platos Phaedrus, where Socrates claims cicadas to have been humans who became entranced by the invention of singing, and didnt stop to eat or drink. When the goddess Thetis dips her newborn son, Achilles, into the River Styx to protect all but his famous heel where her hand grips, were told the place of the mothers grip / is the mark of death. Adjacent to the mythical setting is the material, where the rumination of goats, their digestive cycle chewing, swallowing, then recalling food back into the mouth to be reconsidered begins after weaning, and is lain alongside how we think: from the moment of separation / from the mother / they ruminate. In these lyric enactments, all is transformative and transformed; territories of land, the body and history are blurred, and nothing is still.From Homer to Donna Haraway, Derrida to state archives, klephtic ballads and rebetiko, to Parmenides and Giannisis dog, Ivan, the many human and animal voices of Goatsong form an incantatory lyricism and layered engagement unique in literature.

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

Bringing together memoir, ekphrasis, and satire, plastic is based on Matthew Rices experience working in a plastic molding 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. plastic is a poem about feeling a calling whilst submerged in the world of menial labour, 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 imaginings.

Neon Manila, the debut poetry collection by Troy Cabida, is an exploration of the queer Filipino body in all of its skin and glitter. Under the spinning disco ball, Cabida captures facets of pop music, fashion, jewellery, dating mishaps, and of London life. These dazzling poems seek perspectives on the relationships we build with ourselves, how the external world shapes us, and how we live with being both fragile and unbreakable.At their luminous heart, Cabidas poems range between bittersweet longing, irresistible openness, and the desire to belong and to break out particularly from the various kinds of discrimination that attempt to confine us. Neon Manila is a glorious, bold, wholehearted resistance to that, full of sparkly and sophisticated poems that refuse to dim their light.A POETRY BOOK SOCIETY RECOMMENDATION

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.

Os orixás se erguem numa guerra contra o Panteão dos deuses gregos; um Casanova bon vivant se gaba da própria liberdade e desfila pela Zona Sul do Rio, mas no fundo vive submisso à fortuna e à person

A palavra diz os sentimentos. Desde os inícios. Da vida, dos dias. Tateamos com cuidado o que não sabemos até sabermos. Até sabermos? A palavra é dúvida, também. Nos inícios, nos invadimos de amanhec

Khalvat e una raccolta poetica che prende il nome dallantico termine persiano che significa isolamento e rifugio, indicando nella tradizione sufi il raccoglimento interiore necessario per la contemplazione. Lorenzo Foltran accompagna il lettore in un viaggio poetico intimo attraverso tre sezioni distinte. La prima parte esplora temi universali di amore e spiritualita, lontani dalla materialita del mondo contemporaneo, dove lombra dei due amanti trova riparo vicino alla fonte spirituale. La seconda sezione affronta il legame amoroso che resiste al tempo e alle fatiche della quotidianita, in un confronto continuo con la realta economica e le sue contraddizioni. Lultima parte immerge il lettore in un mondo liquido e privato, dove il naufrago-protagonista naviga tra ricordi e proiezioni future, in un dialogo costante tra presente e altra vita. Foltran, gia autore di Il tempo perso in aeroporto e vincitore del Concorso Nazionale Sinestetica, conferma la sua capacita di coniugare lirismo contemplativo e riflessione esistenziale, offrendo una poesia accessibile che parla al cuore dei lettori contemporanei.

UMA DANÇA POÉTICA ENTRE PASSADO E PRESENTE, EM QUE O TEMPO REVELA SUA FORÇA TRANSFORMADORA E CADA VERSO É UM CONVITE A SE DESCONHECERNo alto de seus 74 anos, a escritora, educadora e filósofa Maria Vilani sabe bem do poder que o tempo tem sobretudo como um fator emancipador, capaz de possibilitar rumos inesperados, mas capazes de nos impulsionar e nos fazer melhores.Neste livro, uma celebraço lirica da vida, da memoria e das transformaçes, a autora compartilha poemas que atravessam as delicadas camadas da subjetividade humana, refletindo sobre a experiencia de existir com sensibilidade, sabedoria e esperança. Na ciranda do tempo nos convida a introspecço e a (re)descoberta de quem fomos, somos e seremos.