Preventa de eBooks de Poesía contemporánea española del XIX al XXI

Between now and then, I will offer you A fist full of rock cress fresh from the bank The valley tips of garlic red with dew Cooler than shallots, a breath you can swankIn the village when you come. At noon-day I will offer you a choice bowl of cawl Served with a lovers spoon and a chopped spray Of leeks or savori fach, not used now,In the old way youll understand. The din Of children singing through the eyelet sheds Ringing smith hoops, chasing the butt of hensLynette Roberts is one of the most astonishing and brilliant poets of the twentieth century. Though published by T.S. Eliot and Faber in the 1940s and 50s her work unjustly fell off the radar for many years until the groundbreaking edition of her collected poems published by Carcanet in 2005. Twenty years on, this new edition contains an additional sixty-five previously uncollected and unpublished poems by Roberts, and a new epilogue highlighting her growing importance to our understanding of twentieth-century poetry.

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

«Un canto de denuncia, testimonio fidedigno de la violencia en Centroamérica».Fiel a su compromiso poético, William González nos regala su confesión más humana. El poeta que pudo haber empuñado un ar

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.

A Poetry Book Society RecommendationJohn F. Deanes new book follows the publication of his career-spanning New and Selected Poems, which was published on the occasion of his eightieth birthday in 2023 and shows no relaxation in his descriptive and lyric powers.Irelands foremost living religious poet, the new book includes a sequence, Of Human Flesh, which takes Easters rituals as its occasion, and dwells on its continuing purchase and meaning as the poet remembers others and walks a landscape where, sometimes, as he puts it, the spiritual and material worlds come together:all here fits together, oxbow and pillow-stone, holon and fractal, stunning, admonishing, this morphogenic field.The poems bear witness to a number of different Irelands, and one memorable sequence tracks a family heirloom, a carriage clock, through three different marriages in 1897, 1906 and 1940. Alive to what is comical and even enchanting, his steadfast faith is as well captured in his grip on a childhood memory of Jonah, his Bunnacurry mule, big and raw, / stubborn in hardship and unwilling, with whom he is partnered in what the poem calls a slow, uncomely, cosmic dance.

Miles burrows, the master of humorous, oddly profound poetic sketches and dramas, returns with a new book of what he calls incidental verse, written in England and abroad, concerned with sickness and ageing as drama, where clinical situations are reflected in a series of vignettes staged between reality and dream.The poems characteristically mordant observations alight on subjects from a childs death to a shaman performing a ritual ceremony for the journey between Heaven and Earth, or the image of wheelchairs pushed under a tree by the Thai carers in a poem which dwells on how ageing people pass the day in different countries.Burrows knows that these reminiscences are in danger of falling back on their own materials natural comedy, like a spider continually struggling to get out of an empty bathtub as one poems title has it. In another poem, a moorland pony stuck fast in a bog, sinking, is rescued by a team with a jeep who attach a belt round him and lug him out.These poems are second thoughts, cartoons, esprits de lescalier, sybils leaves, poems at a tangent, unspoken repartees. Like sketches done in a cafe by a person absently rubbing his thumb into some spilt coffee...

Answerlands is the place children go in their minds when looking for a correct answer without really thinking. It is also a fairy-tale world of quest, resolution and dissolution, glimpsed in a teachers dream. And it is nightmare country, disfigured by fear and systemic violence.Joe Mindens second collection, Answerlands, explores the curiosity-destroying, harmful potential of school even as it celebrates the erring minds of teacher and student, which make encounter possible.

The Dream Songs is an epic of the American twentieth-century psyche. Henry, its protagonist, falls in and out of love, and falls in and out of the hospital; he sings of joy and desire, and of being at odds with the world. He is lustful; he is depressed. In the words of Shane McCrae, he is a hero for a disenchanted nation, from which once-common beliefs have mostly fled. He does not mourn the disappearance of those beliefs; he has held onto the beliefs he could.In Only Sing, McCrae has gathered 152 additional dream songs that Berryman never saw published in his lifetime. This collection is a continuation of Berrymans vast project, an additional set of poems that crack language open, shot through with searing insight.

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

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.

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.

En estos poemas Monteleone abre un cauce al vértigo del amor que se astilla en el instante, a la curva de un cuerpo que se hace música y amplifica la huella del tiempo. "Me enloquece el tiempo", dice. Evoca como se renueva el mundo en la felicidad de los amantes o como se enmascara el deseo en una mirada fugaz en un atardecer veneciano. Une la Pompeya sepultada con la del barrio, la de la inundacion y todo el cielo y la foto de los padres, un destello sobre la nada. El poeta hace un lecho donde cava la memoria y cabe el tiempo. Pule en la lengua; lleva y trae por esa zanja los dones de los abuelos: frutos, ataudes, canzonettas y leyendas, y ese caracol donde se escuchan todos los vientos.

Leitoras e leitores brasileiros já conhecem, há bastante tempo, alguns dos grandes nomes do modernismo em língua inglesa, como Ezra Pound, Mariane Moore e William Carlos Williams, mas havia uma grande e inadmissivel lacuna: a obra poetica de H. D., figura fundamental da poesia do seculo passado e indispensavel para a contemporaneidade. Euridice e outros poemas, antologia organizada e traduzida por Camila de Moura, e a prova de que sua presença entre nos era urgente.O livro apresenta 37 poemas dos primeiros livros de H. D. Jardim do mar (1916), O deus (1913-1917), Himen (1921) e Heliodora (1924) , posfacio e glossario elaborados pela tradutora, alem de um perfil da poeta escrito por sua filha, Perdita Schaffner.Nos versos de H. D., povoados de divindades gregas, tem-se a impresso de estar entrando noutro tempo, noutro mundo, mas poucas paginas bastam para que se perceba uma poeta radicalmente moderna atualissima sob varios aspectos que viveu muitas vidas. Em torno dela, giram no apenas referencias ao mundo literario, mas tambem a Freud, cinema, multiplas relaçes amorosas, duas guerras mundiais, a gripe espanhola, como se a primeira metade do seculo XX se agitasse em torno de uma unica figura.Os poemas reunidos formam uma ponte extraordinaria entre passado e presente, feita no apenas por meio da traduço (a estreia de H. D. em livro se deu com uma traduço para o ingles dos coros de Ifigenia em Aulis, de Euripides, em 1916), mas sobretudo pela incorporaço criativa da poetica e da cultura gregas em sua obra "imagista", marcada pela busca de uma expresso concisa, clara, sem adornos ou palavras superfluas.Para lidar com seu mundo, H. D. encontrou na Antiguidade um campo fertil para experimentaçes, e nas deusas gregas a mais perfeita mascara. Assim, se fez precursora de tantas poetas (como a canadense Anne Carson e a brasileira Luiza Romo) que atravessam essa ponte para romper o silencio imposto as mulheres numa historia contada sempre pelos homens: "arriscarei minhalma inteira/ por essa beleza".

Manu Erena, el fenómeno de la poesía joven, reúne en un solo libro sus poemarios más aclamados con nuevos poemas inéditos.«La poesía me odia,porque me hace darme cuentade que escribo lo quenunca seré

Com este corajoso e instigante livro, Fernanda Marques Granato volta seu olhar cuidadoso para a obra pouco difundida do gaúcho Qorpo Santo (José Joaquim de Campos Leão), o dramaturgo, poeta, jornalis

Edición de los ocho primeros libros y poemas inéditos y dispersos del gran poeta argentino.Prólogo de Diana Bellessi.Este primer volumen de la Poesía completa de Juan Gelman reúne sus ocho primeros libros, escritos integramente en Argentina. Desde su poemario inicial, Violin y otras cuestiones, que inaugura un dialogo inedito entre tradicion y vanguardia, hasta Relaciones, su ultimo libro anterior al exilio. La presente edicion recoge tambien una seleccion de poemas dispersos compuestos entre 1951 y 1974.Gelman sale a la escena de la poesia con una voz pristina y transparente, hablando de lo que le importa, sobre todo de las penas, pero tambien de las alegrias infimas, algo que persistira en la totalidad de su obra. Pienso por ejemplo en el poema "Viendo a la gente andar", donde los endecasilabos van al trotecito, haciendo crecer la emocion, mientras el poeta nombra las acciones simples y diarias de cualquier vida humana y usa adverbios y adjetivos que no matan el sentido, sino que lo envuelven en una caricia.Diana Bellessi