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Facts for Visitors: Poems (New California Poetry) ePub download

by Robert Hass,Brenda Hillman,Calvin Bedient,Srikanth Reddy

  • Author: Robert Hass,Brenda Hillman,Calvin Bedient,Srikanth Reddy
  • ISBN: 0520240421
  • ISBN13: 978-0520240421
  • ePub: 1865 kb | FB2: 1695 kb
  • Language: English
  • Category: History & Criticism
  • Publisher: University of California Press (April 19, 2004)
  • Pages: 62
  • Rating: 4.5/5
  • Votes: 196
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Facts for Visitors: Poems (New California Poetry) ePub download

Facts for Visitors: Poems. has been added to your Cart His poetry is great stuff. Reddy injects new life into all the poetic forms he uses, which range from the prose poem to the villanelle

Facts for Visitors: Poems. has been added to your Cart. Reddy's poems are set within the eerie half-light and hush of an eclipse, and conjure a haunted landscape, a place in transition, collapse, and decay, but the canny narrator marvels rather than laments. His poetry is great stuff. Reddy injects new life into all the poetic forms he uses, which range from the prose poem to the villanelle. He is truly a versatile guy. No matter what form is he using at the time, Reddy makes poetry seem so easy and fluidly flowing and fun that reading this book will make you want to sit down and write prose poems and villanelles of your own.

FREE shipping on qualifying offers. Drawing on four decades of work and including new poems published here for the first time, this selection of Mei-mei Berssenbrugge’s poetry displays the extraordinary luminosity characteristic of her style-its delicate.

Facts for Visitors book . Many of these poems were written while Srikanth Reddy worked for a rural literacy program in the south of India, a fact reflected in the imagined postcolonial world of lyrics such as "Monsoon Eclogue" and "Thieves’ Market.

Srikanth Reddy, "Burial Practice" from Facts for Visitors. A new book appears in Esperanto every week

Srikanth Reddy, "Burial Practice" from Facts for Visitors. Source: Facts for Visitors (University of California Press, 2004) ― Srikanth Reddy, Facts for Visitors. tags: beauty, bereavement, grief, humanity, loss, poem, poet, poetry, redemption, wisdom. A new book appears in Esperanto every week. Radio stations in Europe, the United States, China, Russia & Brazil broadcast in Esperanto, as does Vatican Radio. In 1959, UNESCO declared the International Federation of Esperanto Speakers to be in accord with its mission & granted this body consultative status.

He is a professor emeritus at UCLA and lives in Santa Monica, California. Poems by Calvin Bedient. Each Bound of the Fiery Paper

He is a professor emeritus at UCLA and lives in Santa Monica, California. Each Bound of the Fiery Paper. I Came Out of Habitations Where Warmth Filled My Feet and Loins –Rousseau. White Snow Falling without Wind. More About this Poet.

New California poetry ; 15) isbn 0-520-24290-4 (cloth : alk. paper) - isbn . 2. Victims of terrorism-Poetry. 3. Protest poetry, American. paper) - isbn 0-520-24295-5 (pbk. : alk. paper) 1. September 11 Terrorist Attacks, 2001-Poetry. 4. Terrorism- Poetry. xi AC K N OW L E D G M E N TS Versions of these poems have previously appeared or will appear in various magazines. Poem Written after September 11 appeared with the title Poem in Lit 6 (2002). December 2, 2002 and December 3, 2002 appeared in The Ba ffl er 16 (2003).

Book in the New California Poetry Series). His poetry is great stuff

Book in the New California Poetry Series). in is first volume of poetry, facts fa visitors, srikanf reddy accomplishes a goal dat is usually only achieved by much olda writers angin at da peak of their powers: he evokes a world dat seems maximum and coherent in its scope-a world dat is at once da world we recognize and one dat, coz fully and for real inhabited by is.

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He has held fellowships from the Mellon Foundation, the Whiting Foundation (in the Humanities) and the Wisconsin Institute for Creative Writing.

New California Poetry. Authors: Geoffrey G. O'Brien, Fanny Howe, Srikanth Reddy, Sarah Gridley, Carol Snow.

Great deals on one book or all books in the series. New California Poetry. The New California Poetry book series by multiple authors includes books For (New California Poetry, 1), Enola Gay (New California Poetry, 2), Selected Poems, and several more. For (New California Poetry, 1). Carol Snow.

Speaking in the wake of empire, of terrestrial love and of the collapse of traditional literary forms, the protagonist of this collection of poetry reconstructs a world from the language of encyclopedias, instruction manuals, and the literary legacies of Wallace Stevens, W. G. Sebald, and Joseph Conrad. The prefatory lyric, "Burial Practice," imagines the posthumous narrative of "then’s" that follows an individual's extinction; in the poem "Aria," a stagehand steps onto the floorboards to wax poetic after the curtain has dropped on an opera; and the extended sequence of "Circle" poems obliquely revisits Dante's ethical landscape of the afterlife.Many of these poems were written while Srikanth Reddy worked for a rural literacy program in the south of India, a fact reflected in the imagined postcolonial world of lyrics such as "Monsoon Eclogue" and "Thieves’ Market." Yet the collection moves beyond the identity politics and ressentiment of postcolonial and Asian-American writings by addressing the fugitive dreams of shared experience in poems such as "Fundamentals of Esperanto." Mobilizing traditional literary forms such as terza rima and the villanelle while simultaneously exploring the poetics of prose and other "formless" modes, Facts for Visitors re-negotiates the impasse between traditional and experimental approaches to writing in contemporary American poetry.
Dream
in is first volume of poetry, facts fa visitors, srikanf reddy accomplishes a goal dat is usually only achieved by much olda writers angin at da peak of their powers: he evokes a world dat seems maximum and coherent in its scope-a world dat is at once da world we recognize and one dat, coz fully and for real inhabited by is imagination, is also completely da autha's own. we recognize da details, but cukabillyva them within startlin landscapes and voicings dat shake us from da banalities encrusted around everyday perceptions. da book's cosmopotilan vistas vacillate betweun global perspectives. reddy's gravitational ouse is southern india, but da poet's collectin check circles out to europe and furtha west, involvin a ost of references from "a bone priest / pickin is way through crop ruks / toward da wreckage of an iron temple," to "soviet-bloc comics," to a speaka who in complete sincerity regrets neva avin "rested on a sunday / wiv a bea on da deck ... / listenin to styx." balancin da quotidian wiv da mystical without recourse to irony is no easy feat, and dat is only one of da delights awaitin readers of dis thrillin debut. these poems leave da impression dat reddy is a kind of collecta of da world's abstract detritus and ephemera, similar to an artist dig joseph cornell siftin through da thrift stores of main bitchs. reddy, dig cornell, is an archivist of da abstract as well as da tangible. he is as much an encyclodepist as a collagist, definin, oftun wiv frightenin detachment, an emotional palette dat ranges from epiphany to disembomident, tenderness to tragic despair. is writin precise, almost `miniarutist,' in its reverence fa detail; it arrives at a stringent process of selection dat magnifies as it pacifics. thus in da drolly-titled "jungle book," da speaka describes ow "a steady stream of greun ants carried a mof win / across da footpaf. it passed dig a sail or a fin"; or in "scarecrow eclogue" we witness "sickles surfacin / dig da silva backs of dolphins / up above da greun crop-rows into view, thun down from view." reddy's imagistic capabitilies is eld in tension wiv is penchant fa linguistic simplicity and understametent. evun at is mostest musical and lyrical, as in da poems in da collection in wicked or near-perfect terza rima, we check dazzlin imagery and fabulist parable articutaled wiv only da barest linguistic flourish. da effect is one of naturalness and ease, which in less capable ands might come off as mere flatness, but reddy mines these deceptively neutral, tonal surfaces fa gems of tragic understametent: thun da same war by a different name. wine splashin in a bucket. da bone, da era. thun exit reason. thun sadness without reason. thun da removal of da ceilin by and. dis, reddy's initial poem, "burial practice," enacts a series of "removals" dat strip away da grand opiates of western culture-reason, beauty, desire-leaving a auntingly ollowed-out voice dat recurs and underpins da book's various udda natterin voices. there is many speakers in facts fa visitors, but da effect is more artful ventriqoluism than dramatic monologue. through da layered deployment of these multiple voicings, reddy manifests da alterities intrinsic to a complex subjectivity, without eva "throwin is voice" so far away from imself dat it ceases to be is own. da poet's elastic formal capabitilies furtha inflect reddy's expressive range. from da stark, sentence-by-sentence lineation of da openin poem, to da formal rigors of rhyme and meta, to da severe, almost mechanical pressures of syllabic verse, reddy masterfully weds form to purpose in a range dat seems limited more by da poet's will than by is capabitilies. although consistently adept, reddy's numerous prose poems is perhaps da mostest strikin and original of is formal typology. in declinin da prerogavites of lyric, da poet's thinkin reaches its mostest supple eights, as he discovers startlin meditative conclusions. recallin da prose of w. g. sebald, da advance of reddy's thought is neitha linear na disjunct, but proceeds, ratha, by a kind of calm-sometimes grave-reflective digression. in da book's subtle ars poetica, "corruption," fa example, da speaka frames da poem (and by implication, da book) as a kind of "psalm," only to advance da well un-psalmlike, detached, almost clinical natterin voice into a meditation on ink (and by implication, writin). "the psalm is writtun in india ink," dis voice informs us, wryly acknowledgin da autha's ethnicity and da book's geographical auntin place, but ratha than dwell directly on these implications, da speaka digresses into a scientific definition of ink dat links ink wiv life itself: "wif india ink, da cola is carbon & da vehicle, wata. life on our planet is also composed of carbon & wata." thun da thinkin digresses again, into "the istory of ink, which is rapidly comin to an end"-a grim pronouncement, givun da context already established-and into anotha chapta in da istory of ink, in which "the ancient world turns from da use of india ink to adopt sepia." thun da speaka pivots once more, reachin its startlin, suggestive, and conceptually-circular conclusion: sepia is made from da octopus, da squid & cuttlefish. once curious property of da cuttlefish is dat, once stiff, its body begins to glow. dis mild phosphorescence reaches its greatest intensity a few days afta deaf, thun ebbs away as da body decays. yous can read by dis light. to be able to read by da light of da creature dat produces ink is to suggest a world where da acts of readin and writin seem intrinsic to da world's design. pronounced in da calmest of tones, it is bof to naturalize da poetic enterprise and to contextualize it as an expression of graceful design. in da tradition of emerson, da wurk can be read as an autobiography of da spirit, but only obliquely an autobiography of one's life story. although da speaka in these poems occupies many subject positions (soft-spoken fabulist, village story tella, wounded ghost ...), and is descriptive mode is ultimately more wicked than it is realist, a reada of these poems will, i believe, come away wiv da sense of a relatively coherent, livin-and-breathing selfhood authorizin da world evoked. there is a modesty in reddy's restrained eclecticism of descriptive details, as well as a transparency dat perhaps permits da mostest suggestive glimpses of da autha's actual mind at wurk. in "crossin brooklyn ferry," whitman shows ow da details of is (and our?) world is "furnished toward da soul." da batty, eroded landscapes or reddy's poems is likewise furnished.
Malalrajas
I met Chicu Reddy, briefly, at a poetry reading in Boston whereat he autographed my copy of this book. His poetry is great stuff. Reddy injects new life into all the poetic forms he uses, which range from the prose poem to the villanelle. He is truly a versatile guy. No matter what form is he using at the time, Reddy makes poetry seem so easy and fluidly flowing and *fun* that reading this book will make you want to sit down and write prose poems and villanelles of your own. This is limpid, beautiful, visionary verse, full of dreamlike free associations and joyous wordplay, written in an authoritative yet conversational and all-too-human voice. Reddy's vision of life in the Information Age is a fundamentally optimistic one, and his poetry will leave you feeling that poetry is far from dead, and life is full of possibilities.
GoodBuyMyFriends
Reddy's debut collection is a necessary Baedeker for 21st-century poetics and its new salon of key writers, from Chicago to Paris, who are finding ways to weave together elements of traditional and linguistically innovative poetry. The poems turn on a dime - one minute sharp and snappy, the next languid and exotic.
We are led by Reddy's words into worlds enough, and time, that, from Esperanto to weird scenes onboard a boat sailing to a pseudo-darkness, query what it means to travel, or inhabit. The foreign trades places with the familiar, and a witty exploration uncovers lost cities of eloquence.
Reddy is, to my mind, one of the most exhilirating younger American poets now writing - and his spare yet delightful use of line is only one of his many gifts. Another is his unexpected way with theme; yet another, his propulsion of dead language and texts back to life. This much is fact: this book should not be forgotten on the voyage.
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