Search

Reviews the book "The Exile's Papers: The Face As Its Thousand Ships," by Wayne Clifford.

The article reviews the book "Walking Papers," by Thomas Lynch.

The article reviews the book "Fragments of a Paper Witch," by Marion Campbell.

This section reviews several books, including "Magical Negro," by Morgan Parker, "The Tiny Journalist," by Naomi Shihab Nye and "To the Wren: Collected & New Poems," by Jane Mead.

Dalit literature is the articulation of protest and anger against the injustice and social exclusion the Dalits are subjected to in the caste-ridden, hierarchical society of India. The Dalit authors and critics argue that it is this protest and anger, a new literary strategy which can build the aesthetics of Dalit literature. Dalit literature, however, is yet to form a conceptual standard on which the Dalits can represent and universalise their experience of pain. Many Dalit poets have attempted to build a distinctive aesthetics through poetry. But poetry essentially related to emotion seems inadequate to build a conceptual framework which is essentially an intellectual phenomenon. Though Dalit writers resist the Sanskritised aesthetics of mainstream literature by using their own language, registers and idioms, they nonetheless partake of the mainstream aesthetics when they articulate themselves in poetry. Gopal Guru (2012) claims, "Poetry helps the Dalit in making connections through metaphors but not through concepts" (p. 23). My paper, however, will argue that as Dalit experience is at the centre of a distinct Dalit aesthetics, Dalit poetry based on rich experience can contribute to build a new aesthetics for Dalit literature. My paper will refer to a number of Bengali Dalit poets whose poetry can serve to build a separate aesthetics through poetic rendering of their distinct Dalit experience, conforming at the same time to many principles of mainstream aesthetics. [ABSTRACT FROM AUTHOR]

The article reviews the books "The Mother/Child Papers," by Alicia Suskin Ostriker.

A review of the book "Manifest in Words, Written on Paper: Producing and Circulating Poetry in Tang Dynasty China," by Christopher M. B. Nugent is presented.

Reviews the book "Lampblack & Ash," by Simone Muench.

The article reviews the book "Selected Prose, Daybooks, and Papers," by George Oppen, edited by Stephen Cope.

Reviews the book 'The Paper Doorway: Funny Verse and Nothing Worse,' by Dean Koontz and illustrated by Phil Parks.

The article analyzes the short story "The Aspern Papers" by Henry James. The old letters written in the story are explored. The author discerns the familiar features of the literary property developer instead of poetry. The author also mentions that the difficulties of one kind including biographical details, datings and texts are the stock in trade of the literary expert.

Reviews the book "Paper Cathedrals," by Morri Creech.

Reviews three books about poetry. "Into the Fold," by Jacqueline Turner; "Scissor, Paper, Woman," by Marianne Bluger; "Into the Peculiar Dark," by Anne F. Walker.

The article reviews the book "Fragments From a Paper Witch," by Marion May Campbell.

The article offers poetry criticism of the unfinished poem "The Fall of Hyperion: A Dream," by John Keats, focusing on his use of the term wild Indian leaf. It is said that tree leaves were used as paper in India and that Keats would likely have used the word savage to refer to East Indians rather than to Native Americans.

Reviews the book 'The Bloomingdale Papers,' by Hayden Carruth.

Reviews the book "Of Pen and Ink and Paper Scraps," by Lucien Stryk.

The article presents reviews of books of poetry to be released in Spring of 2014, including "Mad Honey Symposium" by Sally Wen Mao, "Motherland Fatherland Homelandsexuals" by Patricia Lockwod, and "They Don't Kill You Because They're Hungry, They Kill You Because They're Full" by Mark Bibbins.

Reviews the book "White Paper: On Contemporary American Poetry," by J.D. McClatchy.

Reviews the book 'Paper Boy,' by David Huddle.

The article reviews the book "Selected prose, daybooks, and papers," by George Oppen.

Reviews the book "The House of Paper," by Carlos Maria Dominguez, translated by Nick Caistor, illustrated by Peter Sís.

Reviews the book "Literary Autographs: Papers Read at a Clark Library Seminar, 1980," by Stephen Parks and P.J. Croft.

Jayanta Mahapatra is one of the foremost and prolific English poets from India. He has carved a distinct niche for himself; a tranquil poetic voice that sets him apart from his contemporaries. His poetry is replete with different portrayals of women - as wives, lovers, prostitutes, village women, teenage girls, city-bred women and these depictions have very profound metaphorical evocations. His intriguing portrayals of women often transcend beyond the confines of conventional Indian cultural standards and societal frameworks. Through the delineation of women, Mahapatra's poetry focuses primarily on the social and cultural conditions of Orissa where he had lived. This paper aims to explore how women are depicted and represented in a few of Jayanta Mahapatra's poems. The primary objective of this study is to analyse how Mahapatra portrayed women, from representing pure innocence and tradition to encompassing challenging and intricate modern experiences and gendered identity. This study closely examines the sociocultural background, gender roles, and feminist perspectives that are present in Mahapatra's poetic descriptions. [ABSTRACT FROM AUTHOR]

The article reviews the book "A Saga of a Paper Mill," by Laurence Pratt.

Reviews the book "Paper Children," by Mariana Marin, translated by Adam J. Sorkin and Angela Jianu, Irma Giannetti, Mia Nazarie and Liana Vrajitoru.

Reviews two books of poetry about art, "Inner Voices," and "Paper Trail," by Richard Howard.

The article offers poetry criticism of the poem "The Prelude," by William Wordsworth, focusing on the section "Cambridge and the Alps" in Book 6 of the poem. It examines the role of the poem in determining biographical information about Wordsworth from the summer of 1790, when he and friend Robert Jones traveled in Europe and the Alps. The author discusses the poem in light of cartography and a letter written from Wordsworth to his sister during the European tour.

Reviews the book 'The Origins of Evening,' by Robert Gibb.

Reviews the book 'Stone, Paper, Knife,' by Marge Piercy.

Reviews the book 'A Bird of Paper,' by Vicente Aleixandre.

Reviews the book 'The Mutabilities and the Foul Papers,' by Michael Davidson.

Copyright of Signa is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Laboratorio is the property of Universidad Diego Portales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines three poems by three American poets -- W. D. Snodgrass, J. Berryman and A. Ginsberg who subscribe to the confessionalism of the 1950s and 60s being largely spared the complication of clinical depression which plagued the other three major confessionalists -- Sylvia Plath, Anne Sexton, and Robert Lowell. Not having a severe form of it -- Snodgrass -- has resulted in generally more light-hearted texts by them containing irony and yearning which differ in mood from the rather mostly bleak verses of the other three mentioned American poets. These three, however, were also perfectly capable of their own personal darkness represented in verse and in turn did not fail to scandalize with the content of some of their verses. The paper also discusses the power of sincerity in these autofictional poems vs what could have been mere authenticity of dissimulated lived experience. As such, it aims to dispel possible attacks of self-display or glorification, as well as of possible victimization that autofictive poets, including some of the ones under scrutiny, have come under. [ABSTRACT FROM AUTHOR]

Reviews the book "Sappho, Poems and Fragments," by Guy Davenport.

The article reviews the book "Contemporary Indian Spiritual Poetry in English: Critical Explorations," edited by Vijay Kumar Roy.

Most commentaries on Wole Soyinka's works across genres engage with his constant invocation of cultural tropes, most of which revolve around Ogun, his self-proclaimed muse. In this article, I highlight the centrality of religious myths and metaphors in a selection of Soyinka's poems, namely, "Idanre" in Idanre and Other Poems (1967), Ogun Abibman (1976), "Joseph", one of the "Four Archetypes" poems in A Shuttle in the Crypt (1972), "Mandela's Earth" in Mandela's Earth and Other Poems (1989), and selected poems under the sections "The Sign of the Zealot" and "Elegies" in Samarkand and Other Markets I Have Known (2002). While identifying the limitations of the poet's Ogun trope, I dissect the centrality of faith issues in Soyinka's poetry into two slants. The first, which is seen as encompassing his widely explored Ogun trope, is his use of religious metaphors to intervene on the dystopias in his postcolonial space. The second is his concern with the crisis of faith, a menace that has continued to threaten global peace. After drawing copious examples of religious tropes from Soyinka's selected poems, I focus on the attention given by the poet to crisis in faith relationships. The copious examples of Soyinka's use of religious metaphors lead to the conclusion, at the end of the paper, that access to Soyinka's poetry is best achieved by paying attention to his religious metaphors. I also identify Soyinka's antidote for the crisis of faith which lies in his prescription of tolerance and respect for humanist ideals. [ABSTRACT FROM AUTHOR]

The article reviews the book "Paper Covers Rock," by J. Hubbard.

The paper deals with the relationship between Ryszard Krynicki's own poetry and his translations of Bertolt Brecht's poems. Translations of selected poems with political overtones, published in 1975, 1980 and 2022, are compared. The analysis shows that the 1975 translation exposes and reinforces the political message of the original; however, Brecht's references to the realities of the Third Reich and East Germany in the 1950s are updated and transferred by the translator to the context of the communist Poland in the 1970s. At the same time, Krynicki alludes in this translation to the poetics of his own work from the 1970s. The later translations (1980, 2022) weaken the political allusions of Brecht's poems, bringing out their universal meaning instead. Krynicki strives for precision and reduction of linguistic material, for a concise, aphoristic point, which also corresponds to the evolution of his own poetic idiom over the past 40 years. [ABSTRACT FROM AUTHOR]

Reviews the book "Editing Poetry From Spenser to Dryden: Papers Given at the Sixteenth Annual Conference on Editorial Problems, University of Toronto, 31 October--1 November 1980," edited by A.H. De Quehen.

The article reviews the book "Explorations in Indian English Poetry," by Jaydeep Sarangi.

Dante Alighieri invokes both classical and medieval conceptions of wetlands to characterize the swamps of Inferno as morally and physically liminal spaces. This paper examines the multivalent functions of swamps—paludi in the original Tuscan of the Divine Comedy—to understand collapsed distinctions between the opposing forms of physical matter of Hell's landscape (dirt, water) and opposing forms of divine judgement (damnation, salvation). The swamps of Inferno slow down the narrative as Dante carefully navigates the peculiar marshy formations which divide various levels and circles of the underworld. The paludi of Inferno only become traversable—and comprehensible—when the poet leaves behind his human pity for a reinforced belief in the righteousness of God's rulings. An ecocritical assessment of the status of swamps as borderlands, as well as an examination of the classical precedents to Dante's treatment of swamps, build a framework for understanding the complexities of wetlands as both generative spaces and sites of decay and death in Inferno. [ABSTRACT FROM AUTHOR]

The original edition of Giacomo Zanella’s “Nuove poesie” di Giacomo Zanella published in 1878, with the poet’s handwritten dedication to Queen Margherita, was found and rescued years ago when it was about to be destroyed in a paper mill. The volume, which bears no inventory markings, was perhaps lent and never returned, as the queen herself lamented this sometimes happened at the court. The essay briefly outlines the figure of the poet from Vicenza, author, among other things, of the poem “Sopra una conchiglia fossile nel mio studio,” appreciated by Alessandro Manzoni and Giosuè Carducci, and in the 20th century by the poet Andrea Zanzotto. When Zanella died, Queen Margherita mourned him, professing to be a sincere admirer of his talent. As the Royal Library of Turin has a collection of books that belonged to the queen, including some editions of Carducci’s works with his hand-written dedications, the volume was donated to the Library, also to add to the history of the relationship between the queen and the intellectuals of her time. [ABSTRACT FROM AUTHOR]