Dikt

Prepare to descend into the haunting depths of the human psyche with INKBLOTS, a mesmerizing dark poetry collection by the enigmatic wordsmith Jeff Oliver. Paired with the visceral imagery of artist Andrew Fremder, this collaboration delves into the shadows of the mind, inviting readers to confront the unsettling truths that lurk within.Within the pages of INKBLOTS, Jeff Oliver weaves a tapestry of madness and reality, beckoning readers to explore a realm where sanity unravels and the boundaries between fear and existence blur. The verses resonate with the echoes of screaming ghosts, introducing a cast of haunting friends who feel more like razor sharp claws and searing flames. The hourglass of life holds prices, and shame has no escape.As the reader navigates through the darkest corners of this journey, the truth emerges as both a relentless pursuer and a haunting fear. Jeff Oliver's verses peel back layers of self-worth, revealing the monstrous transformation that occurs when one succumbs to the shadows within. INKBLOTS is a journey into the heart of one's own darkness, a visceral exploration of truth and the harrowing consequences of refusing to confront one's own reality.Andrew Fremder's evocative illustrations, deeply intertwined with Jeff Oliver's words, bring the darkness to life on the pages of INKBLOTS. Each interpretation of the artist mirrors the intensity of the poetry, capturing the essence of the macabre landscapes and monstrous embodiments within.INKBLOTS is not merely a collection; it's an immersive experience, an unsettling sojourn into the recesses of the human soul. Jeff Oliver and Andrew Fremder invite you to embrace the shadows, confront the truth, and discover the chilling beauty that emerges from the depths of darkness. Are you ready to peer into the inkblots of your own existence?

Can Buddhists Wear Mascara? features narrative poems deeply informed by the author's life. Through an unapologetic exploration of her own contradictions, Anderson highlights dualities that live in all of us. Her humor (and occasional irreverence) softens the edges of truths that otherwise cut too close to bone. In the abundance of poems exploring the human condition, her voice is both singular and compelling.

"And This House is Only a Nest begins with an abuelo-a grandpa-who is not the gentle sort but one that conjures up fear, anger, work, stubbornness, and resilience. Then a peek at the poet's father, his mother, the mocosos on his street, classmates, locos sparking up joints, misinterpreted Bible passages, soccer as metaphor-realistic scenes rendered like Dutch paintings. One of the best poems references the Los Angeles Dodgers, the late innings, with 'three kids, two strikes... while visiting his imprisoned father. Surrounded by troubles in the initial poems, the last poems soften into a coda that is something like a sigh, a sigh of relief leaving that 'lopsided' house called childhood. Having searched for an adult man to emulate, the poet discovers, to his surprise and ours, that he has become that man, a husband, a father, a contemplative figure."-Gary Soto, author of Baseball in April and Other Stories

A disciple, fool, and pious heretic, Daniel Jami weaves a map of poems, from separation to union and back again. Inviting the reader into the mythic realm of Love, Lover, and Beloved, this contemporary collection explores traditional motifs of Sufism's 'school of love, ' through an interspiritual lens, in modern American language.

Jackie Craven toys with time in WHISH, winner of the 2024 Press 53 Award for Poetry. Surreal prose blocks follow the uneasy relationship between a wistful narrator and shape-shifting characters-managers, bookkeepers, secretaries-who manifest as hours of the day. "It's rare to find such perfect prose poetry," says series editor, Tom Lombardo. "Jackie Craven's abrupt swerves and disruptive metaphors drop readers off cliffs, repeatedly." Startling, provocative, and darkly comical, WHISH speeds along a "quantum highway" where memory and loss plume into stained glass light.

所有其他受聖靈默示的作者，只能講述在遙遠的將來，或迫在眉睫的事，惟有這位蒙福的作者，雖然出生在創世完成許多個世代之後，卻被至高的神引領，配得敘述萬有之主在起初的創造。 -- 愛琴海

Inspired by the Greek myth of Alcestis, this poetry collection brings to life myriad voices who venture beyond the known world and exist between realities. In Greek mythology, Alcestis descends to the mysterious kingdom of death in her beloved's place. In The Alcestis Machine, Carolyn Oliver's second poetry collection, loss and queer desire echo across the multiverse. "In another life, I'm a . . ." sea witch or swineherd, vampire or troubadour, florist or fossil or museum guard, Oliver writes. These parallel personas inhabit space stations and medieval villages, excavate the Devonian seabed, and plumb a subterranean Anthropocene. In possible futures and imagined pasts, they might encounter "all wrong turns and broken signs" or carry "a suitcase full of stars." Oliver's poems are animated by lush, unsettling verse and forms both traditional and experimental. The Alcestis Machine demonstrates how very present absence can be and how desire knows no boundaries. In neighborhood subdivisions or the vast reaches of space, it's impossible to know "whose time is slipping / again." Anyone "could come loose / from gravity's shine."

BLACK LIVES MATTER! Released during Black History Month, this collection, featuring three distinct voices in conversation, offers readers an experience of protest, engagement, and sympathy evoked by the Civil War yet set against the contemporary Black Lives Matter movement of 2020. Al Salehi is a Persian-American poet and entrepreneur whose parents immigrated from the Islamic Republic of Iran, and Ivy Schweitzer is a writer and scholar from a Brooklyn Jewish family. Salehi and Schweitzer use Emily Dickinson's incomparable poems written during the mid-nineteenth century as entry points for their own meditations on still-pressing issues of color, fairness, the police and courts, even the 45th president, and how together we can imagine a different, more equitable world. Though a cloud of darkness pervades Within Flesh, it also contains glimmers of hope and resilience through humor and satire-showing that poetry can transcend time and borders, sparking healing conversations across cultures and generations.

The poems in Northern Swim grieve a beloved sister's death during other losses of the pandemic, framed against havoc in the human and more-than-human worlds. But among poems of American malaise and climate change you'll also find Florence Griswold, godmother of American impressionists; the fashion designer Alexander McQueen; Eve's secret daughter; Elgar's chamber music and the Do Rights lead guitar. Though the poems are often elegiac they celebrate pleasures-"Snowshoeing at Seventy," a newborn grandson, museum-going, desserts with family and friends, an exhilarating swim in an icy lake-what offers resilience and lures us ahead: "I won't let the bear get all the berries."

When you honour your process, you allow yourself to experience and feel what you are meant to, Tempest supports your true organic self, feeling what it needs to feel. Honouring your emotions when you see relevant to do so, Tempest has no competition or deadline for when your process needs to be complete, it's your process, your journey, you will have good days and shit days. Whatever will be will be until you heal.

... only speak the word, and my servant will be healed ...The story in Matthew's Gospel is about words and their power to heal. The story is also about pain and loss, suffering and distress, hope and wonder. In a sense, it is also the story of every person's journey in faith, with elements of fear, apprehension, unspoken doubt, unexpected joy, renewed life.These are experiences reflected in Poems of Lament and Grace. The author gladly acknowledges that her own faith journey has involved times of faith and doubt, uncertainty, longing, apprehension.Yet, this deeply honest series of poems - words of healing - acknowledges times of discouragement and dismay, but above all rejoices in divine grace, offered and lived.

Life is Very Funny takes a wry look at the world and all the silly things that make it go round. Most of the rhymes are short but to the point and if theydon't make you smile then nothing will.David Walters was born in the East End of London in 1937. Despite humble beginnings he had a good education and qualified as an actuary. He became a merchant banker in the City of London and his work has taken him around the world. He has lived both in New York and California and visited many countries. He was married for over fifty years and has two children. Throughout his life his wry sense of humour has caused him to write lots of funny rhymes all of which are now collected in this book. He is retired but very active and lives in a retirement village in Hertfordshire.

Broken sleep and disturbed dreams, or vice versa. A compilation of modernity's conditions needs to include insomnia, accompaniment to work stress, twitchy doomscrolling, existential dread, memories of minor indignities, hectic feelings of a lack of control, shame. Often attributed incessant technological interruption, by radiant blue light, the proposed cure is often also technological, the white and brown noise from Bluetooth speakers, the voice of the podcast to counter loneliness. Yet people have always struggled and the greater the struggle the further from peace. Shakespeare described his weariness, seeking 'dear repose for limbs with travel tired' only to begin 'a journey in my head / To work my mind when body's work's expired'. Others sought out insomnia: the desert fathers wandered in abject poverty and sleepless doxology. Gaining a perspective on insomnia is hard when in its grip, or its wake. We read insomnia as a symptom of our waking life, its worries. We interpret insomnia according to our working life, its stresses. But can insomnia also be a gift, a door ajar, a point of access? In this short collection a number of contemporary experimental writers write of insomnia, or write from insomnia to see what might be discovered.

Gorak vetar, nova, sedma po redu zbirka pesama Vladana D. Jovanovica sadrzi sto cetiri pesme. Osim nekoliko (Mrcajevci, Zlatno doba, Uljez...), sve ostale pesme spadaju u ljubavnu poeziju. U njima Jovanovicev lirski subjekt na rafiniran nacin opisuje zal za svoje dve neuzvracene ljubavi. Jednoj iz svojih ranih studentskih dana kad je bio mlad i "zelen", i drugoj, tajnoj, kad je vec dobro bio okusio "gorke plodove saznanja". Pesme su krcate metaforama sa prilicno hermeticnosti, pa je potreban prilican psihicki napor da bi se, ako je to uopste moguce, razumele. Ali, pesma se ne pise da bi se razumela, vec da bi citalac uzivao dok je cita. U dosta pesama pojavljuju se Sunce, Mesec i zvezde kao kosmicki simboli, dok se s druge strane javljaju Zemlja, Podzemlje, odnosno Donji svet kao simboli plodnosti i onostranosti. Izmedju ta dva sveta su ptice (pesnik) koje ih povezuju. Ovako posmatran Jovanovicev "kosmos" podseca na pesnicki postupak Josipa Sibe Milicica, osnivaca kosmizma u srpskoj avangardnoj poeziji nastaloj neposredno posle Prvog svetskog rata kao odgovor na "bogdanovsku" larpurlartisticku poeziju, koju je glorifikovao knjizevni kriticar Bogdan Popovic, a ciji je jedan od glavnih reprezentanata bio Sima Pandurovic. Pesnik, zapravo, kao da kaze: "Da mi se ostvarila jedna od dve zivotne ljubavi, ziveo bih u 'svetlosti', ali posto se to nije dogodilo zivim u tami 'Podzemlja'." U nekim pesmama se javlja san kao kompenzacija za pesnikovu "tamnu" javu. Osim pomenutog znamenitog Hvaranina Sibe Milicica, Jovanovicevo pesnistvo je prozeto uticajima Milosa Crnjanskog, Branka Miljkovica i Vaska Pope. Vecina pesama u zbirci Gorak vetar sastoje se iz cetiri tercine i napisane su u slobodnom stihu, koji je u srpsku poeziju prva uvela Anica Savic Rebac. Na kraju, ubedjeni smo da je najnovija zbirka pesama Vladana D. Jovanovica znacajna pojava na srpskoj pesnickoj sceni.

The journey of Eva Bourke's eighth collection of poems is one of bereavement, heartbreak and, ultimately, renewal. In poems that record - with courage and tenderness - the loss of loved ones, of close family and friends, there is throughout a refusal to soften the keen gaze and precise detail for which her work is so often praised, as if the poet's role is ever to be witness, guardian and curator. Instead of heartbreak enforcing a retreat from the world, rather it seems to strengthen her commitment to those in danger ("the boats adrift in the night / and the storms that sweep them overboard" - 'Twenty-eight Swimmers') and her belief in the power of art and music as both consolation and celebration, an engagement that has been the heart of her work over many years. As she says in 'The Singer's Fable', in memory of Mary McPartlan: "Sing, even if your hearts are heavy, even if your houses are on fire, rise up and sing."PRAISE FOR EVA BOURKE"[T]he maturity and wide sympathy of this poet's vision is everywhere in evidence. The formal and tonal variety achieved by Bourke in this volume [Seeing Yellow] is also very pleasing.... Warmly recommended." -Caitriona O'Reilly, The Irish Times"These poems suggest that the soul is an enduring gentleness in us, in others, in perhaps everything, and that it needs us to release it, to let it breathe, to nourish it with what we create rather than destroy." -Fred Marchant on 'piano'

From 1912 to 1920 Marina Tsvetaeva wrote copiously but published no books. Later she would claim that at least three major collections had fallen by the wayside in those years. The poems translated here offer readers the flavour of those vanished books, covering the period roughly from her daughter Alya's first birthday to the Tsar's abdication in March 1917 and the summer which followed. They reflect involvements with the poet Sonya Parnók and with a married economist of Polish origin, Nikodim Plutser-Sarnya. But there are also evocations of the Middle East, tributes to the Jews and to her sister Asya, plus a cycle in which Don Juan accosts Carmen and is buried in a grave amidst the Russian snow. Generally appearing in English for the very first time, they include several of the most accomplished and unforgettable poems Tsvetaeva was ever to write.

This volume includes the 4 chapbooks published in 1917-18 and presents, at first glance, an odd mixture. Chronologically, we have El espejo de agua, written in 1914-16, first published in 1916, but, to all intents and purposes not distributed until 1918. Horizon carré(see below) follows and then come Ecuatorial (written in Spanish), Poemas árticos, Hallali and Tour Eiffel, the last two being composed in French. The last two publications from this period, Hallali and Tour Eiffel-both marked by textual experimentation-were very important for the rising wave of the Spanish avant-garde. In this second edition, we have added an appendix containing the French version of the title poem, Équatoriale, which is at least partly translated by the author, an early version of Tour Eiffel as published in the magazine Nord-Sud, together with a Spanish version of the finished poem.

A major work of world literature, The Flowers of Evil scandalized Baudelaire's contemporaries and reinvented beauty in the midst of modernity. This dual-language edition of the definitive 1861 version features a new translation by acclaimed poetry scholar Nathan Brown and a new introduction. A major work of world literature, The Flowers of Evil scandalized Baudelaire's contemporaries and reinvented beauty in the midst of modernity. Probing the depths of the modern psyche in a voice at once caustic and vulnerable, melancholic and humorous, Baudelaire's infamous book brings to the surface a new understanding of evil, of eroticism, and of social life through an astonishing variety of poetic forms and styles. When it was published in 1857, six poems of the volume's poems were banned on charges of obscenity. Baudelaire then reworked the book into a masterfully expanded version published in 1861. This new translation by acclaimed poetry scholar Nathan Brown includes the banned poems in a facing-page, dual-language edition of the definitive 1861 version, along with a major new introduction to the significance of Baudelaire's work. Brown has carefully preserved the lineation, figurative language, punctuation, and grammatical structures of the original, finally giving us a version of The Flowers of Evil suitable for the general reader as well as scholars and teachers working in English. This version of Baudelaire sets a new standard for fidelity to the original and sensitivity to the tone of this central work of modern literature.

Through seventeen powerful testimonies, Syrian-Palestinian poet Ramy Al-Asheq's Ever SInce I Did Not Die is a poignant autobiographical journey that vividly depicts what it means to live through war. The texts gathered in Ever Since I Did Not Die by Syrian-Palestinian poet Ramy Al-Asheq are a poignant record of a fateful journey. Having grown up in a refugee camp in Damascus, Al-Asheq was imprisoned and persecuted by the regime in 2011 during the Syrian Revolution. He was released from jail, only to be recaptured and imprisoned in Jordan. After escaping from prison, he spent two years in Jordan under a fake name and passport, during which he won a literary fellowship that allowed him to travel to Germany in 2014, where he now lives and writes in exile. Through seventeen powerful testimonies, Ever Since I Did Not Die vividly depicts what it means to live through war. Exquisitely weaving the past with the present and fond memories with brutal realities, this volume celebrates resistance through words that refuse to surrender and continue to create beauty amidst destruction--one of the most potent ways to survive in the darkest of hours.

A collection of poems, selected by Nooteboom himself from more than a dozen Dutch books. Cees Nooteboom is best known in the English-speaking world for his acclaimed novels, essays, and travel writing; however, Nooteboom has always seen himself first and foremost as a poet. He has said, "without poetry my life would be unthinkable." The poems in Light Everywhere are presented in reverse chronological order, reflecting the poet's contemporary perspective on the productivity of more than half a century. The anthology covers his poetic output up to 2013, with an emphasis on his more recent work. New translations of older poems are crafted by award-winning translator David Colmer, lending a consistent voice to the whole collection. When Nooteboom began writing poetry in the Netherlands in 1956, he was considered an outcast for not abiding by the conventional experimental style popular at the time. Instead, he took to learning from poets abroad, translating work by Wallace Stevens, Eugenio Montale, and Pablo Neruda. Nooteboom's work is lucid and mysterious, evocative and elusive, and it is fitting that the collection begins and ends with poems of travel, moving back in time from an elderly man's entanglement and resignation to the detachment and harsh light of youth, with everything in between.

Verses that oscillate between the turmoil of post-communist Eastern Europe to understated reflections on grief and mortality. The sixty-four poems in A Calligraphy of Days reflect Krzysztof Siwczyk's wide-ranging and variegated style. Born in 1977, Siwczyk has lived most of his life in the Silesian city of Gliwice. In 1995, he became a wunderkind of the Polish poetry scene with his debut volume Wild Kids, an edgy and unsentimental narrative of youthful tribulations and urban malaise during Poland's transition from communism to capitalism. Siwczyk's poems careen down the page at great speed, relying on clever turns of phrase or an idea that illuminates a larger meaning. As in calligraphy, a meandering subterranean process connects meaning and memory, thought and verse. Teased to the surface, words and images emerge in rapid, terse, and precise bursts. Throughout his career, Siwczyk has never ceased to challenge our sense of who we are--changing course multiple times in the process. Following several volumes full of expansive lines, his most recent works offer spare meditations on illness and grief. Clipped and understated, these post-Holocaust poems address our inability to speak of death and tragedy.

A collection showcasing the latest poems of the Kurdish-Syrian maestro of Arabic style. Salim Barakat, the captivating Kurdish-Syrian poet and novelist known for his mastery of Arabic style, is hailed as an enigmatic and intricate figure in contemporary Arabic literature. In The Universe, All at Once, he curates, in collaboration with translator Huda J. Fakhreddine, a selection from his later works, considering them the pinnacle of his poetic career. Drawn from pieces composed between 2021 and 2023, the poems in this collection vary from excerpts of an expansive book-length poem to concise, intense fragments. Fakhreddine expertly renders his writing in English, a courageous and praiseworthy attempt to challenge the barriers of the untranslatable. This volume not only showcases the prolific author's poetic evolution but also features a comprehensive interview with Barakat. Conducted by Fakhreddine, the interview delves into Barakat's early influences, hobbies, talents, reader expectations, and reflections on displacement, childhood, and interpersonal connections. Together, The Universe, All at Once presents the best of Barakat's latest poetry to his readers and allows invaluable insight into the writing processes and motivations of a visionary modern poet.

In my darkest moments, there has always been poetry. I loved reading it: Poe, Wordsworth, Longfellow, Emily Dickinson, and more. I have compiled 55 of my own poems in this book. What is here has helped me face my inner demons. A few of the poems are just fun. Some of the poems are simply emotion. Some have come out of my dreams and nightmares. Some of the poems come from stories in my head. I hope you can find some worth, some inspiration, in these few pages.

* Alors que je travaillais en France à 40 ans, j'ai eu un engouement pour une collègue de travail nommée Karina (Ruby au téléphone). Trop tôt, j'ai appris de son départ et, pressée, j'ai décidé de lui écrire 40 poèmes en utilisant les lettres de son nom. Comme je venais d'arriver en France, mon français n'était pas très bon, donc j'ai décidé, en utilisant un dictionnaire de poche, d'accélérer mon apprentissage du français en écrivant des poèmes. Elle parlait principalement le français et l'anglais, et un peu l'italien, même si je n'ai pas pu m'empêcher de glisser quelques poèmes en catalan et en espagnol. Des poèmes écrits à la hâte qui, néanmoins, transmettent l'enthousiasme romantique et témoignent d'une vague de sentiments provoquée par une fantaisie éphémère.* While working in France at 40, I developped an infatuation with a work colleague named Karina (Ruby on the phone). Too soon, I learned of her departure and, in a rush, I decided to write her 40 poems using the letters of her name. As I had recently arrived in France, my French wasn't very good, so using a pocket dictionary, I decided to speed up my learning of French by means of writing poems. She spoke mainly French and English, and some Italian, though I couldn't help sneaking in a few poems in Catalan and Spanish. Poems written in a rush which, nonetheless, convey the romantic excitement and bear witness to an overwhelming surge of feelings caused by a fleeting fancy.

I Fell In Love With A Boy Who Danced With His Ghost. The boy I love took his life, after battling depression for many years. No amount of medication, therapy, love, or time could've saved him or made him stay. Most days claimed their horror, but there were days when it felt like we were jumping on clouds made of candy floss, and when we fell, we landed on the marshmallow floor. He was too innocent and beautiful for this world, and the way he loved made Venus proud. I wished for more time, and he granted it to me, but I wasted it trying to make him stay for us. I should've loved him like it was the end of the world.

The poems in this collection are celebrations of the muse who speaks directly to us. She is described not in the manner of courtly love, from a distance, but up close, from a notion that passion mixed with beauty exists in us all; and how that combination is expressed, repressed or pursued in these lurid, ugly times determines who we are.

Blue Silence touches on nature and its influence on the human psyche including lakes, rivers, mountains, winds, sunsets, sunrises, falling snow, rainy days, fog and mist, animals, birds, etc. It is a lovely, easy read and very soothing. The title poem BLUE SILENCE ends with the stanza "We are being painted / into nature's blue silence, / quite unaware that we are ... / the artists. "

This collection had its beginnings in the shame, sadness and disbelief that was felt by many after the result of the Voice referendum in 2023. The poems here passionately express those reactions and also unflinchingly explore some of the truths about Australia and its history that, if they had been more widely known, might have led to a different result. It is hoped that readers will find solace, inspiration and hope in the pages that follow.

WAVE OF BLOOD is an experimental essay in the poetry of witness, a contemporary war notebook, extending through the US wars on terror that officially began in 2001.

'there is a certain skill in delusion.in burying your head into the sand, or into the shoulder of whoever will let you.it might not be art, but it is damn near close-to take a few, spared words as gospel promisesand an unbothered body as a lover.if that is not talent, i do not know what is.'an unfortunate story of love, oranges, delusion and hatred.