New work from an awardwinning poet Joanna Klink has won acclaim for poetry of bracing emotional intensity. Of her most recent book, Raptus, Carolyn Forché has written that she is “a genuine poet, a born poet, and I am in awe of her achievement.” The poems in Klink’s new collection offer a closely keyed meditation on being alone—on a self fighting its way out of isolation, toward connection with other people and a vanishing world.
I sat waiting nervously, hadn’t seen her in ages, childhood friend dare I say. Her mom babysat me way back when it all began. Now she was a huge rock star and had granted me this honor. I got the exclusive rights to writing this book right out of her diary. She appeared from around the corner, so casual, wearing denim and flip-flops, she was still gorgeous at this age. She smiled and came and sat across from me. I noticed she carried several books under her arm. Only when she placed them on the coffee table that I noticed they were her diaries. Mabe: I just want to thank you so much for this opportunity, Mary. Mary: Oh Mabe, only you can do this, you were there for the best part. Mabe: I will treasure these books, will take good care of them, I promise. Mary: I have to tell you, the very early years it was my mom that was doing the writing, she kept diaries for all of us until we were able to write ourselves. Mabe” Well of course, that’s understandable. Mary: Shall we begin? Hope I can still read my handwriting. And with that we sat and begun to select the most interesting entries of her life, it was like the years never had gone by.
Jupiter is an anthology of reports and fables from X.F. Pine that operate like a mixed tape. The first part concerns abysses and shelters of a few kinds, an old Maine storyteller, a man locked in a room with secrets, a gambling martial artist, an adaptive actresses, inside a famous comedy show, and cards dealt out to one's memories. The second part is about enemy tree houses, family curses, an alcoholic letter writer, visitations with spook fathers, women acting like cats, the end of the world, retirement swindles, confessions about killing a man who controls luck, the endless battle against resistance, ancient bar crawls, and personal spirals that lead to dust and bones.
Excerpts and studies for the intermediate to moderately advanced violinist annotated and edited by Harry Alshin. Includes selections from Tartini's The Art of Bowing plus excerpts from the fine solo repertoire with works by Mozart, Khatchaturian, Beethoven, Lalo, Bach and more. The text preceding each study includes reminders concerning positions, intonation and bow division, as well as theory and musicianship excercises, a glossary and blank music staves.
A novel based on a true story about real people and real lives; senseless killing at the hands of those we trust most. The implications send a chilling message to every man, woman and child in America. No one can afford to look away, because each of us is also at risk - no matter how well placed, how healthy or wealthy. "Killing Tony," sourced, verbatim, from doctor and hospital records, slams shut and locks the door on medicine's rationale for cancer and other incurable disease protocols that can, and do, kill patients who trust so deeply.
Since 2005, the Continuum Discourse series, under the editorship of Professor Ken Hyland, has published some of the most cutting-edge work in the field of discourse analysis.This edited collection offers a showcase of the work produced by its authors and reads as fully-functional book in its own right. The work of Paul Baker, Frances Christie and Greg Myers features, amongst others. With an introduction by Professor Hyland, the chapters are organized thematically to provide a look a research methods, examine at the various types of institutional discourses covered by the series, and finally, a look to arguably the future of the field - electronic discourses in an electronic medium, for example Twitter, SMS and Blogs. This is an essential purchase for those involved in discourse analysis in any capacity.
An autobiography in the form of a philosophical diary, Little Did I Know's underlying motive is to describe the events of a life that produced the kind of writing associated with Stanley Cavell's name. Cavell recounts his journey from early childhood in Atlanta, Georgia, through musical studies at UC Berkeley and Julliard, his subsequent veering off into philosophy at UCLA, his Ph.D. studies at Harvard, and his half century of teaching. Influential people from various fields figure prominently or in passing over the course of this memoir. J.L. Austin, Ernest Bloch, Roger Sessions, Thomas Kuhn, Robert Lowell, Rogers Albritton, Seymour Shifrin, John Rawls, Bernard Williams, W. V. O. Quine, and Jacques Derrida are no longer with us; but Cavell also pays homage to the living: Michael Fried, John Harbison, Rose Mary Harbison, Kurt Fischer, Milton Babbitt, Thompson Clarke, John Hollander, Hilary Putnam, Sandra Laugier, Belle Randall, and Terrence Malick. The drift of his narrative also registers the decisiveness of the relatively unknown and the purely accidental. Cavell's life has produced a trail of some eighteen published books that range from treatments of individual writers like Wittgenstein, Austin, Emerson, Thoreau, Heidegger, Shakespeare, and Beckett to studies in aesthetics, epistemology, moral and political philosophy, cinema, opera, and religion.