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Аннотация
The work of a wonderful secular poet, Billy Collins, provides a great model for Christian writers. His Coleridge «conversation poems» allow for real play and comedy, all in the service of profundity. These are veins that have not been suitably mined by poets who have access to the larger humanity that only Jesus can provide. But there's more than comedy in this collection. The Sorrows of Mary offer a sober truth, as do the four Gospel sonnets; both sections provide a bracing interlude before we get back to high-spirited comedy in the St. Anthony poems–where the sainted speaker disdains direction and instead carries on about whatever is on his mind at the moment. In all, Mercy Wears a Red Dress offers a slice of the abundant life, a knowledge echoed in a Protestant hymn: «I read the back of the book and we win.»
Аннотация
Finding the courage to give voice to stories of trauma, oppression, and internal shame is often difficult, but also is the first step to healing and freedom. This collection of documentary poems presents the voices of women from different times and places, sharing their pain and hope with great vulnerability and realism. Their stories invite readers on a reflective journey through our world's emotional landscape with the hope that you too will experience the healing that can come through using your voice to tell your own story.
Аннотация
If part of the reason for half-empty pews in our churches is the white-knuckle grip we have on overused terminology, Psalms of Gratitude and Prayer almost always finds a fresh vocabulary for such terms. But that is only one element in its success. These poems also communicate with a healthy dash of images, usually the lifeblood of poetry that pleases. It is not an easy thing to accomplish, but the author has done it. This book also offers a majority of poems that both scan and rhyme, an added handicap for a poet, but one that he seems to delight in. Besides, as Robert Frost once said, writing poetry without rhyme «is like playing tennis without a net.»
Аннотация
Whether it's the big-hearted hooker, the henchman priest, the fate of poor Bobby Fischer, tripping with Tom O'Leary, or the last thoughts of a dying man, we are told their secrets by the only one who knows them all, The Storyteller. Yet what haunts the mind still lingers. What is his secret, or dare we ask? Well, here's what I think it is: I believe that each of the stories the aged one offers up contains one morsel of his mystery. When they are all ingested by the mind and the soul, they will reconstitute as one. It is truly a jigsaw puzzle of sorts in that, as each piece of the puzzle is examined, an image starts to form in mind. As each remaining piece is examined in turn and integrated into the whole, the secret starts to emerge. Many may, of course, challenge my assumptions, perceptions, or illusions, but I shall remain steadfast in my belief, albeit delusional. It's the best I've got and I'm sticking with it. So before you lay this splendid book down and we part company, I leave you with the words of the old tall taleteller himself, as he describes what can happen when we fail to recognize the truth before us. Perhaps that recognition is his secret. His voyage ended fruitless For he never found that sought He failed to let words point To where, in truth, they ought
Аннотация
The River Dream is a collection of original proverbs that looks to continue that classic form in its search for wisdom and spirituality. Each proverb has a corresponding photo that adds meaning and substance in the same way music adds to a lyric to create a song. Breaking through the confinements of religion, these songs express a unique spiritual outlook in a simple poetic form. Many themes such as love, faith, vision, and death are explored, with imagery that was inspired by the natural beauty of the southern Pennsylvania countryside where this book was written.
Аннотация
Liturgy is the golden chore; the ineffable becomes as practical as a calendar or a loaf of bread. The Son of God becomes the Son of Man and briefly walks among us, Love itself incarnate in the life of faith. This generous collection–in both senses of spirit and breadth–uses the liturgical year to explore the many aspects of Christian belief. In a wide variety of voices, styles, and forms, Ordinary Time (the title is deeply ironic) includes themes from the most intimate examinations of conscience to some of the knottiest theological/philosophical questions. In tones ranging from comic/satiric to meditative to ecstatic–in characters as diverse as several apostles, three different Christmas shepherds, Mother Theresa, a retired Navy cook, and a lapsed Catholic celebrity on a TV talk show–these poems cover an extraordinary breadth of faith experience, without diminishing the struggles of faith. Like Mother Theresa in «Darkness,» absence and doubt have their place: they move Incarnate grace deep enough even to meet suffering and death. The ritual year that winds from nativity to death to resurrection includes each member of the body of Christ. This collection provides one pilgrim experience in memorable detail.
Аннотация
Killer gales and orcas, slickrock and storm toads, blackbirds, junipers, bathroom lizards–terrifying beauty infuses these poems as they probe and praise the tidal rhythms of love and faith, long-term. Meet Dreamer and Bean: reveling in God, each other, and Creation. Belief falls away for one of them like the self-pruning limb of a cottonwood tree. Marooned in the slash, the pair must trailblaze common ground. A lyrical field guide for journey mates, this collection explores perilous terrain for body and soul, and the price of a promise, over time.
Аннотация
Dunstan Thompson was an American poet of great promise who burst onto the Anglo-American literary scene during World War II. In the words of one contemporary, Thompson was one of the rising «stars of modern poetry,» a writer who might one day join the pantheon of poets like Hart Crane, W.H. Auden, Stephen Spender, and Dylan Thomas.
And yet Thompson more or less disappeared from public view by the early 1950s. After publishing two volumes of poetry, a travel book, and a novel, Thompson had only a few scattered magazine publications until his death. A posthumous volume was privately printed in England, but the circulation was small.
Here at Last is Love: Selected Poems is the definitive, authorized selection of Thompson's best work, revealing to a wider public the literary vision of a «lost master.» The introduction by editor Gregory Wolfe offers the first extended narrative in print relating Thompson's complex personal story. The afterword by distinguished poet and critic Dana Gioia provides a thorough–and just–assessment of his poetic achievement.
Thompson's early poetry was not only technically innovative, but saturated with the language and the drama of gay experience during World War II. Yet just a few years after the war, Thompson returned to the Catholic faith of his childhood, only to find that his new poetic voice was out of sync with the times.
In spite of the difficulties he faced in his later years, Thompson did not give up writing poetry, continuing to produce quality work. After his reconversion, the poetry shifted in tone and form from a lush romanticism to an urbane classicism. The later work covers a wide range of subjects, from studies of historical figures to devotional lyrics.
This volume will not only stir up the debate about Thompson's sexual and religious passions, but also help complete the history of twentieth-century Anglo-American poetry, finally making his work available to scholars and lovers of poetry everywhere.
And yet Thompson more or less disappeared from public view by the early 1950s. After publishing two volumes of poetry, a travel book, and a novel, Thompson had only a few scattered magazine publications until his death. A posthumous volume was privately printed in England, but the circulation was small.
Here at Last is Love: Selected Poems is the definitive, authorized selection of Thompson's best work, revealing to a wider public the literary vision of a «lost master.» The introduction by editor Gregory Wolfe offers the first extended narrative in print relating Thompson's complex personal story. The afterword by distinguished poet and critic Dana Gioia provides a thorough–and just–assessment of his poetic achievement.
Thompson's early poetry was not only technically innovative, but saturated with the language and the drama of gay experience during World War II. Yet just a few years after the war, Thompson returned to the Catholic faith of his childhood, only to find that his new poetic voice was out of sync with the times.
In spite of the difficulties he faced in his later years, Thompson did not give up writing poetry, continuing to produce quality work. After his reconversion, the poetry shifted in tone and form from a lush romanticism to an urbane classicism. The later work covers a wide range of subjects, from studies of historical figures to devotional lyrics.
This volume will not only stir up the debate about Thompson's sexual and religious passions, but also help complete the history of twentieth-century Anglo-American poetry, finally making his work available to scholars and lovers of poetry everywhere.
Аннотация
Unabashedly local and particular, these poems bring alive the sights, sounds, and people of Minneapolis and Saint Paul–the «twin cities» of Minnesota. In addition, they aim to think and feel their way through one of the most painful episodes in the history of the local church, the revelations of cover-up surrounding the sexual abuse of children by priests. The poet's words present one mode of healing in a difficult hour, some nourishment as a community moves forward into a new day.
Аннотация
These psalms grow out of a decades-long fascination with the biblical psalms, particularly the Davidic psalms, which portray the tempestuous, sometimes awful intimacy of the Divine-human relationship. In the lightning-shot Psalm-space where Divine meets human, time shatters, splits, leaps like a river, and so does the soul of the speaker, now hunting God, now hunted, now languishing in despair, now reclining in quiet triumph against the pillars of Heavens. These contemporary psalms attempt to create a corollary to that biblical psalm space, a space narrowed to a single room in which God and the speaker have no choice but to face and struggle toward one another through the whirlwind of pain and love.