These may be dark times, but look on the bright side—the effervescent bubbles are beginning to lift our convalescent outlooks and are uniting everyone—even Death Row and Puff Daddy, which has been sponsored by Schweppes’ parent company, Dr. Pepper.
As a symbol, a hand becomes a want, a yearn, a chain, a command, a judgment, a labor, a seizure of sharing, affection, and property. The hand, the biological equivalent to the symbol of gesture, the means of participating in the play of life, the gesture.
With this piece I am interested in learning if there are more human senses that exist both inside and outside of White western culture. I am also interested in if Black peoples 5 human senses are different. Yes Karan, solely because we are black.
Thomas Bulfinch, whose collections of ancient myths remained the popular standard in the United States for more than a century until the 1942 publication of Edith Hamilton’s Timeless Tales of Gods and Heroes, was an anti-homosexual activist as well as a lifelong bachelor. Was he in fact a closeted gay man who sought to hide behind a door of homophobic zeal?
The author is a master of proportion, a noteworthy quality, so that the bulk of the main theme (loss) and the other themes are revealed almost like video fades. The lines are clear, simple, precise, eloquent and politely unforgiving.
I wanted to explore the afterlife with my characters, I wanted to let myself fully free, while still tense in the form of literature I have chosen to lock myself into. The death of the world, the death of the ego, the death of the self, the death of god.
Impulse and Warp nobly attempts the impossible: to describe the chaos of time with respect. The poems can’t be rushed and aren’t easy on first impression. The syntax fucks itself, breaks up, then comes back to show that even grammar is relative.
Late Beat poets are still among us, but the generation who held fire most akin to The Beats was Punk. For efficient evidence, consider the Nobel for Lit anointing Bob Dylan, and how it was Patti Smith who took the stage—she of well-documented punk cred.
The Hoedads were real hippies. They weren’t television and movie hippies—all flowers and headbands and incense—but actual funky, fiercely independent and often downright ornery Freaks, who were also idealistic and compassionate almost to a fault.
But when I was growing up, when I was hearing them tested every Tuesday morning at 10:30, the sirens were still called what they were when they were first installed during WWII all across a frightened America – air raid sirens.
Ironically, these seemingly cynical poems invite us to dig under the rainbow and see the flesh, the teeth, the hard truth of death; and the result is a beautifully complex twister of problems I want to solve.
Compared to the first book, the poems have become increasingly creepy, and the “murderer” more vivid. The story inches closer to a horror film, that scene when protagonists find out unpleasant secrets, searching in the shade.
And there are some hard truths. Most Buffalo elders notch their winters with salt, Vicks, and canned trout. They grouse about snowbirds and higher taxes. You can get mugged with ease on Clinton and Sycamore Street. Some folks still wonder why there’s plenty of coloreds around.
The reason for this circumstance is not so mystifying once we are prepared to acknowledge that the apprehension of death, and the necessity to mitigate that apprehension, always has and always will prompt and shape virtually every human activity.
The author of these words is speaking about themselves, a biological female. There is no mention in Je Nathanaël of a strap-on or the like, and to my understanding none is implied. The author is referring to something that is real, but not, literally speaking, physical: something which we’ll call the psychospiritual cock.
The title is ironic, playing on infinity and the number 8: if cats had nine lives, then we’d have one less, 9-1. The foreverness of loss. Are we lucky or unlucky to fall in love? Passions and thrills, heartaches and grief, walk hand in hand.
The Democratic Party in the United States is in chaos. The party has no leader, and the biggest names associated with the party could scarcely be more different from each other. Democratic socialists who excel in the social media demographic pull the conversation to the left...
The cacophonous sounds abound in keeping with the ambience of catacombs and wraiths: the shrieks of djinns, cries of gazelles, wraiths howling, hissing sands, djinns yelp, winds scream, minotaur’s roars echo, and prairie winds groan.
My intention is to be open, willing, and ready to any opportunity that might reveal itself as fruitful - to be in the right place at the right time, and, with the help of the universe, have all the pieces within my frame align with balance, order, and meaning.
The book is a psychological sci-fi filled with non-sensical gadgets, absurd dialogue, and all out madness, a batlle royale of good against evil, of womanhood against male perversion that follows William Burroughss Naked Lunch in reverse, if we consider the gender roles of the protagonists.
When his perceived enemies were the targets of mail bombs this fall, he never once reached out to the many high profile targets, but instead decided to whine about how the news coverage affected “republican momentum” before the midterms.
The poet here is playing with the impression of snow, bringing us back to our senses, the cold felt through an open palm. She creates a hot and cold sensation with the beautifully contrasting images of cold and tropical weather through the specifics of snow and a tropical tree shaped like a hand.
As poet and reader, I appreciate and applaud the well-executed craft of Caroline's unblinking recollections. As an old man, with both parents and in-laws in their Nineties and all of us inevitably declining at varying velocities, I find The Caregiver to be honest, both a painful and relieving read.
It is at its core, a criticism of the innate sexist culture of Sri Lanka and the poems vibrate with action, gesture, and compassion, describing horrible realities. However I have to note that, sadly, there are too many faults of language, concision and sentimentality.
As a general rule, our society is drifting back towards purity. Though this time it is not sexual or religious purity we seek, but ideological. Both socially and politically our culture hungers for a monolith of belief. A Liberal is One Thing, a Conservative is another.
Roberta Feins commands these sensual lines with grace, simplicity and feminine caress. She makes the sensual spiritual, through food and cloth, a commanded indulgence that suggest that all feeling starts with skin and tongue, and withers with time.
We tend to expect a lot of pretense from poetry: fancy language that makes for unreadable lines. Pieces of writing so pseudo-intellectual or obtuse that they can only be qualified as Machiavellian ploys to satisfy the author’s ego.
The world is shrinking every day. Information travels at the speed of thought, we can share ideas, funny pictures, recipes or new music easier than ever and the walls between cultures that were once impenetrable have now become translucent. We are supposed to be closer to one another than at any other time in human history.
I feel as if I am a passenger in a speeding car and the driver is some other version of myself, one who does not care or who is oblivious of consequence while the passenger is wondering where the car is going in hidden emotion.
No Ledge Left To Love confronts the problems of actuality, sex and meaning. The poems in the book value sex as the necessary destructive means to liberation from anxiety, and more specifically, to modern anxiety, sex having become the true playground for self-creation. The book is an embracing of self-conscious identity in the face of causality.
Don’t just donate your money, but your time and your talent as well. Get in the area and engage in politics until you recognize yourself in your leadership. Be good to people and fight for the people who can’t fight for themselves.
To set the process in motion I decide, arbitrarily, to use the three lines on page 62 as a post-snippet. Then, I begin at the bottom of page 61 and, working my way up to the title, arrive at the following poem: