tag:blogger.com,1999:blog-1595486842635931992024-02-06T21:39:47.612-08:00Love Poems for Him Her Your Boyfriend A Girlfriend Husband and Quotes in Hindi Rhyming Love Poems,
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Gangster Love Poems,
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Love Poems And Quotes,
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A Love Poems,Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.comBlogger46125tag:blogger.com,1999:blog-159548684263593199.post-44216934465375561092013-04-18T23:02:00.000-07:002013-04-18T23:02:01.891-07:00Maya Angelou Love Poems<div dir="ltr" style="text-align: left;" trbidi="on">
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Source(google.com.pk)<br />
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Maya Angelou is one of the most renowned and influential voices of our time. Hailed as a global renaissance woman, Dr. Angelou is a celebrated poet, memoirist, novelist, educator, dramatist, producer, actress, historian, filmmaker, and civil rights activist.<br />
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Born on April 4th, 1928, in St. Louis, Missouri, Dr. Angelou was raised in St. Louis and Stamps, Arkansas. In Stamps, Dr. Angelou experienced the brutality of racial discrimination, but she also absorbed the unshakable faith and values of traditional African-American family, community, and culture.<br />
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As a teenager, Dr. Angelou’s love for the arts won her a scholarship to study dance and drama at San Francisco’s Labor School. At 14, she dropped out to become San Francisco’s first African-American female cable car conductor. She later finished high school, giving birth to her son, Guy, a few weeks after graduation. As a young single mother, she supported her son by working as a waitress and cook, however her passion for music, dance, performance, and poetry would soon take center stage.<br />
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In 1954 and 1955, Dr. Angelou toured Europe with a production of the opera Porgy and Bess. She studied modern dance with Martha Graham, danced with Alvin Ailey on television variety shows and, in 1957, recorded her first album, Calypso Lady. In 1958, she moved to New York, where she joined the Harlem Writers Guild, acted in the historic Off-Broadway production of Jean Genet's The Blacks and wrote and performed Cabaret for Freedom.<br />
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In 1960, Dr. Angelou moved to Cairo, Egypt where she served as editor of the English language weekly The Arab Observer. The next year, she moved to Ghana where she taught at the University of Ghana's School of Music and Drama, worked as feature editor for The African Review and wrote for The Ghanaian Times.<br />
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During her years abroad, Dr. Angelou read and studied voraciously, mastering French, Spanish, Italian, Arabic and the West African language Fanti. While in Ghana, she met with Malcolm X and, in 1964, returned to America to help him build his new Organization of African American Unity.<br />
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Shortly after her arrival in the United States, Malcolm X was assassinated, and the organization dissolved. Soon after X's assassination, Dr. Martin Luther King, Jr. asked Dr. Angelou to serve as Northern Coordinator for the Southern Christian Leadership Conference. King's assassination, falling on her birthday in 1968, left her devastated.<br />
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With the guidance of her friend, the novelist James Baldwin, she began work on the book that would become I Know Why the Caged Bird Sings. Published in 1970, I Know Why the Caged Bird Sings was published to international acclaim and enormous popular success. The list of her published verse, non-fiction, and fiction now includes more than 30 bestselling titles.<br />
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A trailblazer in film and television, Dr. Angelou wrote the screenplay and composed the score for the 1972 film Georgia, Georgia. Her script, the first by an African American woman ever to be filmed, was nominated for a Pulitzer Prize.<br />
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She continues to appear on television and in films including the landmark television adaptation of Alex Haley's Roots (1977) and John Singleton's Poetic Justice (1993). In 1996, she directed her first feature film, Down in the Delta. In 2008, she composed poetry for and narrated the award-winning documentary The Black Candle, directed by M.K. Asante.<br />
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Dr. Angelou has served on two presidential committees, was awarded the Presidential Medal of Arts in 2000, the Lincoln Medal in 2008, and has received 3 Grammy Awards. President Clinton requested that she compose a poem to read at his inauguration in 1993. Dr. Angelou's reading of her poem "On the Pulse of the Morning" was broadcast live around the world.<br />
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Dr. Angelou has received over 30 honorary degrees and is Reynolds Professor of American Studies at Wake Forest University.<br />
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Dr. Angelou’s words and actions continue to stir our souls, energize our bodies, liberate our minds, and heal our hearts.orn Marguerite Ann Johnson on April 4, 1928). American author and poet who has been called "America's most visible black female autobiographer" by scholar Joanne M. Braxton. She is best known for her series of six autobiographical volumes, which focus on her childhood and early adult experiences. The first and most highly acclaimed, I Know Why the Caged Bird Sings (1969), tells of her first seventeen years. It brought her international recognition, and was nominated for a National Book Award. She has been awarded over 30 honorary degrees and was nominated for a Pulitzer Prize for her 1971 volume of poetry, Just Give Me a Cool Drink of Water 'Fore I Diiie.<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com2tag:blogger.com,1999:blog-159548684263593199.post-42646275486120483522013-04-18T22:43:00.001-07:002013-04-18T22:43:11.425-07:00Gangster Love Poems<div dir="ltr" style="text-align: left;" trbidi="on">
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Laughter and your stories, lingers,<br />
Like a silver cobweb clings<br />
On a broken wall<br />
lit by silver moonlight<br />
But the ‘gangster’ leaves the reader breathless not for its lack of style or bland creativity, but for the sheer absence of beautiful language. The persona rushes, in one breath, between airports and seaports and rhythms and rhymes that are at once alarmist and drunken, then rushes back again to a gasp of short lived reality.<br />
According to the author, the title was provoked by one Egara Kabaji, a former don at Kenyatta University lecturer at Masinde Muliro University who once dismissed Mochama as a “Literary Gangster, whose godfather is Binyavanga Wainaina.” In revenge, Mochama deliberately misspells the don’s name, calling him “Egaji Kabira, a lecturer at some minor college in Western Kenya.”<br />
Kabaji, like many grammar school graduates, has few kind words for Mochama’s writing, which is mere wordplay. Mochama simply splatters words on a page, without a major theme or driving force. He is more of a roving juggler with words than a serious poet. But perhaps he had no intentions to be a serious poet—and like his newspaper celebs, just wants to ride big on fame, with a miniature substance.<br />
His scribblings are about nothing in particular and about everything all at once; snippets of his love life, his nightlife, his love for vodka and his travels to far away cities. His attempt to rhyme at all costs sometimes ends up like an echo of those ‘hip hop’ musicians who strangle meaning in their strings of rhyme, or poor imitations of Wole Soyinka. Who said poetry must rhyme?<br />
Mochama’s poems are also full of strange references to Siberia, Russia, St. Petersburg, Stalin and other travel experiences. But who said poetry must be about distant journeys and privileged encounters?<br />
Yet his skill with words sometimes emerges strongly. Sample this:<br />
When I run out of poetic tricks<br />
I shall commit syntax<br />
Ferry my body in a verse<br />
And bury me, in the symmetry<br />
Mochama the wordsmith has a pulse that comes with a wicked, sometimes explosive, sometimes mischievous sense of humour, and, — let’s give it to him — a whiff of fresh air into the drab poetic scene.<br />
Here’s another clip from Black Mischief a word play on Sissina, the victim of Naivasha farmer Chomondley’s gun wielding racism:<br />
Sisina’s sin, it seems<br />
Is that he had no idea<br />
Where Naivasha ends,<br />
And England begins.<br />
Right from the cover, which shows a shattered glass window, complete with holes on the words of the title itself, what is contained between the covers of the book is quite unlike your ordinary, conventional book of poetry. It is unthinkable that such a book should find its way into the classroom; the good old chaps at the Kenya Institute of Education are unlikely to take a second look at it; but not everything must be written for the Orange book.<br />
In ‘Trading Places’, the poet takes a mischievous shot at the social, political and economic differences between Africa and the West. He addresses the double standards employed by the West when dealing with Africa, and in typical poetic license, puts Africa at the top of the world.<br />
When he is not tackling universal themes like freedom and love he takes a philosophical musing on life and death. But his tone is typically, even annoyingly, happy-go-lucky, full of mischief and appears fired off from a cannon loaded with irony.<br />
Like Kabaji, Otieno Otieno, a journalist with the Nation Media group, is furious. He writes, “It is not so often that literary clowns like Mochama enjoy such unflattering reviews. But the intellectual freedom of the blogosphere propels this rebel from obscurity into a somewhat comfortable abode in the mainstream.<br />
Another reviewer, Munene wa Mumbi, calls it ‘exhibitionist verse, which fits under the category of travelogue’ and relegates this writing to a Russian Tourism Board Newsletter, ‘if it is there.’ Mochama is merely fascinated with gangsterism. He is awestruck by overseas travel,’ Munene barks. “Clipping the lines of a short story does not render it a poem.”<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-43633448343422053522013-04-18T22:21:00.001-07:002013-04-18T22:21:38.885-07:00Loves Poems<div dir="ltr" style="text-align: left;" trbidi="on">
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"If ever two were made for each other surely it is love and poetry: the infinite variety of love meeting the boundless capacity of poetry to embrace it. There is something both sweet and intense about all aspects of romantic love, a combination that is ideally suited to poetry's marriage of the music of speech with compressed content. This is true from love's first blush through to its heady consummation.<br />
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"It is a surprise, however, to find that the straightforward romantic paean is comparatively rare amongst great love poems. Perhaps this is because the self-satisfied I'm-so-happy-now-we-twain-are-one approach can cloy. For the most part, great love poems are either ones of wily courtship, unrequited love, or the bitterest regret. There is something delicious about these marginal states in which Desire (for it is he) is constantly unsatisfied, confounded or denied. I would hazard a shaft that it is just this strange quality of desire to persist in the face of its own negation that we find compelling. With that in mind, and with the exception of the Shakespeare (he seems to be able to carry it off), all the poems I've chosen, in no particular order, are of this type.This is a truly subversive poem, whose first three lines signal the arrival of literary modernism and which can be practically read as its credo. Prufrock is a miscast troubadour of the Edwardian drawing room who fails to raise his lute or his voice due to simple lack of courage. The poem is an anthem for all those who have failed through inaction, which probably includes us all at some time, and which no doubt is what provides it with its great poignancy.The saddest poem ever written. All the back-story is supplied by the reader as the death of a solitary old man is reported by a younger oneA latter-day warrior is beguiled to his inevitable fate by, as her name suggests, a temptress in the mythic tradition. The quiet stroke of brilliance in this poem is just that fact that Betjeman makes the narrator a soldier, trained to repel any military assault no doubt, but defenceless in the face of "strenuous singles" with the athletic young Joan Hunter Dunn. She runs out the "victor", not only in the tennis, but in all regards.<br />
A caveat on the hazards of mixing hormones with physical activity.When Henry VIII announced that he intended to marry Anne Boleyn, Wyatt wrote to the king in an effort to dissuade him, saying he himself had had knowledge of her. This poem portrays a hind that the speaker and others pursue vainly and which wears a necklace of jewels that spell out "Noli me tangere [Do not touch me], for Caesar's I am." In the event, Henry took no notice of the letter, thinking perhaps that Wyatt had written it out of jealously. The rest is monumental history.If there are a number of great conceits in the Marvell, then there is a single one in this, at first sight tasteless masterpiece. Almost, one feels, as an exercise in virtuosity, Donne turns a human flea into a persuasive romantic symbol. Said flea has just bitten both himself and the object of his attentions and so becomes an improbable erotic crucible: Donne argues disingenuously that, as the two of them are now conjoined in the flea, they might just as well get on with the grosser physical details.The unusual thing about this poem is that it is contextualised externally: the reader needs to know that, by the time of writing, Milton is blind.<br />
There is one place he can still see however: in dream. This paradox is used to provide the poem with a truly devastating denouement.The end of many a relationship has left a sour taste in the mouth; in this case it is that of single-malt whiskys. Our insomniac narrator sets a fairy ring of nips about a room and the sad circle begins where it ends via unfulfilled potential and sorry recollection blended with acid judgment of the betrayer. It concludes with as bitter a toast to a woman as was ever offered by man.n this staple of wedding ceremonies, "mind" probably means something nearer to what we mean by the word "spirit".<br />
Or we have a more modern term that covers it: "soul-mate". From this poem we can, as is so often the case, give the last word to Shakespeare, a succinct characterisation of the wish for enduring love: "Love is not love Which alters when it alteration finds."<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-75394816396123664012013-04-18T09:06:00.001-07:002013-04-18T09:06:37.134-07:00Sad Love Poems For Him<div dir="ltr" style="text-align: left;" trbidi="on">
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Anne Bradstreet was the first woman to be recognized as an accomplished New World Poet. Her volume of poetry The Tenth Muse Lately Sprung Up in America ... received considerable favorable attention when it was first published in London in 1650. Eight years after it appeared it was listed by William London in his Catalogue of the Most Vendible Books in England, and George III is reported to have had the volume in his library. Bradstreet's work has endured, and she is still considered to be one of the most important early American poets.<br />
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Although Anne Dudley Bradstreet did not attend school, she received an excellent education from her father, who was widely read— Cotton Mather described Thomas Dudley as a "devourer of books"—and from her extensive reading in the well-stocked library of the estate of the Earl of Lincoln, where she lived while her father was steward from 1619 to 1630. There the young Anne Dudley read Vergil, Plutarch, Livy, Pliny, Suetonius, Homer, Hesiod, Ovid, Seneca, and Thucydides as well as Spenser, Sidney, Milton, Raleigh, Hobbes, Joshua Sylvester's 1605 translation of Guillaume du Bartas's Divine Weeks and Workes, and the Geneva version of the Bible. In general, she benefited from the Elizabethan tradition that valued female education. In about 1628—the date is not certain—Anne Dudley married Simon Bradstreet, who assisted her father with the management of the Earl's estate in Sempringham. She remained married to him until her death on 16 September 1672. Bradstreet immigrated to the new world with her husband and parents in 1630; in 1633 the first of her children, Samuel, was born, and her seven other children were born between 1635 and 1652: Dorothy (1635), Sarah (1638), Simon (1640), Hannah (1642), Mercy (1645), Dudley (1648), and John (1652).<br />
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Although Bradstreet was not happy to exchange the comforts of the aristocratic life of the Earl's manor house for the privations of the New England wilderness, she dutifully joined her father and husband and their families on the Puritan errand into the wilderness. After a difficult three-month crossing, their ship, the Arbella, docked at Salem, Massachusetts, on 22 July 1630. Distressed by the sickness, scarcity of food, and primitive living conditions of the New England outpost, Bradstreet admitted that her "heart rose" in protest against the "new world and new manners." Although she ostensibly reconciled herself to the Puritan mission—she wrote that she "submitted to it and joined the Church at Boston"—Bradstreet remained ambivalent about the issues of salvation and redemption for most of her life.<br />
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Once in New England the passengers of the Arbella fleet were dismayed by the sickness and suffering of those colonists who had preceded them. Thomas Dudley observed in a letter to the Countess of Lincoln, who had remained in England: "We found the Colony in a sad and unexpected condition, above eighty of them being dead the winter before; and many of those alive weak and sick; all the corn and bread amongst them all hardly sufficient to feed them a fortnight." In addition to fevers, malnutrition, and inadequate food supplies, the colonists also had to contend with Indian attacks on the settlement. The Bradstreets and Dudleys shared a house in Salem for many months and lived in spartan style; Thomas Dudley complained that there was not even a table on which to eat or work. In the winter the two families were confined to the one room in which there was a fireplace. The situation was tense as well as uncomfortable, and Anne Bradstreet and her family moved several times in an effort to improve their worldly estates. From Salem they moved to Charlestown, then to Newtown (later called Cambridge), then to Ipswich, and finally to Andover in 1645.<br />
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Although Bradstreet had eight children between the years 1633 and 1652, which meant that her domestic responsibilities were extremely demanding, she wrote poetry which expressed her commitment to the craft of writing. In addition, her work reflects the religious and emotional conflicts she experienced as a woman writer and as a Puritan. Throughout her life Bradstreet was concerned with the issues of sin and redemption, physical and emotional frailty, death and immortality. Much of her work indicates that she had a difficult time resolving the conflict she experienced between the pleasures of sensory and familial experience and the promises of heaven. As a Puritan she struggled to subdue her attachment to the world, but as a woman she sometimes felt more strongly connected to her husband, children, and community than to God.<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-58414209438192340002013-04-17T06:01:00.000-07:002013-04-17T06:01:12.238-07:00Unrequited Love Poems<div dir="ltr" style="text-align: left;" trbidi="on">
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I am very fortunate this semester to have a group of 8 students on my new Irish Literature course who are curious, bright and diligent. This make teaching some of this material which can be, to the uninitiated, rather daunting at the beginning. I was made to learn the early Celtic Twilight-y poems from primary school, and was taught Yeats by some of the finest scholars of his work at Queen’s University, Belfast. I’ve been teaching Irish Literature every semester since 2005, at various different institutions, but almost always to people with a similar academic and cultural background to mine. So, the challenge for this semester was to make this material vital and accessible for students who are enthusiastic but from a variety of subject backgrounds.It is tempting, then, to give them unrequited love and the lovelorn poet.All of our students lean heavily on the Oxford Dictionary of National Biography this semester in their term papers and in their other research. As with any large database resources, there are inevitably going to be gaps and some insufficient information. This is, thankfully, not so with the entry on W.B. Yeats. It is something of a tour de force by R.F. Foster, the Carroll Professor of Irish History at Hertford in Oxford. The entry is 22 pages long (understandable when Foster has written a 2 volume biography of WBY) and covers everything from the Rosicrucians through Fenianism and his varied love affairs. So, it is my aim in the classroom to fold this rich biographical information (Yeats is a poet obsessed, quite frankly, with writing about himself) with a decent understanding of poetic and dramatic technique and the intellectual movements which shaped his writing (French symbolism, Pound and modernism, later esoterica). At this point it would be, quite frankly, easier to tell a nice wee love story.<br />
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But, that’s not good enough and the relationship between Yeats and Gonne opens vital avenues to think about Yeats’ early nationalism and, importantly, his use of the sacred feminine and woman-as-nation. Gonne must be considered as an important figure in her own right, with her involvement in revolutionary nationalism and the Order of the Golden Dawn. Her newspaper Bean na hEireannand her work with Inghinidhe na hEireann cannot be underestimated and, indeed, her autobiography A Servant of the Queen is one of the finest sources for considering this period. It is ironic that such an active, engaged, political woman is often reduced to symbol, myth and the woman ‘who broke Yeats’ heart’. But, then, she becomes extremely useful while teaching to open doors into Yeats’ often complex relationship with the nation as well as the disjuncture between his ideals and reality<br />
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Love in Poetry There are endless ways in which love can be portrayed and occur. There are numerous types of love, whether it's physical, emotional or romantic love. I intend to expand upon and highlight the various ways in which love an loss is portrayed in 5 selected poems: John Clare's 'First Love', John Keats' 'La Belle Dame Sans Merci', Robert Browning 'My Last Duchess' and Christina Rossetti's two poems 'Birthday' and 'Remember'. All of the poets portray love the concept of love or loss or both in relation to some; they all attempt to capture and express the presence of love and loss in the closest way possible.... Different Aspects of Love in Poetry WHAT DO WE LEARN ABOUT DIFFERENT ASPECTS OF LOVE FROM POETRY SPANNING A PERIOD OF SEVEREAL HUNDRED YEARS. We have studied the greatest love poems ever written by men and women. These poets have used poems to emphasise their feelings and experiences of love and relationship. From these love poems written by famous poets, we find out that love is a complex subject matter and different poets intend to illustrate the aspects of love in their poems. These aspects are categorised into three different sections: firstly we see the joy of love; secondly the sexual desires of love and finally the pain of love Attitudes Towards Love in Poetry Love is an emotion that has been felt by people throughout time. It is extremely difficult to put any strong emotion into words, but through the pre-twentieth century ‘Love and Loss’ poetry we are able to see various different attitudes shown towards love and the way that love is conveyed through relationships. The poems referred to in this essay are “First Love” by John Clare, “How Do I Love Thee” by Elizabeth Barrett Browning, “A Birthday” by Christina Rossetti, “A Woman to Her Lover” by Cristina Walsh and “My Last Duchess” by Robert Browning.Love in Pre-1914 Poetry Compare and contrast the ways in which writers’ present ideas about love in a selection of pre-1914 poetry Poetry is usually used to convey strong feelings and emotions which may be difficult to express in any other form. Poems are especially good at portraying feelings of love because they have set rhythms which can flow better than ordinary speech; poetry can also be good at expressing anger as the rhythms are capable of being very harsh. From times pre-dating the Tudors, poetry has been used by men to win the affections of their prospective mistresses because, by using verse, they could show emotion without embarrassment..</div>
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-26063751909834387572013-04-17T05:35:00.001-07:002013-04-17T05:35:46.469-07:00Love Poems And Quotes<div dir="ltr" style="text-align: left;" trbidi="on">
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Robert Frost (1874-1963) was born in San Francisco, California. His father William Frost, a journalist and an ardent Democrat, died when Frost was about eleven years old. His Scottish mother, the former Isabelle Moody, resumed her career as a schoolteacher to support her family. The family lived in Lawrence, Massachusetts, with Frost's paternal grandfather, William Prescott Frost, who gave his grandson a good schooling. In 1892 Frost graduated from a high school and attended Darthmouth College for a few months. Over the next ten years he held a number of jobs. Frost worked among others in a textile mill and taught Latin at his mother's school in Methuen, Massachusetts. In 1894 the New York Independent published Frost's poem 'My Butterfly' and he had five poems privately printed. Frost worked as a teacher and continued to write and publish his poems in magazines. In 1895 he married a former schoolmate, Elinor White; they had six children.<br />
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From 1897 to 1899 Frost studied at Harvard, but left without receiving a degree. He moved to Derry, New Hampshire, working there as a cobbler, farmer, and teacher at Pinkerton Academy and at the state normal school in Plymouth. When he sent his poems to The Atlantic Monthly they were returned with this note: "We regret that The Atlantic has no place for your vigorous verse."<br />
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In 1912 Frost sold his farm and took his wife and four young children to England. There he published his first collection of poems, A BOY'S WILL, at the age of 39. It was followed by NORTH BOSTON (1914), which gained international reputation. The collection contains some of Frost's best-known poems: 'Mending Wall,' 'The Death of the Hired Man,' 'Home Burial,' 'A Servant to Servants,' 'After Apple-Picking,' and 'The Wood-Pile.' The poems, written with blank verse or looser free verse of dialogue, were drawn from his own life, recurrent losses, everyday tasks, and his loneliness.<br />
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While in England Frost was deeply influenced by such English poets as Rupert Brooke. After returning to the US in 1915 with his family, Frost bought a farm near Franconia, New Hampshire. When the editor of The Atlantic Monthly asked for poems, he gave the very ones that had previously been rejected. Frost taught later at Amherst College (1916-38) and Michigan universities. In 1916 he was made a member of the National Institute of Arts and Letters. On the same year appeared his third collection of verse, MOUNTAIN INTERVAL, which contained such poems as 'The Road Not Taken,' 'The Oven Bird,' 'Birches,' and 'The Hill Wife.' Frost's poems show deep appreciation of natural world and sensibility about the human aspirations. His images - woods, stars, houses, brooks, - are usually taken from everyday life. With his down-to-earth approach to his subjects, readers found it is easy to follow the poet into deeper truths, without being burdened with pedantry. Often Frost used the rhythms and vocabulary of ordinary speech or even the looser free verse of dialogue.<br />
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In 1920 Frost purchased a farm in South Shaftsbury, Vermont, near Middlebury College where he cofounded the Bread Loaf School and Conference of English. His wife died in 1938 and he lost four of his children. Two of his daughters suffered mental breakdowns, and his son Carol, a frustrated poet and farmer, committed suicide. Frost also suffered from depression and the continual self-doubt led him to cling to the desire to be awarded the Nobel Prize for literature. After the death of his wife, Frost became strongly attracted to Kay Morrison, whom he employed as his secretary and adviser. Frost also composed for her one of his finest love poems, 'A Witness Tree.'<br />
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Frost travelled in 1957 with his future biographer Lawrance Thompson to England and to Israel and Greece in 1961. He participated in the inauguration of President John Kennedy in 1961 by reciting two of his poems. When the sun and the wind prevented him from reading his new poem, 'The Preface', Frost recited his old poem, 'The Gift Outright', from memory. Frost travelled in 1962 in the Soviet Union as a member of a goodwill group. He had a long talk with Premier Nikita Khrushchev, whom he described as "no fathead"; as smart, big and "not a coward." Frost also reported that Khrushchev had said the United States was "too liberal to fight," it caused a considerable stir in Washington. Among the honors and rewards Frost received were tributes from the U.S. Senate (1950), the American Academy of Poets (1953), New York University (1956), and the Huntington Hartford Foundation (1958), the Congressional Gold Medal (1962), the Edward MacDowell Medal (1962). In 1930 he was elected to the American Academy of Arts and Letters, Amherst College appointed him Saimpson Lecturer for Life (1949), and in 1958 he was made poetry consultant for the Library of Congress.<br />
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At the time of his death on January 29, 1963, Frost was considered a kind of unofficial poet laureate of the US. "I would have written of me on my stone: I had a lover's quarrel with the world," Frost once said. In his poems Frost depicted the fields and farms of his surroundings, observing the details of rural life, which hide universal meaning. His independent, elusive, half humorous view of the world produced such remarks as "I never take my side in a quarrel", or "I'm never serious except when I'm fooling." Although Frost's works were generally praised, the lack of seriousness concerning social and political problems of the 1930s annoyed some more socially orientated critics. Later biographers have created a complex and contradictory portrait of the poet. In Lawrance Thompson's humorless, three-volume official biography (1966-1976) Frost was presented as a misanthrope, anti-intellectual, cruel, and angry man, but in Jay Parini's work (1999) he was again viewed with sympathy: ''He was a loner who liked company; a poet of isolation who sought a mass audience; a rebel who sought to fit in. Although a family man to the core, he frequently felt alienated from his wife and children and withdrew into reveries. While preferring to stay at home, he traveled more than any poet of his generation to give lectures and readings, even though he remained terrified of public speaking to the end..."<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-85116907534262512462013-04-17T05:11:00.001-07:002013-04-17T05:11:22.951-07:00Christmas Love Poems<div dir="ltr" style="text-align: left;" trbidi="on">
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Thomas Hardy's prolific output as a novelist often overshadows his secondary career as a poet. But his intensely musical and movingly mournful poems, mostly written after the death of his first wife, expose unparalleled levels of emotional truth, helping his writing form a bridge between the Victorians and modernism.<br />
Hardy was born to a working class family in Higher Bockhampton, Dorset in 1840. His mother worked in domestic service and his father was a stonemason and amateur musician. At 16 Hardy became an apprentice to an architect and spent his early twenties in London, where he began to write his first poems, although the rural landscapes of his boyhood informed Hardy's imagination. In 1867 he returned to the area where he was born and supplemented his architectural wage by writing novels, which were soon popular enough for him to take up writing full-time. Public opinion turned against him and Hardy stopped writing fiction when Jude the Obscure was attacked for obscenity. Shortly afterwards, at the age of 58 he published his first collection of poetry, Wessex Poems (1898).<br />
Many of Hardy's most moving poems were written immediately following his wife Emma's death in 1912. They recall not just their early days of happiness, but their long years spent mired in domestic misery. Hardy could also respond powerfully to public events. For example he wrote about the sinking of the Titanic in The Convergence of the Twain and the human cost of the Boer War in Drummer Hodge. At his death in 1928 Hardy's ashes were interred at Westminster Abbey, but his heart was removed for burial alongside Emma in Stinsford, Dorset.Christmas poems cover a multitude of sins, from the pious to the sickeningly cute. This is a reflection of the schizophrenic nature of Christmas itself – a major religious festival in the Christian calendar, which has been subsumed into a secular celebration of consumerism. As one might expect, Peculiar Poetry takes an oblique approach to Christmas poetry, offering a selection of festive poems that distil the true spirit of Christmas – misanthropic, dyspeptic and self-indulgent - and counterbalances it with the odd religious or romantic Christmas poem.Launched for Christmas 2011, Peculiar Poetry's first eBook is a collection of funny Christmas poems, parodies and nonsense verse by our resident poets Max Scratchmann, Paul Curtis and Patrick Winstanley. Oddly compelling and compellingly odd, you'll enjoy a roller coaster ride through the festive peaks - drinking, feasting and flirtation - and troughs - hangovers, religion and relations - in an anthology overflowing with new poems and Christmas good cheer. Modestly priced and immodest in all other respects, our Collection of Funny Christmas Poetry is as English as hot buttered crumpets and equally irresistible.A collection of Christmas poems by Paul Curtis which illustrates just how widely his poetry ranges. Those who have discovered Paul's work elsewhere on Peculiar Poetry will be unsurprised to find examples of both funny and dirty Christmas poems. Perhaps more surprising are the poems about the history and traditions of Christmas - Paul is the author of a prose anthology on the subject - and the religious Christmas poems, which illuinate a respectable side to his character which is perhaps not always apparent in his other styles of poetry.The selection of funny Christmas poems are ostensibly clean (at least for an adult audience) poems which take a humorous look both the Christmas itself and all the shenanigans - overindulgence, shopping, false bonhomie - which surround the festive period.Short attention span poetry for those who prefer their Christmas poems in easily digestible form. The initial collection of poems covers Paul's favourite festive subjects - shopping, chavs, dwarves and political correctness - and includes a series potentially inflammatoyAmongst the dirty Christmas poems you'll find poems that are rather more rude or risque than the funny Christmas poems, but there is nothing outrageously dirty or gratuitously offensive.Thoughtful and thought-provoking poems which focus on both the biblIf you follow Politics and the economy then you are certainly aware that Obama has not gotten the economy under control or the Budget Balanced.For the Next couple of weeks lets try and write Online Poetry about the Republicans and Democrats. Maybe you Love Politics and want to express your love for the whole political debate thing or maybe you just hate a particular party and want to express your reasons. Now is a good time to promote your views and your poetry and get a little bit political. Write about the economy, the good side and the bad but be honest with yourself and your readers. Write about the lack of jobs or even the so called job report that says things are not so bad,Neruda wrote in a variety of styles such as erotically charged love poems as in his collection Twenty Poems of Love and a Song of Despair, surrealist poems, historical epics, and overtly political manifestos. In 1971 Neruda won the Nobel Prize for Literature. Colombian novelist Gabriel García Márquez once called him "the greatest poet of the 20th century in any language." Neruda always wrote in green ink as it was his personal color of hope. ical message and the significance of the festive period to contemporary Christians.The collection of Christmas poems concludes with a mixed selection of poems which encompass a variety of subjects and themes - Christmas love poems, sad Christmas poems, poems about modern attitudes towards the festive period and, perhaps most appropriate of all, poems offering warm Christmas greetings to the world.When that specialization, which is one of the myriad results of industrialism, has so taken hold of the world that no one can be sure of recognition unless he produce in a certain field, it is more than pleasant to find one who defles the behest of the moment. Of the many younger poets now publishing almost all calim appreciation as specialists as poets of certain things or times or places. There is the poet of industrialism; the poet of the West; the poet of the Yukon; the poet of the Umpty-third regiment; the poet of Windy Peaches, Neb. Agter reading the works of such we are painfully impressed with the realization that the authors have never looked beyond their industrialist or Yukon noses, and we feel a sudden pessimism for the future of poetry. When we are in this state of mind it is, we repeat, more than refreshing to find a young poet who professes no field but the field of art. Such a one is Mr. McLane, if we can judge from his latest book of poems-"Shafts of Song". If he must have a little we suggest that of "a poety of beauty".<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-4375499228416232192013-04-17T04:51:00.001-07:002013-04-17T04:51:47.394-07:00What Is Love Poems<div dir="ltr" style="text-align: left;" trbidi="on">
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Much of Anne Sexton's poetry is autobiographical and concentrates on her deeply personal feelings, especially anguish. In particular, many of her poems record her battles with mental illness. She spent many years in psychoanalysis, including several long stays in mental hospitals. As she told Beatrice Berg, her writing began, in fact, as therapy: "My analyst told me to write between our sessions about what I was feeling and thinking and dreaming." Her analyst, impressed by her work, encouraged her to keep writing, and then, she told Berg, she saw (on television) "I. A. Richards [a poet and literary critic] describing the form of a sonnet and I thought maybe I could do that. Oh, I was turned on. I wrote two or three a day for about a year." Eventually, Sexton's poems about her psychiatric struggles were gathered in To Bedlam and Part Way Back which recounts, as James Dickey wrote, the experiences "of madness and near-madness, of the pathetic, well-meaning, necessarily tentative and perilous attempts at cure, and of the patient's slow coming back into the human associations and responsibilities which the old, previous self still demands."<br />
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This kind of poetry, which unveils the poet's innermost feelings, is usually termed confessional poetry, and it is the subject of much critical controversy. A Times Literary Supplement reviewer, for example, said of Live or Die that "many of Mrs. Sexton's new poems are arresting, but such naked psyche-baring makes demands which cannot always be met. Confession may be good for the soul, but absolution is not the poet's job, nor the reader's either." A Punch critic added, "When her artistic control falters the recital of grief and misery becomes embarrassing, the repetitive material starts to grow tedious, the poetic gives way to the clinical and the confessional." Many reviewers raised at least two questions. First, should her poetry be classified as confessional? Second, does her work consistently demonstrate the artistic control which many critics feel is an essential quality of good poetry?<br />
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Concerning the first question, Erica Jong objects to the classification: "Whenever Anne Sexton's poems are mentioned, the term 'confessional poetry' is not far behind. It has always seemed a silly and unilluminating term to me; one of those pigeonholing categories critics invent so as not to talk about poetry as poetry.... The mind of the creator is all-important, and the term 'confessional' seems to undercut this, implying that anyone who spilled her guts would be a poet." Sexton also often denigrated the term, but at times she applied it to herself. She told Berg that "for years I railed against being put in this category. Then ... I decided I was the only confessional poet." Moreover, in an interview with Patricia Marx, Sexton discussed the effect on her work of another poet often called confessional, W. D. Snodgrass, and acknowledged the confessional quality of her writing: "If anything influenced me it was W. D. Snodgrass' Heart's Needle.... It so changed me, and undoubtedly it must have influenced my poetry. At the same time everyone said, 'You can't write this way. It's too personal; it's confessional; you can't write this, Anne,' and everyone was discouraging me. But then I saw Snodgrass doing what I was doing, and it kind of gave me permission."<br />
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The second question is perhaps best answered in critics' specific responses to several of her individual books. Like many of Sexton's volumes, To Bedlam and Part Way Back received a mixed response. Dickey praised the subject of the work, but found that "the poems fail to do their subject the kind of justice which I should like to see done.... As they are they lack concentration, and above all the profound, individual linguistic suggestibility and accuracy that poems must have to be good." On the other hand, Melvin Maddocks believed that "Mrs. Sexton's remarkable first book of poems has the personal urgency of a first novel. It is full of the exact flavors of places and peoples remembered, familiar patterns of life recalled and painstakingly puzzled over.... A reader finally judges Mrs. Sexton's success by the extraordinary sense of first-hand experience he too has been enabled to feel." Barbara Howes thinks that many of the poems are flawed, but overall she judged Bedlam "an honest and impressive achievement."<br />
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All My Pretty Ones also garnered mixed reviews. Peter Davison found one poem, "The Operation," "absolutely superb," but he felt that none of the others are nearly as good. Dickey's critique was even stronger: "Miss Sexton's work seems to me very little more than a kind of terribly serious and determinedly outspoken soap-opera." Yet in an essay on both Bedlam and Pretty Ones, Beverly Fields argued that Sexton's poetry is mostly misread. She contended that the poems are not as autobiographical as they seem, that they are poems, not memoirs, and she went on to analyze many of them in depth in order to show the recurrent symbolic themes and poetic techniques that she felt make Sexton's work impressive.<br />
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Dissent among the reviewers continued with the appearance of Live or Die, Sexton's best known book. A Virginia Quarterly Review critic believed that Sexton was "a very talented poet" who was perhaps too honest: "Confession, while good for the soul, may become tiresome for the reader if not accompanied by the suggestion that something is being held back.... In [ Live or Die ] Miss Sexton's toughness approaches affectation. Like a drunk at a party who corners us with the story of his life,... the performance is less interesting the third time, despite the poet's high level of technical competence." Joel O. Conarroe, however, had a more positive view of Sexton's candor. "Miss Sexton is an interior voyager," commented Conarroe, "describing in sharp images the difficult discovered landmarks of her own inner landscape.... Poem after poem focuses on the nightmare obsessions of the damned: suicide, crucifixion, the death of others ..., fear, the humiliations of childhood, the boy-child she never had.... It is, though, through facing up to the reality (and implications) of these things that the poet, with her tough honesty, is able to gain a series of victories over them.... All in all, this is a fierce, terrible, beautiful book, well deserving its Pulitzer award."<br />
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Transformations, a retelling of Grimm's fairy tales, marked a shift away from the confessional manner of her earlier work, which several commentators found to be a fruitful change. Gail Pool, for example, contended that the tales provided Sexton with "a rich medium for her colorful imagery," a distance from her characters which allowed wit, an eerie realm "where she had always been her sharpest," and "the structure she needed and so often had difficulty imposing on her own work. At last she had found material to which she could bring her intelligence, her wit, all that she knew, and she created, in Stanley Kunitz's words, 'a wild, blood-curdling, astonishing book.'" Christopher Lehmann-Haupt echoed Pool's analysis, arguing that Sexton's earlier work tended to lack control, that perhaps she worked too closely with firsthand experience. Lehmann-Haupt continued, "by using the artificial as the raw material of Transformations and working her way backwards to the immediacy of her personal vision, she draws her readers in more willingly, and thereby makes them more vulnerable to her sudden plunges into personal nightmare." Similarly, Louis Coxe discovers a new objectivity and distance in Transformations, which he considers "a growth of the poet's mind and strength."<br />
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In The Death Notebooks, The Awful Rowing toward God, and 45 Mercy Street, the last two published posthumously, Sexton returned to the confessional method. While these books have been praised, they have also been more severely criticized than her early writings, many readers detecting a deterioration in quality. William Heyen remarked that Sexton's "poems went almost 'steadily downhill, became less intense, less dramatic, less interesting as one book followed another.... There were moments, occasional lines or even poems that wept or raged with her old power," but overall her voice became often "maudlin or patently melodramatic or simply silly." Heyen added that Awful Rowing continues the downward trend; it is touching, "but it's not very good." Robert Mazzocco seconded Heyen, commenting that while the early poems "depict intensely introverted states in highly extroverted style" and are well constructed, the later poems "seem to me less commanding, strike dissonant strains, chromatize the keyboard, or become programmatic." In like manner, Patricia Meyer Spacks argued that Sexton's poems become more and more sentimental in that they overindulge in emotion and fail to evaluate that emotion. The sentimentalism becomes "painfully marked" in Awful Rowing, "with its embarrassments of religious pretension.... The problem of internal division, the perception of divinity, the will to rebuild the soul: all alike register unconvincingly. The poetry through which these vast themes are rendered is simply not good enough."<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-28371796203191332622013-04-17T04:31:00.000-07:002013-04-17T04:31:12.466-07:00How To Write Love Poems<div dir="ltr" style="text-align: left;" trbidi="on">
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Eavan Boland was born in Dublin, Ireland in 1944. The daughter of a diplomat and a painter, Boland spent her girlhood in London and New York, returning to Ireland to attend secondary school in Killiney and later university at Trinity College in Dublin. Though still a student when she published her first collection, 23 Poems (1962), Boland’s early work is informed by her experiences as a young wife and mother, and her growing awareness of the troubled role of women in Irish history and culture. Over the course of her long career, Eavan Boland has emerged as one of the foremost female voices in Irish literature. Throughout her many collections of poetry, in her prose memoir Object Lessons (1995), and in her work as a noted anthologist and teacher, Boland has honed an appreciation for the ordinary in life. The poet and critic Ruth Padel described Boland’s “commitment to lyric grace and feminism” even as her subjects tend to “the fabric of domestic life, myth, love, history, and Irish rural landscape.” Keenly aware of the problematic associations and troubled place that women hold in Irish culture and history, Boland has always written out of an urge to make an honest account of female experience. In an interview with readers on the website A Smartish Pace, Boland herself described the “difficult situation” of her early years as a poet: “I began to write in an Ireland where the word ‘woman’ and the word ‘poet’ seemed to be in some sort of magnetic opposition to each other. Ireland was a country with a compelling past, and the word ‘woman’ invoked all kinds of images of communality which were thought to be contrary to the life of anarchic individualism invoked by the word ‘poet’…I wanted to put the life I lived into the poem I wrote. And the life I lived was a woman’s life. And I couldn’t accept the possibility that the life of the woman would not, or could not, be named in the poetry of my own nation.”<br />
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Boland’s poetry is known for subverting traditional constructions of womanhood, as well as offering fresh perspectives on Irish history and mythology. Her fifth book, In Her Own Image (1980), brought Boland international recognition and acclaim. Exploring topics such as domestic violence, anorexia, infanticide and cancer, the book also announced Boland’s on-going concern with inaccurate and muffled portrayals of women in Irish literature and society. Her next books, including Night Feed (1982) and her first volume of selected poems Outside History (1990), continue to explore questions of female identity. Though Boland has been described as a feminist, her approach is not an overtly political one. Perhaps this is because she is not content, as a poet, to uphold one view of things to the exclusion of all others: hers is a voice, in the words of Melanie Rehak in the New York Times Book Review, “that is by now famous for its unwavering feminism as well as its devotion to both the joys of domesticity and her native Ireland.” In a Time of Violence (1994), winner of a Lannan award and shortlisted for the prestigious T.S. Eliot prize, contains poems that gesture towards private and political realities at once. In poems such as “That the Science of Cartography is Limited” and “Anna Liffey,” Boland constructs a world that is influenced by history, the present-day and mythology and yet remains intensely personal. It is a recipe that Boland has perfected in her work since.<br />
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Against Love Poetry (2001), published as Code in the UK, displays the scope of Boland’s knowledge and her awareness of tradition. “So much of European love poetry,” she told Alice Quinn of the New Yorker online, “is court poetry, coming out of the glamorous traditions of the court…There’s little about the ordinariness of love.” Seeking a poetry that would express the beauty of the plain things that make up most people’s existences, she found that she would have to create it for herself. It is “dailiness,” as Boland called it, that reviewers often find, and praise, in Boland’s poetry. By focusing on “dailiness,” Boland is also attempting to delineate the contours of a new vision of history. Reviewing Code for the Times Literary Supplement, Clare Wills noted that “Boland is a master at reading history in the configurations of landscape, at seeing space as the registration of time. If only we know how to look, there are means of deciphering the hidden, fragmentary messages from the past, of recovering lives from history’s enigmatic scramblings.” Domestic Violence (2007) weaves different and competing kinds of history—the national, the personal, the domestic—together in poems that also meditate on the legacy of Irish poetry itself. Reviewing the collection for Poetry Review, Jay Parini noted: “The literal site of these poems is often Ireland itself, with its heroic gestures, high rhetoric, and (sometimes pretentious) symbol-making held in abeyance, even fended off. Boland brilliantly attacks, and nullifies, this tradition.” Parini added that “Boland is, in her quiet way, as melodramatic as any of her forbears. This is always what I have liked about her, the clash of intention and manifestation.”<br />
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Boland’s second volume of collected work, New Collected Poems, was published in 2008 to glowing reviews. Salvaging numerous poems from her first books, as well as a previously-unpublished verse play, the book demonstrates Boland’s restless and incessant attempt to escape from, or at the very least complicate, the Irish lyric tradition she inherited. Anne Fogarty, in the Irish Book Review declared New Collected Poems “acts as a timely reminder of the significance and innovatory force of Boland’s achievement as a poet and of the degree to which so many of her texts…have lastingly altered the contours of Irish writing. Modern Irish poetry would be unthinkable without her presence. New Collected Poems valuably updates the record of Eavan Boland’s artistic output. More vitally, it underscores the vibrancy of her ongoing project as a poet who is doubtless one of the foremost writers in contemporary Ireland.”<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-10348671726862267222013-04-17T04:07:00.000-07:002013-04-17T04:07:02.879-07:00Lost Love Poems<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-weight: normal;">Lost Love Poems Biography</span></h2>
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“No writer of world renown is perhaps so little known to North Americans as Chilean poet Pablo Neruda,” observed New York Times Book Review critic Selden Rodman. Numerous critics have praised Neruda as the greatest poet writing in the Spanish language during his lifetime, although many readers in the United States have found it difficult to disassociate Neruda’s poetry from his fervent commitment to communism. An added difficulty lies in the fact that Neruda’s poetry is very hard to translate; his works available in English represent only a small portion of his total output. Nonetheless, declared John Leonard in the New York Times, Neruda “was, I think, one of the great ones, a Whitman of the South.”<br />
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Born Ricardo Eliezer Neftali Reyes y Basoalto, Neruda adopted the pseudonym under which he would become famous while still in his early teens. He grew up in Temuco in the backwoods of southern Chile. Neruda’s literary development received assistance from unexpected sources. Among his teachers “was the poet Gabriela Mistral, who would be a Nobel laureate years before Neruda,” reported Manuel Duran and Margery Safir in Earth Tones: The Poetry of Pablo Neruda. “It is almost inconceivable that two such gifted poets should find each other in such an unlikely spot. Mistral recognized the young Neftali’s talent and encouraged it by giving the boy books and the support he lacked at home.”<br />
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By the time he finished high school, Neruda had published in local papers and Santiago magazines, and had won several literary competitions. In 1921 he left southern Chile for Santiago to attend school, with the intention of becoming a French teacher but was an indifferent student. While in Santiago, Neruda completed one of his most critically acclaimed and original works, the cycle of love poems titled Veinte poemas de amor y una canción desesperada—published in English translation as Twenty Love Poems and a Song of Despair. This work quickly marked Neruda as an important Chilean poet.<br />
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Veinte poemas also brought the author notoriety due to its explicit celebration of sexuality, and, as Robert Clemens remarked in the Saturday Review, “established him at the outset as a frank, sensuous spokesman for love.” While other Latin American poets of the time used sexually explicit imagery, Neruda was the first to win popular acceptance for his presentation. Mixing memories of his love affairs with memories of the wilderness of southern Chile, he creates a poetic sequence that not only describes a physical liaison, but also evokes the sense of displacement that Neruda felt in leaving the wilderness for the city. “Traditionally,” stated Rene de Costa in The Poetry of Pablo Neruda, “love poetry has equated woman with nature. Neruda took this established mode of comparison and raised it to a cosmic level, making woman into a veritable force of the universe.”<br />
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“In Veinte poemas,” reported David P. Gallagher in Modern Latin American Literature, “Neruda journeys across the sea symbolically in search of an ideal port. In 1927, he embarked on a real journey, when he sailed from Buenos Aires for Lisbon, ultimately bound for Rangoon where he had been appointed honorary Chilean consul.” Duran and Safir explained that “Chile had a long tradition, like most Latin American countries, of sending her poets abroad as consuls or even, when they became famous, as ambassadors.” The poet was not really qualified for such a post and was unprepared for the squalor, poverty, and loneliness to which the position would expose him. “Neruda travelled extensively in the Far East over the next few years,” Gallagher continued, “and it was during this period that he wrote his first really splendid book of poems, Residencia en la tierra, a book ultimately published in two parts, in 1933 and 1935.” Neruda added a third part, Tercera residencia, in 1947.<br />
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Residencia en la tierra, published in English as Residence on Earth, is widely celebrated as containing “some of Neruda’s most extraordinary and powerful poetry,” according to de Costa. Born of the poet’s feelings of alienation, the work reflects a world which is largely chaotic and senseless, and which—in the first two volumes—offers no hope of understanding. De Costa quoted Spanish poet García Lorca as calling Neruda “a poet closer to death than to philosophy, closer to pain than to insight, closer to blood than to ink. A poet filled with mysterious voices that fortunately he himself does not know how to decipher.” With its emphasis on despair and the lack of adequate answers to mankind’s problems, Residencia en la tierra in some ways foreshadowed the post-World War II philosophy of existentialism. “Neruda himself came to regard it very harshly,” wrote Michael Wood in the New York Review of Books. “It helped people to die rather than to live, he said, and if he had the proper authority to do so he would ban it, and make sure it was never reprinted.”<br />
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Residencia en la tierra also marked Neruda’s emergence as an important international poet. By the time the second volume of the collection was published in 1935 the poet was serving as consul in Spain, where “for the first time,” reported Duran and Safir, “he tasted international recognition, at the heart of the Spanish language and tradition. At the same time . . . poets like Rafael Alberti and Miguel Hernandez, who had become closely involved in radical politics and the Communist movement, helped politicize Neruda.” When the Spanish Civil War broke out in 1936, Neruda was among the first to espouse the Republican cause with the poem España en el corazon—a gesture that cost him his consular post. He later served in France and Mexico, where his politics caused less anxiety.<br />
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Communism rescued Neruda from the despair he expressed in the first parts of Residencia en la tierra, and led to a change in his approach to poetry. He came to believe “that the work of art and the statement of thought—when these are responsible human actions, rooted in human need—are inseparable from historical and political context,” reported Salvatore Bizzarro in Pablo Neruda: All Poets the Poet. “He argued that there are books which are important at a certain moment in history, but once these books have resolved the problems they deal with they carry in them their own oblivion. Neruda felt that the belief that one could write solely for eternity was romantic posturing.” This new attitude led the poet in new directions; for many years his work, both poetry and prose, advocated an active role in social change rather than simply describing his feelings, as his earlier oeuvre had done.<br />
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This significant shift in Neruda’s poetry is recognizable in Tercera residencia, the third and final part of the “Residencia” series. Florence L. Yudin noted in Hispania that the poetry of this volume was overlooked when published and remains neglected due to its overt ideological content. “Viewed as a whole,” Yudin wrote, “Tercera residencia illustrates a fluid coherence of innovation with retrospective, creativity with continuity, that would characterize Neruda’s entire career.” According to de Costa, as quoted by Yudin, “The new posture assumed is that of a radical nonconformist. Terra residencia must, therefore, be considered in this light, from the dual perspective of art and society, poetry and politics.”<br />
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“Las Furias y las penas,” the longest poem of Tercera residencia, embodies the influence of both the Spanish Civil War and the works of Spanish Baroque poet Francisco Gomez de Quevedo y Villegas on Neruda. The poem explores the psychic agony of lost love and its accompanying guilt and suffering, conjured in the imagery of savage eroticism, alienation, and loss of self-identity. Neruda’s message, according to Yudin, is that “what makes up life’s narrative (‘cuento’) are single, unconnected events, governed by chance, and meaningless (‘suceden’). Man is out of control, like someone hallucinating one-night stands in sordid places.” Yudin concluded that, “Despite its failed dialectic, ‘Las Furias y las penas’ sustains a haunting beauty in meaning and tone” and “bears the unmistakable signature of Neruda’s originality and achievement.”<br />
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While some critics have felt that Neruda’s devotion to Communist dogma was at times extreme, others recognize the important impact his politics had on his poetry. Clayton Eshleman wrote in the introduction to Cesar Vallejo’s Poemas humanos/ Human Poems that “Neruda found in the third book of Residencia the key to becoming the twentieth-century South American poet: the revolutionary stance which always changes with the tides of time.” Gordon Brotherton, in Latin American Poetry: Origins and Presence, expanded on this idea by noting that “Neruda, so prolific, can be lax, a ‘great bad poet’ (to use the phrase Juan Ramon Jimenez used to revenge himself on Neruda). And his change of stance ‘with the tides of time’ may not always be perfectly effected. But . . . his dramatic and rhetorical skills, better his ability to speak out of his circumstances, . . . was consummate. In his best poetry (of which there is much) he speaks on a scale and with an agility unrivaled in Latin America.”<br />
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Neruda expanded on his political views in the poem Canto general, which, according to de Costa, is a “lengthy epic on man’s struggle for justice in the New World.” Although Neruda had begun the poem as early as 1935—when he had intended it to be limited in scope only to Chile—he completed some of the work while serving in the Chilean senate as a representative of the Communist Party. However, party leaders recognized that the poet needed time to work on his opus, and granted him a leave of absence in 1947. Later that year, however, Neruda returned to political activism, writing letters in support of striking workers and criticizing Chilean President Videla. Early in 1948 the Chilean Supreme Court issued an order for his arrest, and Neruda finished the Canto general while hiding from Videla’s forces.<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-21295250191198358812013-04-17T01:16:00.000-07:002013-04-17T01:16:08.988-07:00A mother s Love Poem<div dir="ltr" style="text-align: left;" trbidi="on">
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Source(google.com.pk)<br />
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The mother loves her child most divinely, not when she surrounds him with comfort and anticipates his wants, but when she resolutely holds him to the highest standards and is content with nothing less than his best. Hamilton Wright Mabie<br />
The mother's heart is the child's schoolroom. Henry Ward Beecher<br />
A mother is a mother still, the holiest thing alive. Samuel Taylor Coleridge<br />
Mother is the name for God in the lips and hearts of little children. William Makepeace Thackeray<br />
A mother understands what a child does not say. Unknown<br />
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A mother is the truest friend we have, when trials heavy and sudden, fall upon us; when adversity takes the place of prosperity; when friends who rejoice with us in our sunshine desert us; when trouble thickens around us, still will she cling to us, and endeavour by her kind precepts and counsels to dissipate the clouds of darkness, and cause peace to return to our hearts. Washington Irving<br />
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All that I am or ever hope to be, I owe to my angel Mother. Abraham Lincoln<br />
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A mother's love is patient and forgiving when all others are forsaking, it never fails or falters, even though the heart is breaking. Helen Rice<br />
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And it came to me, and I knew what I had to have before my soul would rest. I wanted to belong - to belong to my mother. And in return - I wanted my mother to belong to me. Gloria Vanderbilt<br />
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But the mother's yearning, that completest type of the life in another life which is the essence of real human love, feels the presence of the cherished child even in the debased, degraded man. George Eliot<br />
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Mother is the name for God in the lips and hearts of little children. Jewish Proverb<br />
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A mother understands what a child does not say. Pearl S. Buck<br />
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If I had a flower for each time I thought of My Mother, I could walk in my garden foreverDo you want to say a few words to your mum this Mother's Day - but not sure you have the literary know-how? Some of history's greatest poets, writers, thinkers, song writers and public figures have written or spoken on the subject of motherhood. And you shouldn't feel ashamed of quoting from one of the greats in your Mother's We're all mothered during our lives. No matter how old we are, our mums are there as mothers - to care and support, to share hard-learned knowledge, to celebrate successes and to teach us how to be good human beings. Historically, many poets have written about mothering and motherhood; these poems for Mothers Day show the experience from mother and child views. Find a poem (or just a few lines of poetry) for mum to include in a Mother's Day card or as a preface for a specially collated album of photographs of you and your mum. Here are just a few examples of poems for Mother's DayThe moment a child is born, the mother is also born. She never existed before. The woman existed, but the mother, never. A mother is something absolutely new. Rajneesh<br />
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When you are a mother, you are never really alone in your thoughts. A mother always has to think twice, once for herself and once for her child. Sophia Loren.<br />
Mother love is the fuel that enables a normal human being to do the impossible. Marion C. Garretty<br />
God could not be everywhere and therefore he made mothers. Jewish Proverb<br />
Making the decision to have a child is momentous. It is to decide forever to have your heart go walking around outside your body. Elizabeth Stone.<br />
The heart of a mother is a deep abyss at the bottom of which you will always find forgiveness. Honore de Balzac. Love in Poetry There are endless ways in which love can be portrayed and occur. There are numerous types of love, whether it's physical, emotional or romantic love. I intend to expand upon and highlight the various ways in which love an loss is portrayed in 5 selected poems: John Clare's 'First Love', John Keats' 'La Belle Dame Sans Merci', Robert Browning 'My Last Duchess' and Christina Rossetti's two poems 'Birthday' and 'Remember'. All of the poets portray love the concept of love or loss or both in relation to some; they all attempt to capture and express the presence of love and loss in the closest way possible....<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-71196321038795328002013-04-17T00:22:00.001-07:002013-04-17T00:22:10.371-07:00Falling In Love Poems<div dir="ltr" style="text-align: left;" trbidi="on">
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Poet and author Edward Hirsch has built a reputation as an attentive and elegant writer and reader of poetry. Over the course of eight collections of poetry, four books of criticism, and the long-running “Poet’s Choice” column in the Washington Post, Hirsch has transformed the quotidian into poetry in his own work, as well as demonstrated his adeptness at explicating the nuances and shades of feeling, tradition, and craft at work in the poetry of others. Introducing Hirsch at the National Arts Club, Pulitzer Prize winning author Jhumpa Lahiri remarked: “The trademarks of his poems are things I strive to bring to my own writing: to be intimate but restrained, to be tender without being sentimental, to witness life without flinching, and above all, to isolate and preserve those details of our existence so often overlooked, so easily forgotten, so essential to our souls.” "I would like to speak in my poems with what the Romantic poets called 'the true voice of feeling,'" Hirsch told Contemporary Authors. "I believe, as Ezra Pound once said, that when it comes to poetry, 'only emotion endures.'"<br />
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Described by Peter Stitt in Poetry as "a poet of genuine talent and feeling," Hirsch’s first volume, For the Sleepwalkers (1981) was nominated for the National Book Critics Circle Award; his second, Wild Gratitude(1986) won the award in 1987. He has been awarded fellowships from the National Endowment for the Arts, the Guggenheim Foundation, and received a MacArthur “genius” award in 1997. His numerous other awards include an Ingram Merrill Foundation Award, the Rome Prize from the American Academy in Rome, and a Lila Wallace-Reader’s Digest Writers’ Award. A former professor at Wayne State University and the University of Houston, Hirsch is president of the John Simon Guggenheim Memorial Foundation and is a Chancellor of the Academy of American Poets.<br />
Born in 1950 in Chicago, Hirsch was educated at Grinnell College and the University of Pennsylvania, where he received a PhD in folklore. His first books contain vignettes of urban life and numerous tributes to artists, which, according to David Wojahn in the New York Times Book Review, "begin as troubled meditations on human suffering [but] end in celebration." New Republic contributor Jay Parini wrote that in For the Sleepwalkers, "Hirsch inhabits, poem by poem, dozens of other skins. He can become Rimbaud, Rilke, Paul Klee, or Matisse, in each case convincingly." Hirsch uses other voices in later works like On Love (1998). Taking on the personae of dozens of poets from the past, including diverse writers like D. H. Lawrence, Charles Baudelaire, and Jimi Hendrix, Hirsch creates an imaginary conversation between them as they discuss the subject of love.<br />
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Hirsch’s interest in mining the past and traditions of poetry extends to his critical work as well. How to Read a Poem and Fall in Love with Poetry (1999) presents close-readings of an eclectic mix of poems and poets, written in an accessible style. The Demon and the Angel: Searching for the Source of Artistic Inspiration (2003) considers the concept of duende, which posits that artistic creation arises out of a heightened state, or power. Made most famous by Frederico García Lorca, Hirsch explores the implications of duende across a variety of artists, including Martha Graham and Lorca himself. Hirsch’s encyclopedic knowledge of poetry, poets, and poetics served him during his tenure at the Washington Times, where he penned the weekly “Poet’s Choice” column. Collecting the columns into the book Poet’s Choice (2006), Hirsch stated his goals for his work as a critic: “I write for both initiated and uninitiated readers of poetry. I like to spread the word...My notion was to make links and connections, to bring forward unknown poets, and to help people to think about poetry in a somewhat deeper way. It seemed to work.”<br />
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Hirsch’s later volumes of poetry include Earthly Measures (1994), On Love (1998), and Lay Back the Darkness (2003), which includes treatments of the Orpheus myth as well as several ekphrasis poems. The Living Fire: New and Selected Poems 1972–2010 (2010) shows, according to Peter Campion in the New York Times, “a kind of model for the growth of poetic intelligence.” Campion went on to note: “What makes Hirsch so singular in American poetry is the balance he strikes between the quotidian and something completely other—an irrational counterforce.” Though noting that Hirsch’s poems sometimes sink to rhetoric, Campion concluded that, “Hirsch situates himself between the ordinary and the ecstatic. The everyday and the otherworldly temper each other in these excellent poems, and American poetry gains new strength as a result.”<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-49737604473788483012013-04-16T10:42:00.001-07:002013-04-16T10:42:12.287-07:00True Love Poems<div dir="ltr" style="text-align: left;" trbidi="on">
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"If ever two were made for each other surely it is love and poetry: the infinite variety of love meeting the boundless capacity of poetry to embrace it. There is something both sweet and intense about all aspects of romantic love, a combination that is ideally suited to poetry's marriage of the music of speech with compressed content. This is true from love's first blush through to its heady consummation.<br />
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"It is a surprise, however, to find that the straightforward romantic paean is comparatively rare amongst great love poems. Perhaps this is because the self-satisfied I'm-so-happy-now-we-twain-are-one approach can cloy. For the most part, great love poems are either ones of wily courtship, unrequited love, or the bitterest regret. There is something delicious about these marginal states in which Desire (for it is he) is constantly unsatisfied, confounded or denied. I would hazard a shaft that it is just this strange quality of desire to persist in the face of its own negation that we find compelling. With that in mind, and with the exception of the Shakespeare (he seems to be able to carry it off), all the poems I've chosen, in no particular order, are of this type. "This is a truly subversive poem, whose first three lines signal the arrival of literary modernism and which can be practically read as its credo. Prufrock is a miscast troubadour of the Edwardian drawing room who fails to raise his lute or his voice due to simple lack of courage. The poem is an anthem for all those who have failed through inaction, which probably includes us all at some time, and which no doubt is what provides it with its great poignancy.A latter-day warrior is beguiled to his inevitable fate by, as her name suggests, a temptress in the mythic tradition. The quiet stroke of brilliance in this poem is just that fact that Betjeman makes the narrator a soldier, trained to repel any military assault no doubt, but defenceless in the face of "strenuous singles" with the athletic young Joan Hunter Dunn. She runs out the "victor", not only in the tennis, but in all regards. A caveat on the hazards of mixing hormones with physical activity.When Henry VIII announced that he intended to marry Anne Boleyn, Wyatt wrote to the king in an effort to dissuade him, saying he himself had had knowledge of her. This poem portrays a hind that the speaker and others pursue vainly and which wears a necklace of jewels that spell out "Noli me tangere [Do not touch me], for Caesar's I am." In the event, Henry took no notice of the letter, thinking perhaps that Wyatt had written it out of jealously. The rest is monumental history.If there are a number of great conceits in the Marvell, then there is a single one in this, at first sight tasteless masterpiece. Almost, one feels, as an exercise in virtuosity, Donne turns a human flea into a persuasive romantic symbol. Said flea has just bitten both himself and the object of his attentions and so becomes an improbable erotic crucible: Donne argues disingenuously that, as the two of them are now conjoined in the flea, they might just as well get on with the grosser physical details.The end of many a relationship has left a sour taste in the mouth; in this case it is that of single-malt whiskys. Our insomniac narrator sets a fairy ring of nips about a room and the sad circle begins where it ends via unfulfilled potential and sorry recollection blended with acid judgment of the betrayer. It concludes with as bitter a toast to a woman as was ever offered by man.In this staple of wedding ceremonies, "mind" probably means something nearer to what we mean by the word "spirit". Or we have a more modern term that covers it: "soul-mate". From this poem we can, as is so often the case, give the last word to Shakespeare, a succinct characterisation of the wish for enduring love: "Love is not love / Which alters when it alteration finds."<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-2238375685622910632013-04-16T10:12:00.002-07:002013-04-16T10:12:39.143-07:00Classic Love Poems<div dir="ltr" style="text-align: left;" trbidi="on">
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W.S. Merwin is a major American writer whose poetry, translations, and prose have won praise since W.H. Auden awarded his first book, A Mask for Janus (1952), the Yale Younger Poets Prize. Though that first book reflected the formalism of the period, Merwin eventually became known for an impersonal, open style that eschewed punctuation. Writing in the Guardian, Jay Parini described Merwin’s mature style as “his own kind of free verse, [where] he layered image upon bright image, allowing the lines to hang in space, largely without punctuation, without rhymes . . . with a kind of graceful urgency.” Although Merwin’s writing has undergone stylistic changes through the course of his career, a recurring theme is man’s separation from nature. The poet sees the consequences of that alienation as disastrous, both for the human race and for the rest of the world. Merwin, who is a practicing Buddhist as well as a proponent of deep ecology, has lived since the late 1970s on an old pineapple plantation in Hawaii which he has painstakingly restored to its original rainforest state.<br />
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Merwin was born in New York City in 1927 and raised in New Jersey and Scranton, Pennsylvania, the son of a Presbyterian minister. Of his development as a writer, Merwin once said, “I started writing hymns for my father almost as soon as I could write at all, illustrating them . . . But the first real writers that held me were not poets: Conrad first, and then Tolstoy, and it was not until I had received a scholarship and gone away to the university that I began to read poetry steadily and try incessantly, and with abiding desperation, to write it.” Merwin attended Princeton University and studied with R.P. Blackmur and John Berryman. After graduating in 1948, he continued as a post-graduate student of Romance languages and eventually traveled through much of Europe, translating poetry and working as a tutor, including for the son of poet Robert Graves. Merwin’s early collections—especially A Mask for Janus—reflect the influence of Graves and the medieval poetry Merwin was translating at the time.<br />
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Indeed, the poetic forms of many eras and societies are the foundation for a great deal of Merwin’s poetry. His first books contain many pieces inspired by classical models. According to Vernon Young in the American Poetry Review, the poems are traceable to “Biblical tales, Classical myth, love songs from the Age of Chivalry, Renaissance retellings; they comprise carols, roundels, odes, ballads, sestinas, and they contrive golden equivalents of emblematic models: the masque, the Zodiac, the Dance of Death.” In 1956, Merwin was offered a fellowship from the Poets’ Theater in Cambridge, Massachusetts and returned to the U.S. His books from this period, Green with Beasts (1956) and The Drunk in the Furnace (1960), show the beginning of a shift in style and tone as Merwin began to experiment with irregular forms. The Drunk in the Furnace, which was written during Merwin’s tenure in Boston when he was meeting poets like Robert Lowell, particularly shows his new engagement with American themes. His obsession with the meaning of America and its values can make Merwin sometimes seem like the great nineteenth-century poet Walt Whitman, L. Edwin Folsom noted in Shenandoah. “His poetry . . . often implicitly and sometimes explicitly responds to Whitman; his twentieth-century sparsity and soberness—his doubts about the value of America—answer, temper, Whitman’s nineteenth-century expansiveness and exuberance—his enthusiasm over the American creation.”<br />
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Merwin’s next books are his most critically acclaimed and continue to be influential volumes. The Lice (1967), though often read as a response to the Vietnam War, condemns modern man in apocalyptic and visionary terms. “These are poems not written to an agenda but that create an agenda,” wrote poet and critic Reginald Shepherd, “preserving and recreating the world in passionate words. Merwin has always been concerned with the relationship between morality and aesthetics, weighing both terms equally. His poems speak back to the fallen world not as tracts but as artistic events.” The Lice remains one of Merwin’s best-known volumes of poetry. His next book, The Carrier of Ladders (1970) won the Pulitzer Prize for poetry in 1971. He famously donated the prize money to the draft resistance movement, writing an essay for the New York Review of Books that outlined his objections to the Vietnam War. His article spiked the ire of W.H. Auden, who wrote a response arguing that the award was apolitical. The Carrier of Ladders shows Merwin continuing to engage with American themes and nature, and includes a long sequence on American westward expansion. That same year, Merwin published The Miner’s Pale Children: A Book of Prose. Reviewing both volumes for the New York Times, Helen Vendler noted that “these books invoke by their subtitles the false distinction between prose and poetry: the real distinction is between prose and verse, since both are books of poems, with distinct resemblances and a few differences.”<br />
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Merwin moved to Hawaii to study Zen Buddhism in 1976. He eventually settled in Maui and began to restore the forest surrounding his former plantation. Both the rigor of practicing Buddhism and the tropical landscape have greatly influenced Merwin’s later style. His next books increasingly show his preoccupation with the natural world. The Compass Flower (1977), Opening the Hand (1983), and The Rain in the Trees (1988) “are concerned not only with what to renounce in the metropolis but also what to preserve in the country,” noted Ed Hirsch in the New York Times. Many of the poems in the last volume “immerse themselves in nature with a fresh sense of numinousness,” said Hirsch, while also mourning the loss of that nature to human greed and destruction. Merwin has continued to produce striking poems using nature as a backdrop. The Vixen (1996), for instance, is an exploration of the rural forest in southwestern France that Merwin called home for many years. New Yorker critic J. D. McClatchy remarked that “the book is suffused with details of country life—solitary walks and garden work, woodsmoke, birdsong, lightfall.” But Merwin’s later poetry doesn’t merely describe the natural world; it also records and condemns the destruction of nature, from the felling of sacred forests to the extinction of whole species. Migration: New and Selected Poems (2005) exposes Merwin’s evolution as a stylist over half a century but also shows, as Ben Lerner noted in his review of the volume for Jacket, that “Merwin . . . is an unwaveringly political poet . . . [he] not only tracks the literal impoverishment of our planet, but he makes it symbolize the impoverishment of our culture’s capacity for symbolization.” Migration was awarded the National Book Award for poetry.<br />
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Some literary critics have identified Merwin with the group known as the oracular poets, but Merwin himself once commented: “I have not evolved an abstract aesthetic theory and am not aware of belonging to any particular group of writers.” Reviewing Migration for the New York Times, Dan Chiasson described Merwin poems as “secular prophecy grounded on perceptual fineness.” But while Merwin’s work from the 1960s and early ‘70s perhaps best embody this mode, Chiasson believed that “its signature open form has been preserved whatever the occasion. What began as stylistic necessity has become a mannerism.” Merwin has continued to win high praise for his poetry, however, including the 2009 Pulitzer Prize for his collection The Shadow of Sirius (2008). The book’s three sections deal with childhood and memory, death and wisdom, and are some of the most autobiographical of his career. The Pulitzer Prize committee cited the book for its “luminous, often-tender poems that focus on the profound power of memory.”<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-63826167820969495312013-04-16T09:12:00.001-07:002013-04-16T09:12:59.366-07:00Sweet Love Poems<div dir="ltr" style="text-align: left;" trbidi="on">
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The relationship between a husband and wife is amongst the closest ones in this world. Though they are not related by birth, they remain with each other throughout their life, even when everyone else gets busy and forgets to keep in touch. Though a husband/wife understands the importance of his/her partner, it is only on occasions, like birthday, anniversary or Valentine’s Day, that he/she conveys the same. If you are also one such husband, why not make your wife feel special without any occasion. Tell her how much you love her and what she means to you. In case you need any help, make use of the love poetry provided in the lines below.Though he is known primarily as a poet of the Midwest, David Baker was born in Bangor, Maine in 1954. He spent his childhood in Missouri and attended Central Missouri State University before receiving his PhD from the University of Utah. He has won fellowships and awards from the Poetry Society of America, the Pushcart Foundation, the National Endowment for the Arts and the Guggenheim Foundation. Currently a Professor of English and the Thomas B. Fordham Chair in Creative Writing at Denison University, Baker is also the editor of the Kenyon Review. He lives in Granville, Ohio.<br />
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Baker is often described as a poet of place, indebted to the American Romantic tradition of Emerson and Whitman, as well as Frost. His poems typically explore an individual’s sense of and engagement with their natural surroundings, and embrace complicated notions of history, home and memory; Baker himself has delineated the importance of landscape and place to his poetry. In an on-line interview with Paul Holler he said: “I find a connection between my poetry and my place in the world. I am sure that my work would be different if I lived a long time somewhere else; of course it would, though I have no real way of estimating what that would be, how my poems would change. As it is, I can't see how I could write without a devout attention to place—the language, ways of life, my neighbors and family, the rigor and leisure that grow here where I live. Wallace Stevens wrote that ‘we live in the mind.’ But I would add to that, to assert that if we live in the mind, then the mind lives in the body, and the body lives in a particular time and place in the world, taking sustenance, loving, working, laboring in that time and place.”<br />
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Baker’s collections of poetry include the widely-acclaimed Changeable Thunder (2001), Midwest Eclogue (2007) and Never-Ending Birds (2009). Reviewing Midwest Eclogue for Verse magazine, Kevin Cantwell described the book’s “meditative pastorals and epistolary natural histories” that give the reader “not so much the uneasiness of living in the poem but a sense of the poem as timbre for the uneasiness of the poet’s mind. Baker’s poems trust that ordinary language can still leverage the liminal moment through a kinetic syntax and conversational force.” The poet Carol Muske-Dukes, calling Baker “a reliably illuminating presence in American poetry,” noted that the poems in Never-Ending Birds are “tightly controlled, but aching with loss.” Edward Byrne, writing for the Virginia Quarterly Review, perhaps summarized Baker’s work best. Reviewing the collection Changeable Thunder, Byrne wrote: “Baker speaks to the importance of memory even when selective or ambiguous, the value of life and the language to describe or explain it, the need to know how to connect the past with the present, to blend memories with continuing events in a way that seems to keep all alive simultaneously in our minds, to mourn but also to learn from the past and the people who still reside there for us in order to direct the present wisely or to turn with optimism toward the future.”<br />
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In addition to his numerous volumes of poetry, Baker has published three works of literary criticism. Meter in English: A Critical Engagement (1996) is a compilation of essays by various poets responding to a Robert Wallace piece on prosody, while Heresy and the Ideal: On Contemporary Poetry (2000) contains Baker’s own critical essays on individual poets and poems. With his wife, the poet Anne Townsend, Baker compiled and edited the collection The Radiant Lyre: Essays on Lyric Poetry (2009). The book, which grew out of a panel discussion at the 2000 Associated Writers Program conference, considers the traditions, shapes, forms and rhetorical gestures of lyric in three main genres of poetry—the elegy, the ode and the love poem.<br />
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Baker told Contemporary Authors: "I have surprised myself, I suppose, by seeing how important poetry has become to my life. I first began writing in college, experimenting as students do with their current subject. I continue now out of something close to necessity. I want to continue to believe that a growing sensitivity toward language nurtures a growing sensitivity toward the user of language—the human being."<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-62414868146823089172013-04-16T08:48:00.001-07:002013-04-16T08:48:15.585-07:00Good Morning Love Poems<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-weight: normal;">Good Morning Love Po</span><span class="Apple-style-span" style="font-weight: normal;">ems Biography</span></h2>
Source(google.com.pk)<br />
<br />
I'd like to give credits to Chelsey, who wrote "How did you sleep?". It was top rated. I really liked it so I wrote my own little version of it. Some parts are similiar or the same. But I thought I'd at least give her the credits she deserves :). It was an amazing poem. Hope you like mine as well.Good morning my love, how did you sleep?Not too good, you weren't next to me.<br />
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I screamed and ached the whole night through.</div>
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I hope you know I'm lost without you.</div>
Not too good, you weren't next to me.I was thinking of you and I couldn't rest.<br />
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Holding my pillow didn't compare to your chest.</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Music wouldn't help; it's different from your heart beat.</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
I needed your warmth, and your feet on my feet.</div>
I was thinking of you and I couldn't rest.<br />
Holding my pillow didn't compare to your chest.<br />
Good afternoon my love, how was your day?<br />
I saw you twice, so it was okay.<br />
But you must know that I still missed you like crazy.<br />
At times,I couldn't walk; man, was I lazy.<br />
<br />
I couldn't focus, you were stuck on my mind.<br />
Almost held back, cause I was behind.<br />
I was so tired and couldn't stay awake.<br />
Knowing it was my heart you were about to take.<br />
<br />
Goodnight my love, what will you dream?<br />
Without you here, I'll probably scream.<br />
I'll keep my eyes open, won't shut my eyes.<br />
Even though, beneath my eyelid, the future lies.<br />
<br />
But eventually I will dream, of only your lips.<br />
My heart will pound as the beat skips.<br />
Then closer we came, in utter bliss.<br />
And of course I wake up from this almost kiss.If you're like me, you probably think falling in love over a modem is unusual and perhaps even rare. But, like me, you would be wrong. Perhaps the very nature of a web site devoted to poetry brings these couples to the fore, but I have been amazed at the number of people I've met through Passions that have found their significant other on-line. Some have met through email, some through chat or forums, some through personal ads. All have found a connection, that elusive thing that binds them to another human being.When the morning sun rays wake up me from my sleep<br />
When the fresh crisp air blow through the windows<br />
When those birds on the tree chirps and welcome a new day<br />
When those flowers on the trees have turned their face high<br />
When the church bells call for prayers in the morning<br />
Then I wake up and think of my last night dream with you<br />
and rush to my telephone to say you 'Good Morning My Love'<br />
My days never ever start without talking to you in the morning<br />
nor my life never sail smoothly through out the day<br />
Your sweet words being to light up my day my love<br />
and your morning kisses will make my heart sunshine ever<br />
Having you in my life will bring me the mountain of happiness<br />
and the love you shower on me is like a silver brightness<br />
I can not explain the love I have for you<br />
and my days are not enough to love you either<br />
My love is as strong as it is true from morning to night<br />
Let me tell you again 'Good Morning My Love '<br />
and thank you for you being attached to me love<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com1tag:blogger.com,1999:blog-159548684263593199.post-53223251437318790732013-04-16T07:53:00.001-07:002013-04-16T07:53:39.044-07:00Love Poems For A Girl<div dir="ltr" style="text-align: left;" trbidi="on">
<h2 style="text-align: left;">
<span class="Apple-style-span" style="font-weight: normal;">Love Poems For A Girl Biography</span></h2>
Source(google.com.pk)<br />
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Nikki Giovanni is a world-renowned poet, writer, commentator, activist, and educator. Over the past thirty years, her outspokenness, in her writing and in lectures, has brought the eyes of the world upon her. One of the most widely-read American poets, she prides herself on being "a Black American, a daughter, a mother, a professor of English." Giovanni remains as determined and committed as ever to the fight for civil rights and equality. Always insisting on presenting the truth as she sees it, she has maintained a prominent place as a strong voice of the Black community. Her focus is on the individual, specifically, on the power one has to make a difference in oneself, and thus, in the lives of others.<br />
<br />
<br />
NIKKI GIOVANNI was born in Knoxville, Tennessee, and grew up in Lincoln Heights, an all-black suburb of Cincinnati, Ohio. She and her sister spent their summers with their grandparents in Knoxville, and she graduated with honors from Fisk University, her grandfather's alma mater, in 1968; after graduating from Fisk, she attended the University of Pennsylvania and Columbia University. She published her first book of poetry, Black Feeling Black Talk, in 1968, and within the next year published a second book, thus launching her career as a writer. Early in her career she was dubbed the "Princess of Black Poetry," and over the course of more than three decades of publishing and lecturing she has come to be called both a "National Treasure" and, most recently, one of Oprah Winfrey's twenty-five "Living Legends."<br />
<br />
Many of Giovanni's books have received honors and awards. Her autobiography, Gemini, was a finalist for the National Book Award; Love Poems, Blues: For All the Changes, Quilting the Black-Eyed Pea, Acolytes, and Hip Hop Speaks to Children: A Celebration of Poetry with a Beat were all honored with NAACP Image Awards. Blues: For All the Changes reached #4 on the Los Angeles Times Bestseller list, a rare achievement for a book of poems. Most recently, her children's picture book Rosa, about the civil rights legend Rosa Parks, became a Caldecott Honors Book, and Bryan Collier, the illustrator, was given the Coretta Scott King award for best illustration. Rosa also reached #3 on The New York Times Bestseller list. Shortly after its release, Bicycles: Love Poems reached #1 on Amazon.com for Poetry.<br />
<br />
Giovanni's spoken word recordings have also achieved widespread recognition and honors. Her album Truth Is On Its Way, on which she reads her poetry against a background of gospel music, was a top 100 album and received the Best Spoken Word Album given by the National Association of Radio and Television Announcers. Her Nikki Giovanni Poetry Collection, on which she reads and talks about her poetry, was one of five finalists for a Grammy Award.<br />
<br />
Giovanni's honors and awards have been steady and plentiful throughout her career. The recipient of some twenty-five honorary degrees, she has been named Woman of the Year by Mademoiselle Magazine, The Ladies Home Journal, and Ebony Magazine. She was tapped for the Ohio Women's Hall of Fame and named an Outstanding Woman of Tennessee. Giovanni has also received Governor's Awards from both Tennessee and Virginia. She was the first recipient of the Rosa L. Parks Woman of Courage Award, and she has also been awarded the Langston Hughes Medal for poetry. She is an honorary member of Delta Sigma Theta Sorority and has received Life Membership and Scroll from The National Council of Negro Women. A member of PEN, she was honored for her life and career by The History Makers. She has received the keys to more than two dozen cities. A scientist who admires her work even named a new species of bat he discovered for her! Black Enterprise named her a Women of Power Legacy Award winner for work that expands opportunities for other women of color.<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-66206930357185963822013-04-15T09:58:00.002-07:002013-04-15T09:58:33.923-07:00Love Poem For Her<div dir="ltr" style="text-align: left;" trbidi="on">
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Source(google.com.pk)<br />
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Anne Bradstreet was the first woman to be recognized as an accomplished New World Poet. Her volume of poetry The Tenth Muse Lately Sprung Up in America ... received considerable favorable attention when it was first published in London in 1650. Eight years after it appeared it was listed by William London in his Catalogue of the Most Vendible Books in England, and George III is reported to have had the volume in his library. Bradstreet's work has endured, and she is still considered to be one of the most important early American poets.<br />
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Although Anne Dudley Bradstreet did not attend school, she received an excellent education from her father, who was widely read— Cotton Mather described Thomas Dudley as a "devourer of books"—and from her extensive reading in the well-stocked library of the estate of the Earl of Lincoln, where she lived while her father was steward from 1619 to 1630. There the young Anne Dudley read Vergil, Plutarch, Livy, Pliny, Suetonius, Homer, Hesiod, Ovid, Seneca, and Thucydides as well as Spenser, Sidney, Milton, Raleigh, Hobbes, Joshua Sylvester's 1605 translation of Guillaume du Bartas's Divine Weeks and Workes, and the Geneva version of the Bible. In general, she benefited from the Elizabethan tradition that valued female education. In about 1628—the date is not certain—Anne Dudley married Simon Bradstreet, who assisted her father with the management of the Earl's estate in Sempringham. She remained married to him until her death on 16 September 1672. Bradstreet immigrated to the new world with her husband and parents in 1630; in 1633 the first of her children, Samuel, was born, and her seven other children were born between 1635 and 1652: Dorothy (1635), Sarah (1638), Simon (1640), Hannah (1642), Mercy (1645), Dudley (1648), and John (1652).<br />
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Although Bradstreet was not happy to exchange the comforts of the aristocratic life of the Earl's manor house for the privations of the New England wilderness, she dutifully joined her father and husband and their families on the Puritan errand into the wilderness. After a difficult three-month crossing, their ship, the Arbella, docked at Salem, Massachusetts, on 22 July 1630. Distressed by the sickness, scarcity of food, and primitive living conditions of the New England outpost, Bradstreet admitted that her "heart rose" in protest against the "new world and new manners." Although she ostensibly reconciled herself to the Puritan mission—she wrote that she "submitted to it and joined the Church at Boston"—Bradstreet remained ambivalent about the issues of salvation and redemption for most of her life.<br />
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Once in New England the passengers of the Arbella fleet were dismayed by the sickness and suffering of those colonists who had preceded them. Thomas Dudley observed in a letter to the Countess of Lincoln, who had remained in England: "We found the Colony in a sad and unexpected condition, above eighty of them being dead the winter before; and many of those alive weak and sick; all the corn and bread amongst them all hardly sufficient to feed them a fortnight." In addition to fevers, malnutrition, and inadequate food supplies, the colonists also had to contend with Indian attacks on the settlement. The Bradstreets and Dudleys shared a house in Salem for many months and lived in spartan style; Thomas Dudley complained that there was not even a table on which to eat or work. In the winter the two families were confined to the one room in which there was a fireplace. The situation was tense as well as uncomfortable, and Anne Bradstreet and her family moved several times in an effort to improve their worldly estates. From Salem they moved to Charlestown, then to Newtown (later called Cambridge), then to Ipswich, and finally to Andover in 1645.<br />
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Although Bradstreet had eight children between the years 1633 and 1652, which meant that her domestic responsibilities were extremely demanding, she wrote poetry which expressed her commitment to the craft of writing. In addition, her work reflects the religious and emotional conflicts she experienced as a woman writer and as a Puritan. Throughout her life Bradstreet was concerned with the issues of sin and redemption, physical and emotional frailty, death and immortality. Much of her work indicates that she had a difficult time resolving the conflict she experienced between the pleasures of sensory and familial experience and the promises of heaven. As a Puritan she struggled to subdue her attachment to the world, but as a woman she sometimes felt more strongly connected to her husband, children, and community than to God.<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-74881076426189836062013-04-15T08:46:00.004-07:002013-04-15T08:46:55.145-07:00Great Love Poems<div dir="ltr" style="text-align: left;" trbidi="on">
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Source(google.com.pk)<br />
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About my poem “The Witch Doctor’s Son”.<br />
My local newspaper was running a Short Story Contest. They wanted short short stories of exactly 50 words (not including the title) . I decided to enter the contest and sat down to write my 50 word short short story. After about 45 minutes I had completed a short short story of which I wasn’t happy with but which satisfied the 50 word criteria. I was tired and walking out of the door of my room when I had the feeling I had to write something. I sat down and wrote “The Undertaker’s Widow”. It came out fast and in one draft and at exactly 50 words. That was much better than my first attempt, and I thought I was completely happy with it. As I was halfway out the door again another feeling that I had to write something came to me. No words, just the feeling. I sat down and wrote “The Witch Doctor’s Son”. It came out fast and in one draft, and, as with “The Undertaker’s Widow”, without any changes and at exactly 50 words. “The Undertaker’s Widow” is about my mother, and “The Witch Doctor’s Son” is about my father and myself. I was a young man and my father was very ill and near the end of his life when these prose poems were written.<br />
<br />
“All my writing is a completion of the work my father started”.<br />
P.S.<br />
<br />
About my poem “If I Say”.<br />
“If I Say” is about the hard words “I Love you”. As Charles Bukowski wrote in his poem “Confession” – “….the hard words I ever feared to say….”. It’s about beginnings and endings and about poetry itself and what it means. I’ve always thought of a poem as a beginning, as Walt Whitman wrote in “Song of Myself” – “Beginning my studies the first step pleased me so much, ….. I have hardly gone and hardly wish’d to go any further, But stop and loiter all the time to sing it in ecstatic songs”. What I’ve always sort in poetry is truth. The style of writing, or the “beauty” of the poem itself, means nothing to me. Only the beauty to be found within the words.<br />
The poem is about moving from poetry to prose. From the beginning to what’s next. All done by the words “I Love you”, if those words are said. It’s about the potential of words and their impact on our lives.<br />
P.S.<br />
<br />
About my poem “Wish Upon”.<br />
“Wish Upon” is a rhyming poem and I felt, as I was writing it, somewhere between prose and poetry. The inspiration behind the poem is expressed in the last line, “Let our Love guide the star”. When my wife and I were yet to find security in our relationship, when the height of intensity in our Love for each other coincided with the greatest insecurity, I felt that what we were going through was not limited to us and our experience but was universal, and that elemental forces were at play. Furthermore, that the decisions we made, the faith we kept, influenced those forces. That they were watching us to see what we would do.<br />
P.S.<br />
<br />
About my poem “Within Your Eyes”.<br />
“Within your eyes” is about discovering that my wife is the most beautiful woman in the world. It was written in response to some unkind words written about her on a poetry website. It is a rhyming poem and took five days to write. With many stops and starts. I knew there was a truth there, but it wasn’t until about a year after I had written the poem that I realised that truth myself. The poem led me to what my mind had no hope of understanding on its own.<br />
P.S.<br />
<br />
About my poem “I Have Not Forgotten You”.<br />
This poem builds to an ending that emphasises what had preceded it and accelerates from there. “For in truth you are rare/Each thought I have spare”. Thoughts of my wife, and our time together, occupy each thought I have ”spare”. She is indeed rare to be everywhere.“Christ is an astounding king, who instead of defending his people, deserts them. Whom he would save, he must first make a despairing sinner. Whom he would make wise, he must first make into a fool. Whom he would make alive, he must first kill. Whom he would bring to honour, he must first bring into dishonour. He is a strange king who is nearest when he is far and farthest when he is near”.<br />
<br />
God bless all poets,<br />
Peter and S.D.<br />
<br />
['Beginning my studies the first step pleas'd me so much,<br />
...............................<br />
I have hardly gone and hardly wish'd to go any further,<br />
But stop and loiter all the time to sing it in ecstatic songs'. - Walt Whitman.]<br />
<br />
['The Coming Of The Poem -<br />
A poem has got to be born<br />
It cannot come out when you want it to;<br />
It must be born.<br />
When you want to make a poem you cannot make it,<br />
But when you do not want to make it, it comes'<br />
By Gillian Hughes, aged 8.<br />
From 'Those First Affections, an anthology of poems composed between the ages of two and eight.']<br />
<br />
About my poem “I Thought about you”.<br />
“I Thought about you” came to me when I was sitting alone in bed one night trying to write poetry. It came to fill the empty space next to me. My wife was in her home country awaiting the granting of a visa to return and live with me. (We had met while she was holidaying on a tourist visa.) Because of the intense drama and uncertainty involved in our separation I had been thinking about her constantly during the whole of this time. I was very lonely, very desperate and I had come to believe totally in the potential of words.<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-39297067044118048392013-04-15T05:54:00.002-07:002013-04-15T05:54:29.586-07:00I Love You Poems<div dir="ltr" style="text-align: left;" trbidi="on">
<h2 style="text-align: left;">
<span class="Apple-style-span" style="font-weight: normal;">I Love You Poems Biography</span></h2>
Source(google.com.pk)<br />
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This poem I wrote for my fiance Adam...We have been apart for 11 years and he never once hinted how he felt until just out of the blue recently he finally admitted that he loves me. I had to admit though that if he had told me I would have admitted that I loved him too back then. Now we are getting married and I can't imagine life getting any better!<br />
Source: All The Ways I Love You!, I Love You Poem http://www.familyfriendpoems.com/poem/all-the-ways-i-love.<br />
www.FamilyFriendPoems.com n the dark pines the wind disentangles itself.<br />
The moon glows like phosphorous on the vagrant waters.<br />
Days, all one kind, go chasing each other.<br />
<br />
The snow unfurls in dancing figures.<br />
A silver gull slips down from the west.<br />
Sometimes a sail. High, high stars.<br />
Oh the black cross of a ship.<br />
Alone.<br />
n the dark pines the wind disentangles itself.<br />
The moon glows like phosphorous on the vagrant waters.<br />
Days, all one kind, go chasing each other.<br />
<br />
The snow unfurls in dancing figures.<br />
A silver gull slips down from the west.<br />
Sometimes a sail. High, high stars.<br />
Oh the black cross of a ship.<br />
Alone.<br />
<br />
<br />
Sometimes I get up early and even my soul is wet.<br />
Far away the sea sounds and resounds.<br />
This is a port.<br />
<br />
Here I love you.<br />
Here I love you and the horizon hides you in vain.<br />
I love you still among these cold things.<br />
Sometimes my kisses go on those heavy vessels<br />
that cross the sea towards no arrival.<br />
I see myself forgotten like those old anchors.<br />
<br />
The piers sadden when the afternoon moors there.<br />
My life grows tired, hungry to no purpose.<br />
I love what I do not have. You are so far.<br />
My loathing wrestles with the slow twilights.<br />
But night comes and starts to sing to me.<br />
<br />
The moon turns its clockwork dream.<br />
The biggest stars look at me with your eyes.<br />
And as I love you, the pines in the wind<br />
want to sing your name with their leaves of wire. His original name was Ricardo Eliecer Neftalí Reyes Basoalto (say again?) before he borrowed his pen name from Czech poet Jan Neruda.<br />
He was active in the Chilean Communist Party until his exile to Argentina after communism was temporarily outlawed in Chile, but he returned to his country after his Nobel Prize acceptance, in 1971, and collaborated with Chile’s new, socialist president Salvador Allende.<br />
He died of an alleged heart attack, three days after being hospitalized with cancer, during the coup d’etat led by Chile’s to-be-dictator, Augusto Pinochet, who overthrew Allende’s government in 1973.<br />
He wrote in green ink, to symbolize the hope and desire often present even in his darkest lyrics.<br />
In case you are the only human left on earth who hasn’t yet fallen in love with his most famous and recited poem, let alone heard of Neruda, today is your lucky day.<br />
Clear your throat, take another sip of wine, coffee, coconut water, herbal tea, rain (whatever liquid is best suited to your imagination) and repeat with me:No te amo como si fueras rosa de sal, topacio<br />
o flecha de claveles que propagan el fuego:<br />
te amo como se aman ciertas cosas oscuras,<br />
secretamente, entre la sombra y el alma.<br />
<br />
Te amo como la planta que no florece y lleva<br />
dentro de sí, escondida, la luz de aquellas flores,<br />
y gracias a tu amor vive oscuro en mi cuerpo<br />
el apretado aroma que ascendió de la tierra.<br />
<br />
Te amo sin saber cómo, ni cuándo, ni de dónde,<br />
te amo directamente sin problemas ni orgullo:<br />
así te amo porque no sé amar de otra manera,<br />
<br />
sino así de este modo en que no soy ni eres,<br />
tan cerca que tu mano sobre mi pecho es mía,<br />
tan cerca que se cierran tus ojos con mi sueñoI thought, if I could ever get to do that with words, twist and bend and break them as if they were alive, make love to them, make hate, eat them and cry them out and breathe new life into them, until there’s nothing left of me but words, then anything was possible.But over the years, I’ve been reminded of my original infatuation and my Nerudian gateway into poetry, here and there, voiced through different life travelers.<br />
Like this reading by Glenn Close, that magically seals my heart’s broken mouth and quiets my monkey mind and the Voices, somebody get the Voices, and everything else that keeps me from the present moment—if only, for a brief minute.I like for you to be still: it is as though you were absent,<br />
and you hear me from far away and my voice does not touch you.<br />
It seems as though your eyes had flown away<br />
and it seems that a kiss had sealed your mouth.<br />
<br />
As all things are filled with my soul<br />
you emerge from the things, filled with my soul.<br />
You are like my soul, a butterfly of dream,<br />
and you are like the word Melancholy.<br />
<br />
I like for you to be still, and you seem far away.<br />
It sounds as though you were lamenting, a butterfly cooing like a dove.<br />
And you hear me from far away, and my voice does not reach you:<br />
Let me come to be still in your silence.<br />
<br />
And let me talk to you with your silence<br />
that is bright as a lamp, simple as a ring.<br />
You are like the night, with its stillness and constellations.<br />
Your silence is that of a star, as remote and candid.<br />
<br />
I like for you to be still: it is as though you were absent,<br />
distant and full of sorrow as though you had died.His original name was Ricardo Eliecer Neftalí Reyes Basoalto (say again?) before he borrowed his pen name from Czech poet Jan Neruda.<br />
He was active in the Chilean Communist Party until his exile to Argentina after communism was temporarily outlawed in Chile, but he returned to his country after his Nobel Prize acceptance, in 1971, and collaborated with Chile’s new, socialist president Salvador Allende.<br />
He died of an alleged heart attack, three days after being hospitalized with cancer, during the coup d’etat led by Chile’s to-be-dictator, Augusto Pinochet, who overthrew Allende’s government in 1973.<br />
He wrote in green ink, to symbolize the hope and desire often present even in his darkest lyrics.<br />
In case you are the only human left on earth who hasn’t yet fallen in love with his most famous and recited poem, let alone heard of Neruda, today is your lucky day.<br />
Clear your throat, take another sip of wine, coffee, coconut water, herbal tea, rain (whatever liquid is best suited to your imagination) and repeat with me:No te amo como si fueras rosa de sal, topacio<br />
o flecha de claveles que propagan el fuego:<br />
te amo como se aman ciertas cosas oscuras,<br />
secretamente, entre la sombra y el alma.<br />
<br />
Te amo como la planta que no florece y lleva<br />
dentro de sí, escondida, la luz de aquellas flores,<br />
y gracias a tu amor vive oscuro en mi cuerpo<br />
el apretado aroma que ascendió de la tierra.<br />
<br />
Te amo sin saber cómo, ni cuándo, ni de dónde,<br />
te amo directamente sin problemas ni orgullo:<br />
así te amo porque no sé amar de otra manera,<br />
<br />
sino así de este modo en que no soy ni eres,<br />
tan cerca que tu mano sobre mi pecho es mía,<br />
tan cerca que se cierran tus ojos con mi sueñoI thought, if I could ever get to do that with words, twist and bend and break them as if they were alive, make love to them, make hate, eat them and cry them out and breathe new life into them, until there’s nothing left of me but words, then anything was possible.But over the years, I’ve been reminded of my original infatuation and my Nerudian gateway into poetry, here and there, voiced through different life travelers.<br />
Like this reading by Glenn Close, that magically seals my heart’s broken mouth and quiets my monkey mind and the Voices, somebody get the Voices, and everything else that keeps me from the present moment—if only, for a brief minute.I like for you to be still: it is as though you were absent,<br />
and you hear me from far away and my voice does not touch you.<br />
It seems as though your eyes had flown away<br />
and it seems that a kiss had sealed your mouth.<br />
<br />
As all things are filled with my soul<br />
you emerge from the things, filled with my soul.<br />
You are like my soul, a butterfly of dream,<br />
and you are like the word Melancholy.<br />
<br />
I like for you to be still, and you seem far away.<br />
It sounds as though you were lamenting, a butterfly cooing like a dove.<br />
And you hear me from far away, and my voice does not reach you:<br />
Let me come to be still in your silence.<br />
<br />
And let me talk to you with your silence<br />
that is bright as a lamp, simple as a ring.<br />
You are like the night, with its stillness and constellations.<br />
Your silence is that of a star, as remote and candid.<br />
<br />
I like for you to be still: it is as though you were absent,His original name was Ricardo Eliecer Neftalí Reyes Basoalto (say again?) before he borrowed his pen name from Czech poet Jan Neruda.<br />
He was active in the Chilean Communist Party until his exile to Argentina after communism was temporarily outlawed in Chile, but he returned to his country after his Nobel Prize acceptance, in 1971, and collaborated with Chile’s new, socialist president Salvador Allende.<br />
He died of an alleged heart attack, three days after being hospitalized with cancer, during the coup d’etat led by Chile’s to-be-dictator, Augusto Pinochet, who overthrew Allende’s government in 1973.<br />
He wrote in green ink, to symbolize the hope and desire often present even in his darkest lyrics.<br />
In case you are the only human left on earth who hasn’t yet fallen in love with his most famous and recited poem, let alone heard of Neruda, today is your lucky day.<br />
Clear your throat, take another sip of wine, coffee, coconut water, herbal tea, rain (whatever liquid is best suited to your imagination) and repeat with me:No te amo como si fueras rosa de sal, topacio<br />
o flecha de claveles que propagan el fuego:<br />
te amo como se aman ciertas cosas oscuras,<br />
secretamente, entre la sombra y el alma.<br />
<br />
Te amo como la planta que no florece y lleva<br />
dentro de sí, escondida, la luz de aquellas flores,<br />
y gracias a tu amor vive oscuro en mi cuerpo<br />
el apretado aroma que ascendió de la tierra.<br />
<br />
Te amo sin saber cómo, ni cuándo, ni de dónde,<br />
te amo directamente sin problemas ni orgullo:<br />
así te amo porque no sé amar de otra manera,<br />
<br />
sino así de este modo en que no soy ni eres,<br />
tan cerca que tu mano sobre mi pecho es mía,<br />
tan cerca que se cierran tus ojos con mi sueñoI thought, if I could ever get to do that with words, twist and bend and break them as if they were alive, make love to them, make hate, eat them and cry them out and breathe new life into them, until there’s nothing left of me but words, then anything was possible.But over the years, I’ve been reminded of my original infatuation and my Nerudian gateway into poetry, here and there, voiced through different life travelers.<br />
Like this reading by Glenn Close, that magically seals my heart’s broken mouth and quiets my monkey mind and the Voices, somebody get the Voices, and everything else that keeps me from the present moment—if only, for a brief minute.I like for you to be still: it is as though you were absent,you.<br />
It seems as though your eyes had flown away<br />
and you hear me from far away and my voice does not touch and it seems that a kiss had sealed your mouth.<br />
<br />
As all things are filled with my soul<br />
you emerge from the things, filled with my soul.<br />
You are like my soul, a butterfly of dream,<br />
and you are like the word Melancholy.<br />
<br />
I like for you to be still, and you seem far away.<br />
It sounds as though you were lamenting, a butterfly cooing like a dove.<br />
And you hear me from far away, and my voice does not reach you:<br />
Let me come to be still in your silence.<br />
<br />
And let me talk to you with your silence<br />
that is bright as a lamp, simple as a ring.<br />
You are like the night, with its stillness and constellations.<br />
Your silence is that of a star, as remote and candid.<br />
<br />
I like for you to be still: it is as though you were absent,<br />
distant and full of sorrow as though you had died.<br />
One word then, one smile, is enough.<br />
And I am happy, happy that it’s not true.<br />
<div>
<br /></div>
distant and full of sorrow as though you had died.<br />
One word then, one smile, is enough.<br />
And I am happy, happy that it’s not true.<br />
<div>
<br /></div>
One word then, one smile, is enough.<br />
And I am happy, happy that it’s not true.<br />
<div>
<br /></div>
Far away the sea sounds and resounds.<br />
This is a port.<br />
<br />
His original name was Ricardo Eliecer Neftalí Reyes Basoalto (say again?) before he borrowed his pen name from Czech poet Jan Neruda.<br />
He was active in the Chilean Communist Party until his exile to Argentina after communism was temporarily outlawed in Chile, but he returned to his country after his Nobel Prize acceptance, in 1971, and collaborated with Chile’s new, socialist president Salvador Allende.<br />
He died of an alleged heart attack, three days after being hospitalized with cancer, during the coup d’etat led by Chile’s to-be-dictator, Augusto Pinochet, who overthrew Allende’s government in 1973.<br />
He wrote in green ink, to symbolize the hope and desire often present even in his darkest lyrics.<br />
In case you are the only human left on earth who hasn’t yet fallen in love with his most famous and recited poem, let alone heard of Neruda, today is your lucky day.<br />
Clear your throat, take another sip of wine, coffee, coconut water, herbal tea, rain (whatever liquid is best suited to your imagination) and repeat with me:No te amo como si fueras rosa de sal, topacio<br />
o flecha de claveles que propagan el fuego:<br />
te amo como se aman ciertas cosas oscuras,<br />
secretamente, entre la sombra y el alma.<br />
<br />
Te amo como la planta que no florece y lleva<br />
dentro de sí, escondida, la luz de aquellas flores,<br />
y gracias a tu amor vive oscuro en mi cuerpo<br />
el apretado aroma que ascendió de la tierra.<br />
<br />
Te amo sin saber cómo, ni cuándo, ni de dónde,<br />
te amo directamente sin problemas ni orgullo:<br />
así te amo porque no sé amar de otra manera,<br />
<br />
sino así de este modo en que no soy ni eres,<br />
tan cerca que tu mano sobre mi pecho es mía,<br />
tan cerca que se cierran tus ojos con mi sueñoI thought, if I could ever get to do that with words, twist and bend and break them as if they were alive, make love to them, make hate, eat them and cry them out and breathe new life into them, until there’s nothing left of me but words, then anything was possible.But over the years, I’ve been reminded of my original infatuation and my Nerudian gateway into poetry, here and there, voiced through different life travelers.<br />
It seems as though your eyes had flown away<br />
and it seems that a kiss had sealed your mouth.<br />
As all things are filled with my soul<br />
you emerge from the things, filled with my soul.<br />
You are like my soul, a butterfly of dream,<br />
and you are like the word Melancholy<br />
I like for you to be still, and you seem far away.<br />
It sounds as though you were lamenting, a butterfly cooing like a dove.<br />
And you hear me from far away, and my voice does not reach you:<br />
Let me come to be still in your silence.<br />
And let me talk to you with your silence<br />
that is bright as a lamp, simple as a ring.<br />
You are like the night, with its stillness and constellations.<br />
Your silence is that of a star, as remote and candid.<br />
<br />
I like for you to be still: it is as though you were absent,<br />
distant and full of sorrow as though you had died.<br />
One word then, one smile, is enough.<br />
And I am happy, happy that it’s not true.<br />
<div>
<br /></div>
<br />
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<span class="Apple-style-span" style="font-weight: normal;">I Love You Poems</span></h2>
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-39804258257471790322013-04-15T05:10:00.002-07:002013-04-15T05:10:41.190-07:00Black Love Poems<div dir="ltr" style="text-align: left;" trbidi="on">
<h2 style="text-align: left;">
<span class="Apple-style-span" style="font-weight: normal;">Black Love Poems Biography</span></h2>
Source(google.com.pk)<br />
<br />
Giovanni’s first published volumes of poetry grew out of her response to the assassinations of such figures as Martin Luther King, Jr., Malcolm X, Medgar Evers, and Robert Kennedy, and the pressing need she saw to raise awareness of the plight and the rights of black people. Black Feeling, Black Talk (1967) and Black Judgement (1968) display a strong, militant African-American perspective as Giovanni explores her growing political and spiritual awareness. These early books, followed by Re: Creation (1970), quickly established Giovanni as a prominent new African-American voice. Black Feeling, Black Talk sold over ten thousand copies in its first year alone. Giovanni gave her first public reading to a packed audience at Birdland, the famous New York City jazz spot. Critical reaction to Giovanni’s early work focused on her more revolutionary poetry. Some reviewers found her political and social positions to be unsophisticated, while others were threatened by her rebelliousness. “Nikki writes about the familiar: what she knows, sees, experiences,” Don L. Lee observed in Dynamite Voices I: Black Poets of the 1960s.”It is clear why she conveys such urgency in expressing the need for Black awareness, unity, solidarity....What is perhaps more important is that when the Black poet chooses to serve as political seer, he must display a keen sophistication. Sometimes Nikki oversimplifies and therefore sounds rather naive politically.” However, Giovanni’s first three volumes of poetry were enormously successful, answering a need for inspiration, anger, and solidarity in those who read them. She publicly expressed the feelings of people who had felt voiceless, finding new audiences beyond the usual poetry-reading public. Black Judgement sold six thousand copies in three months, almost six times the sales level expected of a poetry book. As she travelled to speaking engagements at colleges around the country, Giovanni was often hailed as one of the leading black poets of the new black renaissance. The prose poem “Nikki-Rosa,” Giovanni’s reminiscence of her childhood in a close-knit African-American home, was first published in Black Judgement. The poem expanded her appeal and became her most beloved and most anthologized work. During this time, she also made television appearances, later published as conversations with Margaret Walker and James Baldwin.<br />
<br />
In 1969, Giovanni took a teaching position at Rutgers University. That year she also gave birth to her son, Thomas. Giovanni’s work shifted focus after the birth of her son and she made several recordings of her poetry set against a gospel or jazz backdrop. In addition to writing her own poetry, Giovanni offered exposure for other African-American women writers through NikTom, Ltd., a publishing cooperative she founded in 1970. Gwendolyn Brooks, Margaret Walker, Carolyn Rodgers, and Mari Evans were among those who benefited from Giovanni’s work. Travels to other parts of the world, including the Caribbean, also filled much of the poet’s time and contributed to the evolution of her work. As she broadened her perspective, Giovanni began to review her own life. Her introspection led to Gemini: An Extended Autobiographical Statement on My First Twenty-five Years of Being a Black Poet (1971), which earned a nomination for the National Book Award.<br />
<br />
In addition to writing for adults in Gemini and other works during the early 1970s, Giovanni began to compose verse for children. Among her published volumes for young readers are Spin a Soft Black Song (1971), Ego-Tripping and Other Poems for Young People (1973), and Vacation Time (1980). Written for children of all ages, Giovanni’s poems are unrhymed incantations of childhood images and feelings which also focus on African-American history and explore issues and concerns specific to black youngsters. Giovanni’s later works for children include Knoxville, Tennessee (1994), The Sun Is So Quiet (1996) and Lincoln and Douglass: An American Friendship (2008). Giovanni’s children’s book Rosa (2005) was awarded a Caldecott Medal and the Coretta Scott King Award for illustration.<br />
<br />
Throughout the 1970s and 1980s Giovanni’s popularity as a speaker and lecturer increased along with her success as a poet and children’s author. She received numerous awards for her work, including honors from the National Council of Negro Women and the National Association of Radio and Television Announcers. She was featured in articles for such magazines as Ebony, Jet, and Harper’s Bazaar. She also continued to travel, making trips to Europe and Africa, and her increasingly sophisticated and nuanced world view is reflected in her work from the period. Giovanni’s maturity is highlighted in My House (1972). Her viewpoint, the black revolutionary which made her famous, now includes a wide range of social concerns. Her rhymes are more pronounced, more lyrical, and gentler. Family love, loneliness, and frustration—themes which Giovanni had raged over in her earlier works—find softer expression. When Giovanni published Cotton Candy on a Rainy Day (1978), critics viewed it as one of her most somber works, full of emotional ups and downs, fear and insecurity, and the weight of everyday responsibilities. Giovanni’s next book, Those Who Ride the Night Winds (1983), echoes the political activism of her early work as she dedicates various pieces to Phillis Wheatley, Martin Luther King, Jr., and Rosa Parks. As Giovanni has moved through her middle years, her work has continued to reflect her changing concerns and perspectives. The Selected Poems of Nikki Giovanni, 1968-1995 (1996), which spans the first three decades of her career, was heralded by Booklist critic Donna Seaman as a “rich synthesis [that] reveals the evolution of Giovanni’s voice and charts the course of the social issues that are her muses, issues of gender and race.” Twenty of the fifty-three works collected in Love Poems (1997) find the writer musing on subjects as diverse as friendship, sexual desire, motherhood, and loneliness, while the remainder of the volume includes relevant earlier works.<br />
<br />
Giovanni continues to supplement her poetry with occasional volumes of nonfiction. In her collection Racism 101 (1994), she looks back at her experiences of the civil rights movement and its aftermath. The book is a rich source of impressions of other black intellectuals, including writer and activist W.E.B. DuBois, writers Henry Louis Gates, Jr. and Toni Morrison, Supreme Court Justice Clarence Thomas, and filmmaker Spike Lee. In addition to publishing original writings, Giovanni has edited poetry collections like the highly praised Shimmy Shimmy Shimmy Like My Sister Kate (1996), a compilation of works composed by African-American writers during the Harlem Renaissance.<br />
<br />
Two volumes, Blues: For All the Changes (1999) and Quilting the Black-Eyed Pea: Poems and Not Quite Poems (2002) mark the crossover for Giovanni from the 20th to the 21st century. Blues, published after a battle with lung cancer and her first volume of poetry in five years, “offers thoughts on her battle with illness, on nature, and on the everyday—all laced with doses of harsh reality, a mix of socio-political viewpoints, and personal memories of loss,” wrote Denolynn Carroll of American Visions. Quilting includes, as the title suggests, “anecdotes, musings, and praise songs,” according to Tara Betts of Black Issues Book Review. In 2003, Giovanni published The Nikki Giovanni Poetry Collection, an audio compilation. Spanning her poetry from 1968 to the present and ranging in content from motherhood to Emmett Till. “On the page, much of Giovanni’s writing seems rhetorical,” claimed Rochelle Ratner in Library Journal, but “hearing her read, dogma is replaced by passion.” Bauers praised the production: “The poems are worth the price all by themselves. Giovanni reads with gobs of energy and enthusiasm. Hers is the poetry of plainspeak.”<br />
<br />
Giovanni has published no fewer than five books of poetry in the ten years since Blues. Her omnibus The Collected Poetry of Nikki Giovanni (2003) collects poetry from each of her eleven volumes of poetry and includes a chronology and extensive notes for each selection. A review from Publishers Weekly noted that Giovanni’s “outspoken advocacy, her consciousness of roots in oral traditions, and her charismatic delivery place her among the forebearers of present-day slam and spoken-word scenes.” Giovanni is an avid supporter of slam, spoken-word and hip-hop, calling the latter “the modern equivalent of what spirituals meant to earlier generations of blacks.” Her writing continues to be accessible and impassioned in books like The Prosaic Soul of Nikki Giovanni (2003) and Acolytes (2007), though critics have noted a certain mellowing in tone. Bicycles: Love Poems (2009) was a follow-up to her earlier Love Poems. “Love is kept in check by age and experience,” wrote John Stoehr for the Charleston City Paper. “Giovanni doesn’t allow it to overwhelm her, as she did the righteous indignation in her youth. Love requires trust and balance, she writes, just like riding a bike.”<br />
<br />
Giovanni has received numerous awards and accolades for her work including multiple NAACP Image Awards, the Langston Hughes Award for Distinguished Contributions to Arts and Letters, the Rosa Parks Women of Courage Award and over twenty honorary degrees from colleges and universities around the country. Giovanni has even had a species of bat named after her, the Micronycteris giovanniae. Giovanni taught at Virginia Tech during the tragic shooting in 2007 and composed a chant-poem which she read at the memorial service the day after. Of the poem, Giovanni said in an interview with the Virginian-Pilot “I try to be honest in my work, and I thought the only thing I can do at that point—because all I knew was that we are Virginia Tech. This was not Virginia Tech.”<br />
<br />
“Writing is ... what I do to justify the air I breathe,” Giovanni wrote, explaining her choice of a vocation in Contemporary Authors. “I have been considered a writer who writes from rage and it confuses me. What else do writers write from? A poem has to say something. It has to make some sort of sense; be lyrical; to the point; and still able to be read by whatever reader is kind enough to pick up the book.”<br />
<br />
Nikki Giovanni is one of the best-known African-American poets who reached prominence during the late 1960s and early 1970s. Her unique and insightful poetry testifies to her own evolving awareness and experiences: from child to young woman, from naive college freshman to seasoned civil rights activist, from daughter to mother. Frequently anthologized, Giovanni’s poetry expresses strong racial pride and respect for family. Her informal style makes her work accessible to both adults and children. In addition to collections such as Re: Creation (1970), Love Poems (1997), and The Collected Poems of Nikki Giovanni (2003), Giovanni has published several works of nonfiction, children’s literature and recordings, including the Emmy-award nominated The Nikki Giovanni Poetry Collection (2004). A frequent lecturer and reader, Giovanni has taught at Rutgers University, Ohio State University, and Virginia Tech.<br />
<br />
Giovanni was born in Knoxville, Tennessee in 1943, the younger of two daughters in a close-knit family. She gained an intense appreciation for her African-American heritage from her outspoken grandmother, explaining in an interview, “I come from a long line of storytellers.” This early exposure to the power of spoken language influenced Giovanni’s career as a poet, particularly in her propensity towards colloquial speech. When Giovanni was a young child, she moved with her parents from Knoxville to a predominantly black suburb of Cincinnati, Ohio but remained close to her grandmother. Giovanni was encouraged by several schoolteachers and enrolled early at Fisk University, a prestigious, all-black college in Nashville, Tennessee. A black renaissance was emerging at Fisk, as writers and other artists of color were finding new ways of expressing their distinct culture. In addition to serving as editor of the campus literary magazine and participating in the Fisk Writers Workshop, Giovanni worked to restore the Fisk chapter of the Student Non-Violent Coordinating Committee (SNCC). Giovanni graduated with a B.A. in history in 1968 and went on to attend graduate school at the University of Pennsylvania and Columbia University in New York<br />
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<h2 style="text-align: center;">
<span class="Apple-style-span" style="font-weight: normal;">Black Love Poems</span></h2>
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-379563513960177132013-04-15T01:00:00.001-07:002013-04-15T01:00:21.106-07:00Cute Love Poems<div dir="ltr" style="text-align: left;" trbidi="on">
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Source(google.com.pk)<br />
<br />
Kind, intelligent, loving and hot;<br />
This describes everything you are not<br />
<br />
I see your face when I am dreaming.<br />
That's why I always wake up screamingUpon his death, the New York Times wrote of Ogden Nash, "(His) droll verse with its unconventional rhymes made him the country's best-known producer of humorous poetry." Here's a sample of Nash's wit you're sure to love.<br />
<br />
"More than a catbird hates a cat,<br />
Or a criminal hates a clue,<br />
Or the Axis hates the United States,<br />
That's how much I love you.<br />
<br />
I love you more than a duck can swim,<br />
And more than a grapefruit squirts,<br />
I love you more than a gin rummy is a bore,<br />
And more than a toothache hurts.<br />
<br />
As a shipwrecked sailor hates the sea,<br />
Or a juggler hates a shove,<br />
As a hostess detests unexpected guests,<br />
That's how much you I love.<br />
<br />
I love you more than a wasp can sting,<br />
And more than the subway jerks,<br />
I love you as much as a beggar needs a crutch,<br />
And more than a hangnail irks.<br />
<br />
I swear to you by the stars above,<br />
And below, if such there be,<br />
As the High Court loathes perjurious oathes,<br />
That's how you're loved by me."To my "lets go upstairs and make passionate love"<br />
You used to bound up with glee<br />
Now it's "I can't do stairs and passion. . .<br />
You'll have to choose which one it's to be"ry singing this to your Valentine. If you can't sing like Frank Sinatra, no worries. It will just make your Valentine laugh harder.<br />
<br />
"My Funny Valentine" song lyrics by Richard Rodgers and Lorenz Hart roe<br />
My funny Valentine, sweet comic Valentine<br />
You make me smile with my heart<br />
Your looks are laughable, un-photographable<br />
Yet, you're my favorite work of art<br />
<br />
Is your figure less than Greek?<br />
Is your mouth a little weak?<br />
When you open it to speak<br />
Are you smart?<br />
<br />
But don't change your hair for me<br />
Not if you care for me<br />
Stay little Valentine, stay!<br />
Each day is Valentine's dayThe following three couplets were among the winners in a newspaper contest that asked readers to write a love poem in which the first line was very romantic and the second line, very unromantic.<br />
I thought that I could love no other<br />
Until, that is, I met your brother. Your Valentine will be laughing until his or her ribs hurt when you recite this funny love poem for vegetarians. Just be sure not to serve ribs for dinner.<br />
<br />
Cabbage always has a heart;<br />
Green beans string along.<br />
You're such a Tomato,<br />
Will you Peas to me belong?<br />
<br />
You've been the Apple of my eye,<br />
You know how much I care;<br />
So Lettuce get together,<br />
We'd make a perfect Pear.<br />
<br />
Now, something's sure to Turnip,<br />
To prove you can't be Beet;<br />
So, if you Carrot all for me<br />
Let's let our tulips meet.<br />
<br />
Don't Squash my hopes and dreams now,<br />
Bee my Honey, dear;<br />
Or tears will fill Potato's eyes,<br />
While Sweet Corn lends an ear.<br />
<br />
I'll Cauliflower shop and say<br />
Your dreams are Parsley mine.<br />
I'll work and share my Celery,<br />
So be my Valentine.A series of funny poems about engagements, weddings and marriages. The early poems in the series rejoice in the romance of marriage, but the tone changes mid-series and the later poems become darker and more cynical. There are a smattering of sexual references, but there's a whole section devoted to funny sex poems still to come.A poem which sounds like it's the translation of a traditional Eastern European folk saying, yet is hilariously funny - for women at least.<br />
-<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-13663368243041517112013-04-15T00:30:00.001-07:002013-04-15T00:30:50.317-07:00Free Love Poems For Her<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-weight: normal;">Free Love Poems For Her Biography</span></h2>
Source(google.com.pk)<br />
<br />
The life and works of Percy Bysshe Shelley exemplify Romanticism in both its extremes of joyous ecstasy and brooding despair. The major themes are there in Shelley’s dramatic if short life and in his works, enigmatic, inspiring, and lasting: the restlessness and brooding, the rebellion against authority, the interchange with nature, the power of the visionary imagination and of poetry, the pursuit of ideal love, and the untamed spirit ever in search of freedom—all of these Shelley exemplified in the way he lived his life and live on in the substantial body of work that he left the world after his legendary death by drowning at age twenty-nine. While Shelley shares many basic themes and symbols with his great contemporaries, he has left his peculiar stamp on Romanticism: the creation of powerful symbols in his visionary pursuit of the ideal, at the same time tempered by a deep skepticism. His thought is characterized by an insistence on taking the controversial side of issues, even at the risk of being unpopular and ridiculed. From the very beginning of his career as a published writer at the precocious age of seventeen, throughout his life, and even to the present day the very name of Shelley has evoked either the strongest vehemence or the warmest praise, bordering on worship. More than any other English Romantic writer, with the possible exception of his friend George Gordon, Lord Byron, Shelley’s life and reputation have had a history and life of their own apart from the reputation of his various works.<br />
<br />
Born on 4 August 1792—the year of the Terror in France—Percy Bysshe Shelley (the “Bysshe” from his grandfather, a peer of the realm) was the son of Timothy and Elizabeth Shelley. As the elder son among one brother, John, and four sisters, Elizabeth, Mary, Margaret, and Hellen, Percy stood in line not only to inherit his grandfather’s considerable estate but also to sit in Parliament one day. In his position as oldest male child, young Percy was beloved and admired by his sisters, his parents, and even the servants in his early reign as young lord of Field Place, the family home near Horsham, Sussex. Playful and imaginative, he devised games to play with his sisters and told ghost stories to an enrapt and willing-to-be-thrilled audience.<br />
<br />
However, the idyllic and receptive world of Field Place did not prepare him for the regimented discipline and the taunting boys of Syon House Academy, which Shelley entered in 1802. Here Shelley was subjected to the usual bullying, made all the worse by his failure to control his temper and his poor skills in fighting. The most positive memories Shelley had of his two years at Syon House were undoubtedly of the imaginative and lively lectures of Adam Walker on science-electricity, astronomy, and chemistry-an interest which Shelley retained throughout his life. In Shelley’s free-ranging mind there was no contradiction between an interest in science and an appetite for trashy Gothic romance thrillers, such as Matthew Gregory Lewis’s popular The Monk (1795).<br />
<br />
Shelley’s six years at Eton College, which he entered at age twelve in 1804, are more notable for his early love interests and for his early literary endeavors than for what he learned in the formal curriculum. Shelley often found himself the victim of bullying and fragging, as well as being taunted with epithets such as “Mad Shelley” and “Shelley the atheist,” a situation alleviated sometimes by the intervention of his older cousin, Tom Medwin, who was later to become one of Shelley’s first biographers. The strongest adult influence on Shelley during this time was not one of his masters but Dr. James Lind, the physician to the royal household at nearby Windsor, whom Shelley admired for his knowledge and free spirits and idealized as a kind of substitute father figure. As Newman Ivey White notes, Dr. Lind was the prototype of the benevolent old man who frees Laon from prison in The Revolt of Islam. Shelley’s access to Dr. Lind’s extensive library enabled him to pursue his earlier interests in science and magic as well as to begin a wide range of reading in philosophy and literature. By the end of his career at Eton he was reading widely in Plato, Pliny, and Lucretius, reading Robert Southey enthusiastically and Walter Scott less so, as well as continuing to read many Gothic romances.<br />
<br />
While at Eton Shelley began two pursuits that would continue with intense fervor throughout his life: writing and loving, the two often blending together so that the loving becomes the subject matter for the writing. Although Shelley began writing poems while at Eton, some of which were published in 1810 in Original Poetry; by Victor and Cazire and some of which were not published until the 1960s as The Esdaile Notebook, it was perhaps inevitable that his first publication should have been a Gothic novel, Zastrozzi (1810). As is typical of popular Gothic romances at the time, the innocent and virtuous hero and heroine, Verezzi and Julia, and the villains, Matilda and Zastrozzi, are broadly drawn. It is noteworthy that Shelley put his heretical and atheistical opinions into the mouth of the villain Zastrozzi, thereby airing those dangerous opinions without having them ascribed to him as the author or narrator. Perhaps the most surprising thing about Zastrozzi, aside from what it may suggest about Shelley’s psychological makeup at the time, is the fact that it was reviewed twice, one a suspiciously favorable review and the other a predictably vehement attack, the first but not the last to associate the author’s name with “immorality.”<br />
<br />
Shelley’s other publication prior to entering Oxford, Original Poetry; by Victor and Cazire—a joint effort by Shelley and his sister Elizabeth—deservedly met the same fate with the critics as Zastrozzi, one reviewer having described the volume as “songs of sentimental nonsense, and very absurd tales of horror.” These early reviews, however justified they may have been concerning his juvenilia, set the tone for his treatment by the critics throughout his career, even for many of his greatest works. Certainly the doggerel verse does not foreshadow Shelley’s mastery of the lyric, but the subject matter of the poems is not only romantic but characteristically Shelleyan: poetry, love, sorrow, hope, nature, and politics. Shelley’s love interest in these poems was his cousin Harriet Grove, but their relationship was discouraged by their families.<br />
<br />
When Shelley went up to University College, Oxford, in 1810 he was already a published and reviewed writer and a voracious reader with intellectual interests far beyond the rather narrow scope of the prescribed curriculum. Timothy Shelley, proud of his son and wanting to indulge his apparently harmless interests in literature, could not have foreseen where it might lead when he took Shelley to the booksellers Slatter and Munday and instructed them as follows: “My son here has a literary turn; he is already an author, and do pray indulge him in his printing freaks.”<br />
<br />
Shortly after entering Oxford Shelley met another freshman, Thomas Jefferson Hogg, a meeting that was to change both their lives forever after, perhaps Hogg’s even more than Shelley’s. The two young men immediately became fast friends, each stimulating the imagination and intellect of the other in their animated discussions of philosophy, literature, science, magic, religion, and politics. In his biography of Shelley, Hogg recalled the time they spent in Shelley’s rooms, reading, discussing, arguing, and Shelley performing scientific experiments.<br />
<br />
During his brief stay at Oxford (less than a year), Shelley undertook three publishing ventures, the first two comparatively harmless attempts at Gothic fiction and poetry, the third a prose pamphlet, The Necessity of Atheism (1811), which was to have such a disastrous effect on his relationship with his family and such a dramatic effect on his life. Already having written most of his second Gothic romance, St. Irvyne; or, The Rosicrucian, before he entered Oxford, Shelley published it with Stockdale, whom he assured it would sell well to the circulating libraries, in 1811 under the epithet “a Gentleman of the University of Oxford.” St. Irvyne is notable for the appearance of a prototypical Shelleyan poet figure, but its two plots are hopelessly complicated and confusing, and, in the opinion of many commentators, unfinished. It appears that in the early excitement of college life and other interests, Shelley lost interest in following through on what was to have been a full-blown three-decker romance.<br />
<br />
Shelley and Hogg’s joint collection of poems, Posthumous Fragments of Margaret Nicholson (1810, the title character taken from “that noted female who attempted the life of the King [George III] in 1786”), was purported to have been found and edited by “John Fitzvictor,” the two authors wisely having decided to place neither of their names on the title page in that age when both author and publisher could easily end up in prison on convictions of treason and sedition. The slender volume includes a mixed bag of poems, including Gothic and melancholy lyrics as well as an antiwar, antimonarchical poem simply titled “War,” notable for being the first appearance of Shelley’s lifelong attack on monarchies and all authority figures.<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0tag:blogger.com,1999:blog-159548684263593199.post-35242598693813268092013-04-14T23:18:00.002-07:002013-04-14T23:18:16.616-07:00Teenage Love Poems<div dir="ltr" style="text-align: left;" trbidi="on">
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Some people think of Teen Love and smile. It's not real love, they say. Puppy Love, they call it. Those people, I think, have very short memories, and no longer recall the realities of their first love experiences. While few expect teen love to last a lifetime, that hardly makes it less real. Half or more of all adult love doesn't last a lifetime either.<br />
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Teen love is very real. And powerful. Perhaps at no other time in our lives are the joys and pains felt as strongly, or experienced more deeplyTeenage is the most sensitive period of our lives. This age is the prelude to youth and it reacts to everything very strongly. Attraction and infatuation to another sex is very prominent in this age and sometimes it's true love too.<br />
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Love at teenage is the most blissful and rosy. Hearst and minds of the teenage lovers fancy great and unimaginable things. Love poems fascinate most to the teenagers and they want to express their inner feelings through teen love poems.<br />
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These teenage love poems have been specially selected keeping in mind the young and tender feelings of this age. So you can send this love poem along with a gift or a Valentine e-card or just simply express and say 'I love You.'When you are in love, you want to give the world to your beloved but often words and gestures falls short. Romantic expressions such as poems never fail to express the various emotions of love. Go all out with teen love poems and quotes to woo your beloved.Born Ricardo Eliezer Neftali Reyes y Basoalto, Neruda adopted the pseudonym under which he would become famous while still in his early teens. He grew up in Temuco in the backwoods of southern Chile. Neruda’s literary development received assistance from unexpected sources. Among his teachers “was the poet Gabriela Mistral, who would be a Nobel laureate years before Neruda,” reported Manuel Duran and Margery Safir in Earth Tones: The Poetry of Pablo Neruda. “It is almost inconceivable that two such gifted poets should find each other in such an unlikely spot. Mistral recognized the young Neftali’s talent and encouraged it by giving the boy books and the support he lacked at home.”<br />
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By the time he finished high school, Neruda had published in local papers and Santiago magazines, and had won several literary competitions. In 1921 he left southern Chile for Santiago to attend school, with the intention of becoming a French teacher but was an indifferent student. While in Santiago, Neruda completed one of his most critically acclaimed and original works, the cycle of love poems titled Veinte poemas de amor y una canción desesperada—published in English translation as Twenty Love Poems and a Song of Despair. This work quickly marked Neruda as an important Chilean poet.<br />
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Veinte poemas also brought the author notoriety due to its explicit celebration of sexuality, and, as Robert Clemens remarked in the Saturday Review, “established him at the outset as a frank, sensuous spokesman for love.” While other Latin American poets of the time used sexually explicit imagery, Neruda was the first to win popular acceptance for his presentation. Mixing memories of his love affairs with memories of the wilderness of southern Chile, he creates a poetic sequence that not only describes a physical liaison, but also evokes the sense of displacement that Neruda felt in leaving the wilderness for the city. “Traditionally,” stated Rene de Costa in The Poetry of Pablo Neruda, “love poetry has equated woman with nature. Neruda took this established mode of comparison and raised it to a cosmic level, making woman into a veritable force of the universe.”<br />
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“In Veinte poemas,” reported David P. Gallagher in Modern Latin American Literature, “Neruda journeys across the sea symbolically in search of an ideal port. In 1927, he embarked on a real journey, when he sailed from Buenos Aires for Lisbon, ultimately bound for Rangoon where he had been appointed honorary Chilean consul.” Duran and Safir explained that “Chile had a long tradition, like most Latin American countries, of sending her poets abroad as consuls or even, when they became famous, as ambassadors.” The poet was not really qualified for such a post and was unprepared for the squalor, poverty, and loneliness to which the position would expose him. “Neruda travelled extensively in the Far East over the next few years,” Gallagher continued, “and it was during this period that he wrote his first really splendid book of poems, Residencia en la tierra, a book ultimately published in two parts, in 1933 and 1935.” Neruda added a third part, Tercera residencia, in 1947.<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com1tag:blogger.com,1999:blog-159548684263593199.post-67575321474777610552013-04-14T22:30:00.001-07:002013-04-14T22:30:35.505-07:00Love Poems For Wife<div dir="ltr" style="text-align: left;" trbidi="on">
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Anglo-American Nobel Prize winning poet TS Eliot (1888 - 1965) has a drink with his second wife Valerie after arriving from Boston to meet press at host John Nef's house, Chicago, 1959. Photograph: Myron Davis/Time Life Pictures/Getty Images<br />
The true creative impact of the mental decline of TS Eliot's first wife, Vivienne, and the real nature of his abortive relationships with the women he saw following her committal to an asylum, along with other remaining mysteries of the renowned writer's life, are finally likely to be held up to inspection by an official biographer.<br />
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Following the death of Eliot's devoted second wife last week, her friends and former colleagues say access to all the poet's personal papers may now be granted. If so, the great poet's alleged antisemitism is also likely to come under fresh scrutiny. Love poems presented to his second wife every Sunday of their married life can also be published, according to her wishes.<br />
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Valerie Eliot, whose funeral takes place on Wednesday, was the assiduous editor of her late husband's letters and guarded his reputation with care during the 47 years following his death. Valerie, the poet's former personal secretary, guided his literary estate and did much to financially shore up the independence and future of the poet's publisher, Faber and Faber. But even though Eliot's widow was keen to systematically publish his wide-ranging letters, she prevented any writer from examining his documents with a free hand.<br />
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Any biographer now selected by the joint trustees of the Eliot estate would have plenty of drama to draw upon. As Eliot himself once commented: "It often seems to me very bizarre that a person of my [Unitarian] antecedents should have had a life like a bad Russian novel."<br />
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The latest and third volume of Eliot's letters, edited by Valerie Eliot and John Haffenden, was published this summer and covered 1926 and 1927, the period during which he was received into the Church of England and failed to get into All Souls, Oxford, because some of his poetry was judged "obscene and blasphemous". It also chronicled the development of Vivienne's madness. "I am in great trouble, do not know what to do. In great fear," he wrote.<br />
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Valerie's close friend and a trustee of the Eliot estate, Clare Reihill, believes she was potentially prepared to give access to an official biographer. "She did indicate some time ago she was more open to the idea," she said this weekend, "but she wanted all the letters to come out first."<br />
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Reihill said the future of the annual TS Eliot prize for poetry, which was funded by Valerie, is assured. The next awards ceremony, in January, is likely to be a poignant farewell to a benevolent force, she added. "It will be a special evening, particularly as the poet laureate, Carol Ann Duffy, is chair of judges."<br />
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Eliot's personal library is also not under threat, according to both Reihill and Lord Evans of Temple Guiting, the former publisher who worked alongside Valerie Eliot at Faber and Faber.<br />
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"She looked after everything meticulously and that will continue. But I personally would like to see more investigation into the influence of Eliot's close friendship with Ezra Pound. He has been understandably out of fashion due to his antisemitism, but he was an extraordinary essayist and his notes on Eliot's work are amazing."<br />
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The painful relationship between the American-born poet and his first wife was the subject of the 1984 play Tom and Viv. Early in their marriage she had an affair with Bertrand Russell, which Eliot is said to have ignored. Before her illness, she claimed that she and her husband were incompatible; he told his friends, Virginia and Leonard Woolf, that he could not imagine even shaving in his wife's presence. In 1928 he took a vow of chastity. The creator of the harsh worlds of poems such as The Waste Land and The Love Song of J Alfred Prufrock first considered a separation from Vivienne in 1932. He took up a professorship at Harvard and only met her once again before her death in 1947.<br />
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In America, Eliot renewed an acquaintance with an old girlfriend, Emily Hale, a drama teacher. She devoted herself to Eliot in the 1930s, but their relationship is thought to have been platonic. For 20 years the poet saw an Englishwoman named Mary Trevelyan too, but their relationship is thought to have been asexual. Trevelyan proposed three times, but Eliot explained that the idea of marriage, after Vivienne, was a "nightmare". In 1957, at the age of 68, Eliot married his 30-year-old secretary, Valerie, who had worked for him for eight years.<br />
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Anonymoushttp://www.blogger.com/profile/07129680192724608429noreply@blogger.com0