"The poems in A Gray Realm the Ocean were all written under the influence of art-specifically, abstract visual art by women. Although all these poems were, of course and as usual, affected by other poems and poets, each was also written in response to a particular artist's work"--
"The poems in A Gray Realm the Ocean were all written under the influence of art-specifically, abstract visual art by women. Although all these poems were, of course and as usual, affected by other poems and poets, each was also written in response to a particular artist's work"--Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Jennifer Atkinson (Author) Jennifer Atkinson published five books of poetry before A Gray Realm the Ocean, most recently The Thinking Eye and Canticle of the Night Path, both from Free Verse Editions/ Parlor Press. She is recently retired from George Mason University, where she taught in the MFA and BFA programs in Poetry Writing. She lives in northern Virginia. Patricia Spears Jones (Foreword By) Patricia Spears Jones is the author of five books of poetry, including Painkiller, Femme du Monde, and The Weather That Kills. Her work has been featured in numerous anthologies, including Angles of Ascent: A Norton Anthology of Contemporary African American Poetry, Starting Today: 100 Poems for Obama's First 100 Days, Black Nature: Four Centuries of African American Nature Poetry, and Best American Poetry. She has taught at LaGuardia Community College and Queens College CCNY, Parsons, The New School, and the College of New Rochelle.
Inhaltsangabe
Foreword, by Patricia Spears Jones xi Incognita 1 Spirit Level 3 "Night Sea" 4 Like Somewhere in Saskatchewan 5 She Would Not Say Her Work is the Work of Turning 7 "Lemon Tree" 8 "Milk River" 9 Sufficing 10 Abstraction 11 Reading Nautical Maps 12 "Mountains and Sea" 13 "The Bay" 15 'Womb-of-All, Home-of-All, Hearse-of-All Night' 17 A Clear Jar 18 White 19 "La Grande Vallée XIII" 21 "Sunflower III" 23 Sub-Linguistic Mumbling 24 Interior 1963 26 If 28 Cartography 30 Show Me an Angel 31 Star River Night 33 Alma Thomas's "Orion" Is 35 "Spiral Leap" 37 Motion and Cessation 38 At Sea 40 Night Forms 41 Night Vision 43 "Femme-Maison" 44 Irascible 46 The Wall 47 Fire 48 After the Burning of Flood Christian Church in Ferguson, MO: An Exploded View 49 The Melancholy of the Actual World 51 Why Seek the Dead Among the Living? 52 'It Remains to Be Seen' 53 Quick and Still 54 Seismography 56 The Coriolis Effect 58 "Uninvited Collaboration" 59 Afloat 60 Whole Cloth 61 "Cranoch Glen" 63 Looking 65 "Character Set" 67 The Provenance of Color 69 Black on Black 70 Sea and Grass 71 Afterword 72 Notes 75 Acknowledgments 81
Foreword, by Patricia Spears Jones xi Incognita 1 Spirit Level 3 "Night Sea" 4 Like Somewhere in Saskatchewan 5 She Would Not Say Her Work is the Work of Turning 7 "Lemon Tree" 8 "Milk River" 9 Sufficing 10 Abstraction 11 Reading Nautical Maps 12 "Mountains and Sea" 13 "The Bay" 15 'Womb-of-All, Home-of-All, Hearse-of-All Night' 17 A Clear Jar 18 White 19 "La Grande Vallée XIII" 21 "Sunflower III" 23 Sub-Linguistic Mumbling 24 Interior 1963 26 If 28 Cartography 30 Show Me an Angel 31 Star River Night 33 Alma Thomas's "Orion" Is 35 "Spiral Leap" 37 Motion and Cessation 38 At Sea 40 Night Forms 41 Night Vision 43 "Femme-Maison" 44 Irascible 46 The Wall 47 Fire 48 After the Burning of Flood Christian Church in Ferguson, MO: An Exploded View 49 The Melancholy of the Actual World 51 Why Seek the Dead Among the Living? 52 'It Remains to Be Seen' 53 Quick and Still 54 Seismography 56 The Coriolis Effect 58 "Uninvited Collaboration" 59 Afloat 60 Whole Cloth 61 "Cranoch Glen" 63 Looking 65 "Character Set" 67 The Provenance of Color 69 Black on Black 70 Sea and Grass 71 Afterword 72 Notes 75 Acknowledgments 81
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