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CLASSIC POETRY

· Ausstellung des Literaturhauses Berlin: Zwischen den Fronten. Der Glasperlenspieler Hermann Hesse · Lies Jane Austen Told Me by: Julie Wright · G.K. Chesterton: Lepanto · The T. S. Eliot 2017 prize for poetry will be announced on Monday 15th January 2018 · Harriet Monroe: The Shadow-Child · Pierre-Jean de Béranger: Les souvenirs du peuple · Afanasi Fet & Ivan Toergenjev: De sterren (vertaling van Paul Bezembinder) · Ficciones by Jorge Luis Borges · Queer Shakespeare. Desire and Sexuality · Harriet Monroe: On The Train · Harriet Monroe: Wings · A Secret Sisterhood: The Literary Friendships of Jane Austen, Charlotte Bronte, George Eliot, and Virginia Woolf by Emily Midorikawa

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Ausstellung des Literaturhauses Berlin: Zwischen den Fronten. Der Glasperlenspieler Hermann Hesse

Als erfolgreicher Autor des berühmten S. Fischer Verlags, dem er seit 1904 angehörte, war Hermann Hesse (1877-1962) in besonderer Weise mit Berlin verbunden, wenngleich er selbst nur ganz selten hier war.

Die Machtübernahme durch die Nationalsozialisten hatte auch für Hesse, der seit 1924 wieder Schweizer Staatsbürger war und im Tessin lebte, weitreichende Konsequenzen, da ihn die Bindung an seinen Berliner Verlag in Abhängigkeit vom nationalsozialistischen Regime brachte, dessen Propagandisten ihn anfangs diffamierten und später ausmanövrierten.

Einflussreiche emigrierte Publizisten indessen verurteilten aufs schärfste, dass Hesse nicht gegen die Veröffentlichung seiner Bücher und Texte in Deutschland vorging und sich nicht ausschließlich zur deutschen Exilliteratur bekannte.

Redakteure Schweizer Zeitungen wiederum warfen Hesse mangelndes Verständnis des Schweizer Antisemitismus vor, der Anfang 1936 eine Niederlassung in Zürich des ins Exil getriebenen Teils des S. Fischer Verlags unausgesprochen mit verhindert hatte.

Fokussiert auf die Jahre von 1933 bis 1947, thematisiert die Ausstellung anhand vieler bislang unbekannter Materialien die vielschichtigen Verflechtungen, die Hesse zwischen der Schweiz, der deutschen Emigration und der Diktatur in Deutschland buchstäblich „zwischen die Fronten“ geraten ließ.

Anlass für die Ausstellung ist die Möglichkeit, aus dem umfangreichen, bislang unveröffentlichten Briefwechsel Hesses mit seinem jüngsten Sohn Martin (1911-1968) einige ausgewählte Briefe präsentieren und dem Zeitgeschehen zuordnen zu können. Im Frühjahr 1932 hatte Martin Hesse noch einen Vorkurs am Bauhaus in Dessau belegen können und erlebte dort die politische Radikalisierung Deutschlands.

In die Schweiz zurückgekehrt, entwickelte Martin Hesse aus der am Bauhaus angeregten Beschäftigung mit der Fotografie eine professionelle Passion: Von ihm stammen die beeindruckenden Aufnahmen der Kunstdenkmäler des Kantons Bern und unzählige Fotos seines berühmten Vaters.

Die Ausstellung setzt mit einem Rückblick auf Hesses erste Frau Maria (Mia), geb. Bernoulli (1868-1963), ein, mit der er bis 1912 in Gaienhofen am Bodensee gelebt hatte. Maria Bernoulli gilt als die erste Schweizer Berufsfotografin, zusammen mit ihrer Schwester unterhielt sie von 1902 bis 1907 ein Fotoatelier in Basel.

Eine Ausstellung des Literaturhauses Berlin
Konzipiert von Lutz Dittrich mit Unterstützung durch Gunnar Decker und Volker Michels
Mitarbeit: Sebastian Januszewski
Ausstellungsgestaltung: unodue { (Costanza Puglisi und Florian Wenz)

Einen Folder mit umfangreichen Informationen über die Ausstellung finden Sie auch hier.

Die zur Ausstellung erscheinende Begleitpublikation
Zwischen den Fronten. Der Glasperlenspieler Hermann Hesse enthält einige ausgewählte Abdrucke aus dem Briefwechsel Hermann Hesses mit seinem Sohn Martin sowie Originalbeiträge von Jan-Pieter Barbian (Publizist), Gunnar Decker (Hesse-Biograph), Michael Kleeberg (Schriftsteller und Übersetzer) und Volker Michels (Hesse-Herausgeber).
In der Ausstellung erhältlich.
Hg. von Lutz Dittrich.
12.- Euro.
ISBN 978-3-926433-57-2

14 Dez – 11 Mär 2017
Grosser und Kleiner Saal
Ausstellung im Literaturhaus
Zwischen den Fronten.
Der Glasperlenspieler Hermann Hesse
LiteraturHausBerlin
Fasanenstraße 23
10719 Berlin

#  website  LiteraturHausBerlin

fleursdumal.nl magazine

More in: - Book News, - Book Stories, Archive G-H, Archive G-H, Art & Literature News, Hermann Hesse, Hesse, Hermann


Lies Jane Austen Told Me by: Julie Wright

Ever since Emma read Pride and Prejudice, she’s been in love with Mr. Darcy and has regarded Jane Austen as the expert on all things romantic.

So naturally when Emma falls for Blake Hampton and he invites her home to meet his parents, she is positive an engagement is in her future. After all, Blake is a single man in possession of a good fortune, and thus must be in want of a wife.



But when it turns out that what Blake actually wants is more of a hook-up than a honeymoon, Emma is hurt, betrayed, and furious. She throws herself deeper into her work as CMO of Kinetics, the fastest growing gym franchise in the nation. She loves her work, and she’s good at it, which is why she bristles when her boss brings in a consultant to help her spearhead the new facilities on the East Coast. Her frustration turns to shock when that consultant turns out to be Blake’s younger brother, Lucas.

Emma is determined not to fall for Lucas, but as she gets to know him, she realizes that Lucas is nothing like his brother. He is kind and attentive and spends his time and money caring for the less fortunate.



What she can’t understand is why Lucas continues to try to push her back into Blake’s arms when he so clearly has fallen as hard for her as she has fallen for him. It isn’t until Lucas reveals to Emma that he was adopted into the Hampton family that she begins to understand his loyalty to Blake as well as his devotion to the child April-she is Lucas’s biological niece.



Emma opens up to Lucas about the feelings of abandonment she has harbored ever since she was a child and her mother left the family. As she helps Lucas deal with his past demons, she is able to exorcise some of her own.

Realizing that her love life is as complicated as anything Jane Austen could have dreamed up, Emma must find a way to let Blake know that it’s time for him to let her go and to let Lucas know it’s time for him to love her back.

Julie Wright wrote her first book when she was fifteen, and has since written twenty-three novels. She has a husband, three kids, a dog, and a varying amount of fish, frogs, and salamanders (depending on attrition). She loves writing, reading, traveling, speaking at schools, hiking, playing with her kids, and watching her husband make dinner.

Julie Wright
Lies Jane Austen Told Me
Published: 2017
Pages: 320
ISBN: 9781629723426
Publisher: Shadow Mountain

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More in: - Book News, - Bookstores, Archive A-B, Archive W-X, Art & Literature News, Austen, Jane, Austen, Jane, Jane Austen


G.K. Chesterton: Lepanto

 

G.K. Chesterton
Lepanto

White founts falling in the Courts of the sun,
And the Soldan of Byzantium is smiling as they run;
There is laughter like the fountains in that face of all men feared,
It stirs the forest darkness, the darkness of his beard;
It curls the blood-red crescent, the crescent of his lips;
For the inmost sea of all the earth is shaken with his ships.
They have dared the white republics up the capes of Italy,
They have dashed the Adriatic round the Lion of the Sea,
And the Pope has cast his arms abroad for agony and loss,
And called the kings of Christendom for swords about the Cross.
The cold queen of England is looking in the glass;
The shadow of the Valois is yawning at the Mass;
From evening isles fantastical rings faint the Spanish gun,
And the Lord upon the Golden Horn is laughing in the sun.

Dim drums throbbing, in the hills half heard,
Where only on a nameless throne a crownless prince has stirred,
Where, risen from a doubtful seat and half attainted stall,
The last knight of Europe takes weapons from the wall,
The last and lingering troubadour to whom the bird has sung,
That once went singing southward when all the world was young.
In that enormous silence, tiny and unafraid,
Comes up along a winding road the noise of the Crusade.
Strong gongs groaning as the guns boom far,
Don John of Austria is going to the war,
Stiff flags straining in the night-blasts cold
In the gloom black-purple, in the glint old-gold,
Torchlight crimson on the copper kettle-drums,
Then the tuckets, then the trumpets, then the cannon, and he comes.
Don John laughing in the brave beard curled,
Spurning of his stirrups like the thrones of all the world,
Holding his head up for a flag of all the free.
Love-light of Spain–hurrah!
Death-light of Africa!
Don John of Austria
Is riding to the sea.

Mahound is in his paradise above the evening star,Lepanto
(Don John of Austria is going to the war.)
He moves a mighty turban on the timeless houri’s knees,
His turban that is woven of the sunsets and the seas.
He shakes the peacock gardens as he rises from his ease,
And he strides among the tree-tops and is taller than the trees;
And his voice through all the garden is a thunder sent to bring
Black Azrael and Ariel and Ammon on the wing.
Giants and the Genii,
Multiplex of wing and eye,
Whose strong obedience broke the sky
When Solomon was king.

They rush in red and purple from the red clouds of the morn,
From the temples where the yellow gods shut up their eyes in scorn;
They rise in green robes roaring from the green hells of the sea
Where fallen skies and evil hues and eyeless creatures be,
On them the sea-valves cluster and the grey sea-forests curl,
Splashed with a splendid sickness, the sickness of the pearl;
They swell in sapphire smoke out of the blue cracks of the ground,–
They gather and they wonder and give worship to Mahound.
And he saith, “Break up the mountains where the hermit-folk can hide,
And sift the red and silver sands lest bone of saint abide,
And chase the Giaours flying night and day, not giving rest,
For that which was our trouble comes again out of the west.
We have set the seal of Solomon on all things under sun,
Of knowledge and of sorrow and endurance of things done.
But a noise is in the mountains, in the mountains, and I know
The voice that shook our palaces–four hundred years ago:
It is he that saith not ‘Kismet’; it is he that knows not Fate;
It is Richard, it is Raymond, it is Godfrey at the gate!
It is he whose loss is laughter when he counts the wager worth,
Put down your feet upon him, that our peace be on the earth.”
For he heard drums groaning and he heard guns jar,
(Don John of Austria is going to the war.)
Sudden and still–hurrah!
Bolt from Iberia!
Don John of Austria
Is gone by Alcalar.

St. Michaels on his Mountain in the sea-roads of the north
(Don John of Austria is girt and going forth.)
Where the grey seas glitter and the sharp tides shift
And the sea-folk labour and the red sails lift.
He shakes his lance of iron and he claps his wings of stone;
The noise is gone through Normandy; the noise is gone alone;
The North is full of tangled things and texts and aching eyes,
And dead is all the innocence of anger and surprise,
And Christian killeth Christian in a narrow dusty room,
And Christian dreadeth Christ that hath a newer face of doom,
And Christian hateth Mary that God kissed in Galilee,–
But Don John of Austria is riding to the sea.
Don John calling through the blast and the eclipse
Crying with the trumpet, with the trumpet of his lips,
Trumpet that sayeth ha!
Domino gloria!
Don John of Austria
Is shouting to the ships.

King Philip’s in his closet with the Fleece about his neck
(Don John of Austria is armed upon the deck.)
The walls are hung with velvet that is black and soft as sin,
And little dwarfs creep out of it and little dwarfs creep in.
He holds a crystal phial that has colours like the moon,
He touches, and it tingles, and he trembles very soon,
And his face is as a fungus of a leprous white and grey
Like plants in the high houses that are shuttered from the day,
And death is in the phial and the end of noble work,
But Don John of Austria has fired upon the Turk.
Don John’s hunting, and his hounds have bayed–
Booms away past Italy the rumour of his raid.
Gun upon gun, ha! ha!
Gun upon gun, hurrah!
Don John of Austria
Has loosed the cannonade.

The Pope was in his chapel before day or battle broke,
(Don John of Austria is hidden in the smoke.)
The hidden room in man’s house where God sits all the year,
The secret window whence the world looks small and very dear.
He sees as in a mirror on the monstrous twilight sea
The crescent of his cruel ships whose name is mystery;
They fling great shadows foe-wards, making Cross and Castle dark,
They veil the plumèd lions on the galleys of St. Mark;
And above the ships are palaces of brown, black-bearded chiefs,
And below the ships are prisons, where with multitudinous griefs,
Christian captives sick and sunless, all a labouring race repines
Like a race in sunken cities, like a nation in the mines.
They are lost like slaves that sweat, and in the skies of morning hung
The stair-ways of the tallest gods when tyranny was young.
They are countless, voiceless, hopeless as those fallen or fleeing on
Before the high Kings’ horses in the granite of Babylon.
And many a one grows witless in his quiet room in hell
Where a yellow face looks inward through the lattice of his cell,
And he finds his God forgotten, and he seeks no more a sign–
(But Don John of Austria has burst the battle-line!)
Don John pounding from the slaughter-painted poop,
Purpling all the ocean like a bloody pirate’s sloop,
Scarlet running over on the silvers and the golds,
Breaking of the hatches up and bursting of the holds,
Thronging of the thousands up that labour under sea
White for bliss and blind for sun and stunned for liberty.

Vivat Hispania!
Domino Gloria!
Don John of Austria
Has set his people free!

Cervantes on his galley sets the sword back in the sheath
(Don John of Austria rides homeward with a wreath.)
And he sees across a weary land a straggling road in Spain,
Up which a lean and foolish knight for ever rides in vain,
And he smiles, but not as Sultans smile, and settles back the blade….
(But Don John of Austria rides home from the Crusade.)

G. K. Chesterton (1874 – 1936)
Poetry: Lepanto
fleursdumal.nl magazine

More in: Archive C-D, Chesterton, Gilbert Keith, G.K. Chesterton


The T. S. Eliot 2017 prize for poetry will be announced on Monday 15th January 2018

The T. S. Eliot Prize for Poetry was inaugurated in 1993 to celebrate the Poetry Book Society’s 40th birthday and honour its founding poet.

Described as ‘the prize most poets want to win’ (Sir Andrew Motion, former Poet Laureate) and ‘the world’s top poetry award’ (Independent), it is awarded annually to the author of the best new collection of poetry published in the UK and Ireland.

The T. S. Eliot Prize for Poetry was inaugurated in 1993 to celebrate the Poetry Book Society’s 40th birthday and honour its founding poet.

 

To mark the 25th anniversary of the T. S. Eliot Prize, the T. S. Eliot Foundation has increased the winner’s prize money to £25,000. Judges Bill Herbert (Chair), James Lasdun and Helen Mort have chosen the shortlist from a record 154 poetry collections submitted by publishers:

Tara Bergin – The Tragic Death of Eleanor Marx (Carcanet) PBS Autumn Recommendation

Caroline Bird – In these Days of Prohibition (Carcanet)

Douglas Dunn – The Noise of a Fly (Faber & Faber) PBS Autumn Recommendation

Leontia Flynn – The Radio (Cape Poetry)

Roddy Lumsden – So Glad I’m Me (Bloodaxe)

Michael Symmons Roberts – Mancunia (Cape Poetry) PBS Autumn Recommendation

Robert Minhinnick – Diary of the Last Man (Carcanet)

James Sheard – The Abandoned Settlements (Cape Poetry) PBS Spring Choice

Jacqueline Saphra – All My Mad Mothers (Nine Arches Press)

Ocean Vuong – Night Sky with Exit Wounds (Cape Poetry) PBS Summer Recommendation

Chair Bill Herbert said:
“This was a very strong year, and it was a privilege to read so many books that possessed as well as intrigued us; our shortlist explores grief, pleasure, place and history in a formidable variety of ways.”

The T. S. Eliot Prize is run by The T. S. Eliot Foundation. This is the richest prize in British poetry, with the winning poet receiving a cheque for £25,000 and the shortlisted poets each receiving £1,500.

The T. S. Eliot Prize Shortlist Readings will take place on Sunday 14th January 2018 in Southbank Centre’s Royal Festival Hall. The shortlist readings are the largest annual poetry event in the UK and will be hosted once again by Ian McMillan. Tickets are now on sale from Southbank Centre’s ticket office on 0203 879 9555 or via www.southbankcentre.co.uk/literature.

The winner of the 2017 Prize will be announced at the Award Ceremony on Monday 15th January 2018, where the winner and the shortlisted poets will be presented with their cheques. This continues the tradition started by Mrs Valerie Eliot, who provided the prize money from the inception of the Prize.

Last year’s winner was Jacob Polley for Jackself (Picador). The judges were Ruth Padel (Chair), Julia Copus and Alan Gillis.

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More in: Archive E-F, Awards & Prizes, Eliot, T. S., Literary Events


Harriet Monroe: The Shadow-Child

The Shadow-Child

Why do the wheels go whirring round,
Mother, mother?
Oh, mother, are they giants bound,
And will they growl forever?
Yes, fiery giants underground,
Daughter, little daughter,
Forever turn the wheels around,
And rumble-grumble ever.

Why do I pick the threads all day,
Mother, mother,
While sunshine children are at play?
And must I work forever?
Yes, shadow-child; the live-long day,
Daughter, little daughter,
Your hands must pick the threads away,
And feel the sunshine never.

Why do the birds sing in the sun,
Mother, mother,
If all day long I run and run,
Run with the wheels forever?
The birds may sing till day is done,
Daughter, little daughter,
But with the- wheels your feet must run—
Run with the wheels forever.

Why do I feel so tired each night,
Mother, mother?
The wheels are always buzzing bright;
Do they grow sleepy never?
Oh, baby thing, so soft and white,
Daughter, little daughter,
The big wheels grind us in their might,
And they will grind forever.

And is the white thread never spun,
Mother, mother?
And is the white cloth never done,
For you and me done never?
Oh yes, our thread will all be spun,
Daughter, little daughter,
When we lie down out in the sun,
And work no more forever.

And when will come that happy day,
Mother, mother?
Oh, shall we laugh and sing and play
Out in the sun forever?
Nay, shadow-child, we’ll rest all day,
Daughter, little daughter,
Where green grass grows and roses gay,
There in the sun forever.

Harriet Monroe
(1860 – 1936)
The Shadow-Child

fleursdumal.nl magazine

More in: Archive M-N, Monroe, Harriet


Pierre-Jean de Béranger: Les souvenirs du peuple

 

Pierre-Jean de Béranger
Les souvenirs du peuple

On parlera de sa gloire
Sous le chaume bien longtemps.
L’humble toit, dans cinquante ans,
Ne connaîtra plus d’autre histoire.
Là viendront les villageois
Dire alors à quelque vieille
Par des récits d’autrefois,
Mère, abrégez notre veille.
Bien, dit-on, qu’il nous ait nui,
Le peuple encor le révère,
Oui, le révère.
Parlez-nous de lui, grand-mère ;
Parlez-nous de lui. (bis)

Mes enfants, dans ce village,
Suivi de rois, il passa.
Voilà bien longtemps de ça ;
Je venais d’entrer en ménage.
À pied grimpant le coteau
Où pour voir je m’étais mise,
Il avait petit chapeau
Avec redingote grise.
Près de lui je me troublais,
Il me dit :
Bonjour, ma chère,
Bonjour, ma chère.
– Il vous a parlé, grand-mère !
Il vous a parlé !

L’an d’après, moi, pauvre femme,
À Paris étant un jour,
Je le vis avec sa cour
Il se rendait à Notre-Dame.
Tous les coeurs étaient contents ;
On admirait son cortège.
Chacun disait : Quel beau temps !
Le ciel toujours le protège.
Son sourire était bien doux ;
D’un fils Dieu le rendait père,
Le rendait père.
– Quel beau jour pour vous, grand-mère !
Quel beau jour pour vous !

Mais, quand la pauvre Champagne
Fut en proie aux étrangers,
Lui, bravant tous les dangers,
Semblait seul tenir la campagne.
Un soir, tout comme aujourd’hui,
J’entends frapper à la porte ;
J’ouvre, bon Dieu ! c’était lui
Suivi d’une faible escorte.
Il s’assoit où me voilà,
S’écriant : Oh ! quelle guerre !
Oh ! quelle guerre !
– Il s’est assis là, grand-mère !
Il s’est assis là !

J’ai faim, dit-il ; et bien vite
Je sers piquette et pain bis
Puis il sèche ses habits,
Même à dormir le feu l’invite.
Au réveil, voyant mes pleurs,
Il me dit : Bonne espérance !
Je cours de tous ses malheurs
Sous Paris venger la France.
Il part ; et comme un trésor
J’ai depuis gardé son verre,
Gardé son verre.
– Vous l’avez encor, grand-mère !
Vous l’avez encor !

Le voici. Mais à sa perte
Le héros fut entraîné.
Lui, qu’un pape a couronné,
Est mort dans une île déserte.
Longtemps aucun ne l’a cru ;
On disait : Il va paraître.
Par mer il est accouru ;
L’étranger va voir son maître.
Quand d’erreur on nous tira,
Ma douleur fut bien amère !
Fut bien amère !
– Dieu vous bénira, grand-mère ;
Dieu vous bénira. (bis)

Pierre-Jean de Béranger (1780-1857)
Les souvenirs du peuple
Toutes les chansons de Béranger (1843)

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More in: Archive A-B, Béranger, Pierre-Jean de


Afanasi Fet & Ivan Toergenjev: De sterren (vertaling van Paul Bezembinder)

Fet
De sterren

Haast sprakeloos stond ik te kijken,
Wel duizenden sterren zag ik, –
Ik had met die duizenden sterren
Een soort van verbinding, een klik.

Ik dacht… geen idee wat ik dacht toen,
Er klonk geheimzinnig gezang,
De sterren, zij twinkelden zachtjes,
De sterren waar ik naar verlang…

Afanasi Fet, Я долго стоял неподвижно,1843.
Vertaling Paul Bezembinder 2017.

 

Op dit gedicht bestaat een bekende, aan Ivan Toergenjev toegeschreven parodie; deze werd aangetroffen in zijn nagelaten archieven in Parijs.

 

 

Toergenjev

Haast sprakeloos stond ik te kijken,
Ik dacht haast dat ik er in bleef, –
Het waren maar vreemde gedichten,
Die verzen die Fet voor ons schreef.

Ik las… geen idee wat ik las toen,
Iets met geheimzinnig behang,
Het bundeltje viel uit mijn handen,
Het ligt hier nog steeds in de gang…

Ivan Toergenjev, Я долго стоял неподвижно, 1863?
Een parodie op een gelijknamig gedicht van Afanasi Fet.
Vertaling Paul Bezembinder, 2017

 

Afanasi Fet & Ivan Toergenjev: De sterren (vertaling van Paul Bezembinder)
Afanasi Afanasjevitsj Fet (Russisch: Афанасий Афанасьевич Фет, 1820 – 1892)
Ivan Sergejevitsj Toergenjev (Russisch: Ива́н Серге́евич Турге́нев, 1818 – 1883)

Paul Bezembinder studeerde theoretische natuurkunde in Nijmegen. In zijn poëzie zoekt hij in vooral klassieke versvormen en thema’s naar de balans tussen serieuze poëzie, pastiche en smartlap. Zijn gedichten (Nederlands) en vertalingen (Russisch-Nederlands) verschenen in verschillende (online) literaire tijdschriften. Voor­beelden van zijn werk zijn te vinden op zijn website, www.paulbezembinder.nl

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More in: Archive A-B, Archive E-F, Archive S-T, Bezembinder, Paul, Fet, Fet, Afanasi, Toergenjev, Toergenjev, Ivan


Ficciones by Jorge Luis Borges

Jorge Luis Borges was one of those very rare creators who changed the face of an art form—in his case, the short story. His work has been paid the ultimate honor of being appropriated and imitated by innumerable writers on every continent of the world.

The seventeen brief masterpieces of FICCIONES explode the boundaries of genre, offering up labyrinthine libraries, a fictional encyclopedia entry that spawns an entire world, a review of a nonexistent writer’s attempt to re-create Don Quixote word for word, a man with the disabling inability to forget anything he has ever experienced, and other metaphysical puzzles.

But the true measure of Borges’s greatness lies in the fact that his fictions—elaborately paradoxical, postmodern, and intellectually delicious as they are—managed to return the short story to the realm of the fabulous and the uncanny from which, as parable and fairy tale, it originally came.

Jorge Luis Borges (1899–1986) was an Argentine poet, essayist, and author of short stories. His most notable works as a key literary Spanish-language figure of the twentieth century include Ficciones (Fictions) and El Aleph (The Aleph). He received a BA from the College of Geneva. He was also appointed the director of the National Public Library and professor of English literature at the University of Buenos Aries in 1955. During his lifetime, Borges received the first Prix International Formentor Prize which he shared alongside Samuel Beckett in 1961. He also received the Jerusalem Prize for the Freedom of the Individual in Society in 1971.

Ficciones
By Jorge Luis Borges
Introduction by John Sturrock
Part of Everyman’s Library Contemporary Classics Series
Category: Literary Fiction | Fiction Classics
Hardcover
(1993)- 192 Pages
ISBN 9780679422990
(Book Jacket Status: Jacketed)

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Queer Shakespeare. Desire and Sexuality

Queer Shakespeare: Desire and Sexuality draws together 13 essays, which offer a major reassessment of the criticism of desire, body and sexuality in Shakespeare’s drama and poetry.

Bringing together some of the most prominent critics working at the intersection of Shakespeare criticism and queer theory, this collection demonstrates the vibrancy of queer Shakespeare studies.

Taken together, these essays explore embodiment, desire, sexuality and gender as key objects of analyses, producing concepts and ideas that draw critical energy from focused studies of time, language and nature.

The Afterword extends these inquiries by linking the Anthropocene and queer ecology with Shakespeare criticism.

Works from Shakespeare’s entire canon feature in essays which explore topics like glass, love, antitheatrical homophobia, size, narrative, sound, female same-sex desire and Petrarchism, weather, usury and sodomy, male femininity and male-to-female crossdressing, contagion, and antisocial procreation.

Queer Shakespeare
Desire and Sexuality
Editor(s): Goran Stanivukovic
Published: 13-07-2017
Format: Hardback
Edition: 1st
Extent: 424 pp
ISBN: 9781474295246
Imprint: The Arden Shakespeare
Dimensions: 198 x 129 mm
Bloomsbury Publishing
$144.00

Queer Shakespeare. Desire and Sexuality
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Harriet Monroe: On The Train

On The Train

I

The lady in front of me in the car,
With little red coils close over her ears,
Is talking with her friend;
And the circle of ostrich foam around her hat,
Curving over like a wave,
Trembles with her little windy words.
What she is saying, I wonder,
That her feathers should tremble
And the soft fur of her coat should slip down over her shoulders?
Has her string of pearls been stolen,
Or maybe her husband?

II

He is drunk, that man —
Drunk as a lord, a lord of the bibulous past. [sic]
He shouts wittily from his end of the car to the man in the corner;
He bows to me with chivalrous apologies.
He philosophizes, plays with the wisdom of the ages,
Flings off his rags,
Displays his naked soul —
Athletic, beautiful, grotesque.
In the good time coming,
When men drink no more,
Shall we ever see a nude soul dancing
Stript and free
In the temple of his god?

III

She comes smiling into the car
With irridescent bubbles of children.
She blooms in the close plush seats
Like a narcissus in a bowl of stones.
She croons to a baby in her lap —
The trees come swinging by to listen,
And the electric lights in the ceiling are stars.

Harriet Monroe poetry
(1860 – 1936)
On The Train

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Harriet Monroe: Wings

Wings

Pearl-gray is the sky,
And high within it, sailing by,
Three sea-gulls fly.

Pearl-white are they
Against the sky’s obscurer gray—
Sea-foam astray.

Gulls, sea-gulls white,
Drift of the day, drift of the night,
Mine be your flight!

Out—out, with you
Beyond the noise, into the blue!
Ah—if I knew!

Harriet Monroe
(1860 – 1936)
Wings

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A Secret Sisterhood: The Literary Friendships of Jane Austen, Charlotte Bronte, George Eliot, and Virginia Woolf by Emily Midorikawa

Male literary friendships are the stuff of legend; think Byron and Shelley, Fitzgerald and Hemingway. But the world’s best-loved female authors are usually mythologized as solitary eccentrics or isolated geniuses.

Coauthors and real-life friends Emily Midorikawa and Emma Claire Sweeney prove this wrong, thanks to their discovery of a wealth of surprising collaborations: the friendship between Jane Austen and one of the family servants, playwright Anne Sharp; the daring feminist author Mary Taylor, who shaped the work of Charlotte Bronte; the transatlantic friendship of the seemingly aloof George Eliot and Harriet Beecher Stowe; and Virginia Woolf and Katherine Mansfield, most often portrayed as bitter foes, but who, in fact, enjoyed a complex friendship fired by an underlying erotic charge.

Through letters and diaries that have never been published before, A Secret Sisterhood resurrects these forgotten stories of female friendships. They were sometimes scandalous and volatile, sometimes supportive and inspiring, but always–until now–tantalizingly consigned to the shadows.

Emily Midorikawa’s work has been published in the Daily Telegraph, the Independent on Sunday, and the Times. She is a winner of the Lucy Cavendish Fiction Prize and was a runner-up in the SI Leeds Literary Prize (judged by Margaret Busby) and the Yeovil Literary Prize (judged by Tracy Chevalier). She has a history degree from University College London, and is a graduate of the University of East Anglia’s creative writing masters program. She now teaches at New York University–London.

A Secret Sisterhood:
The Literary Friendships of Jane Austen, Charlotte Brontë, George Eliot, and Virginia Woolf
by Emily Midorikawa (Author), Emma Claire Sweeney (Author), Margaret Atwood (Foreword)
Hardcover, 352 pages
Publication: October 2017
by Houghton Mifflin Harcourt
ISBN 054488373X
(ISBN13: 9780544883734)

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