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The Flight of the Crows
The autumn afternoon is dying o’er
The quiet western valley where I lie
Beneath the maples on the river shore,
Where tinted leaves, blue waters and fair sky
Environ all; and far above some birds are flying by
To seek their evening haven in the breast
And calm embrace of silence, while they sing
Te Deums to the night, invoking rest
For busy chirping voice and tired wing—
And in the hush of sleeping trees their sleeping cradles swing.
In forest arms the night will soonest creep,
Where sombre pines a lullaby intone,
Where Nature’s children curl themselves to sleep,
And all is still at last, save where alone
A band of black, belated crows arrive from lands unknown.
Strange sojourn has been theirs since waking day,
Strange sights and cities in their wanderings blend
With fields of yellow maize, and leagues away
With rivers where their sweeping waters wend
Past velvet banks to rocky shores, in cañons bold to end.
O’er what vast lakes that stretch superbly dead,
Till lashed to life by storm-clouds, have they flown?
In what wild lands, in laggard flight have led
Their aërial career unseen, unknown,
’Till now with twilight come their cries in lonely monotone?
The flapping of their pinions in the air
Dies in the hush of distance, while they light
Within the fir tops, weirdly black and bare,
That stand with giant strength and peerless height,
To shelter fairy, bird and beast throughout the closing night.
Strange black and princely pirates of the skies,
Would that your wind-tossed travels I could know!
Would that my soul could see, and, seeing, rise
To unrestricted life where ebb and flow
Of Nature’s pulse would constitute a wider life below!
Could I but live just here in Freedom’s arms,
A kingly life without a sovereign’s care!
Vain dreams! Day hides with closing wings her charms,
And all is cradled in repose, save where
Yon band of black, belated crows still frets the evening air.
Emily Pauline Johnson
Mohawk name: Tekahionwake
(1861-1913)
The Flight of the Crows
From Flint and Feather:
The Complete Poems of E. Pauline Johnson (1917)
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A Cry from an Indian Wife
My Forest Brave, my Red-skin love, farewell;
We may not meet to-morrow; who can tell
What mighty ills befall our little band,
Or what you’ll suffer from the white man’s hand?
Here is your knife! I thought ’twas sheathed for aye.
No roaming bison calls for it to-day;
No hide of prairie cattle will it maim;
The plains are bare, it seeks a nobler game:
’Twill drink the life-blood of a soldier host.
Go; rise and strike, no matter what the cost.
Yet stay. Revolt not at the Union Jack,
Nor raise Thy hand against this stripling pack
Of white-faced warriors, marching West to quell
Our fallen tribe that rises to rebel.
They all are young and beautiful and good;
Curse to the war that drinks their harmless blood.
Curse to the fate that brought them from the East
To be our chiefs—to make our nation least
That breathes the air of this vast continent.
Still their new rule and council is well meant.
They but forget we Indians owned the land
From ocean unto ocean; that they stand
Upon a soil that centuries agone
Was our sole kingdom and our right alone.
They never think how they would feel to-day,
If some great nation came from far away,
Wresting their country from their hapless braves,
Giving what they gave us—but wars and graves.
Then go and strike for liberty and life,
And bring back honour to your Indian wife.
Your wife? Ah, what of that, who cares for me?
Who pities my poor love and agony?
What white-robed priest prays for your safety here,
As prayer is said for every volunteer
That swells the ranks that Canada sends out?
Who prays for vict’ry for the Indian scout?
Who prays for our poor nation lying low?
None—therefore take your tomahawk and go.
My heart may break and burn into its core,
But I am strong to bid you go to war.
Yet stay, my heart is not the only one
That grieves the loss of husband and of son;
Think of the mothers o’er the inland seas;
Think of the pale-faced maiden on her knees;
One pleads her God to guard some sweet-faced child
That marches on toward the North-West wild.
The other prays to shield her love from harm,
To strengthen his young, proud uplifted arm.
Ah, how her white face quivers thus to think,
Your tomahawk his life’s best blood will drink.
She never thinks of my wild aching breast,
Nor prays for your dark face and eagle crest
Endangered by a thousand rifle balls,
My heart the target if my warrior falls.
O! coward self I hesitate no more;
Go forth, and win the glories of the war.
Go forth, nor bend to greed of white men’s hands,
By right, by birth we Indians own these lands,
Though starved, crushed, plundered, lies our nation low . . .
Perhaps the white man’s God has willed it so.
Emily Pauline Johnson
(1861 – 1913)
A Cry from an Indian Wife
Poem
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Part memoir, part manifesto, the inspiring story of a Louisiana librarian advocating for inclusivity on the front lines of our vicious culture wars.
One of the things small town librarian Amanda Jones values most about books is how they can affirm a young person’s sense of self. So in 2022, when she caught wind of a local public hearing that would discuss “book content,” she knew what was at stake.
Schools and libraries nationwide have been bombarded by demands for books with LGTBQ+ references, discussions of racism, and more to be purged from the shelves. Amanda would be damned if her community were to ban stories representing minority groups. She spoke out that night at the meeting. Days later, she woke up to a nightmare that is still ongoing.
Amanda Jones has been called a groomer, a pedo, and a porn-pusher; she has faced death threats and attacks from strangers and friends alike. Her decision to support a collection of books with diverse perspectives made her a target for extremists using book banning campaigns-funded by dark money organizations and advanced by hard right politicians-in a crusade to make America more white, straight, and “Christian.” But Amanda Jones wouldn’t give up without a fight: she sued her harassers for defamation and urged others to join her in the resistance.
Mapping the book banning crisis occurring all across the nation, That Librarian draws the battle lines in the war against equity and inclusion, calling book lovers everywhere to rise in defense of our readers.
Amanda Jones has been an educator for 23 years, at the same middle school she attended as a child. She has served as President of the Louisiana Association of School Librarians and won numerous awards for her work in school libraries, including School Library Journal Librarian of the Year. A sought-after keynote speaker, Amanda is a frequent volunteer for state and national library associations, as well as a co-founder of the Livingston Parish Library Alliance and founding member of Louisiana Citizens Against Censorship. She lives in Livingston Parish, Louisiana.
That Librarian:
The Fight Against Book Banning in America
by Amanda Jones
ISBN: 9781639733538
ISBN-10: 1639733531
Publisher: Bloomsbury Publishing
Publication Date: August 27th, 2024
Pages: 288
Language: English
$29.99
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A dynamic, moving hybrid work that celebrates Black youth, often too fleeting, and examines Black lives lost to police violence.
In this astonishing volume of poems and lyric prose, Whiting Award–winner A. Van Jordan draws comparisons to Black characters in Shakespearean plays―Caliban and Sycorax from?The Tempest, Aaron the Moor from?Titus Andronicus, and the eponymous antihero of? Othello―to mourn the deaths of Black people, particularly Black children, at the hands of police officers. What do these characters, and the ways they are defined by the white figures who surround them, have in common with Tamir Rice, Trayvon Martin, and other Black people killed in the twenty-first century?
Balancing anger and grief with celebration, Jordan employs an elastic variety of poetic forms, including ekphrastic sestinas inspired by the photography of Malick Sidibé, fictional dialogues, and his signature definition poems that break down the insidious power of words like “fair,” “suspect,” and “juvenile.” He invents a new form of window poems, based on a characterization exercise, to see Shakespeare’s Black characters in three dimensions, and finds contemporary parallels in the way these characters are othered, rendered at once undesirable and hypersexualized, a threat and a joke.
At once a stunning inquiry into the roots of racist violence and a moving recognition of the joy of Black youth before the world takes hold, When I Waked, I Cried to Dream Again expresses the preciousness and precarity of life.
A. Van Jordan is the author of four collections: Rise, which won the PEN/Oakland Josephine Miles Award (Tia Chucha Press, 2001); M-A-C-N-O-L-I-A, (2005), which was listed as one the Best Books of 2005 by The London Times; Quantum Lyrics, (2007); and The Cineaste, (2013), W.W. Norton & Co. Jordan has been awarded a Whiting Writers Award, an Anisfield-Wolf Book Award, and a Pushcart Prize. He is also a recipient of a Guggenheim Fellowship (2007), a United States Artists Fellowship (2009), and a Lannan Literary Award in Poetry (2015).
When I Waked, I Cried To Dream Again:
Poems by A. Van Jordan
Publisher: W. W. Norton & Company (June 6, 2023)
Language: English
Hardcover
144 pages
ISBN-10 : 1324050934
ISBN-13 : 978-1324050933
Price $26.95
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Loin des idées reçues et des poncifs sur Flaubert, Régis Jauffret nous invite à découvrir sa vie et son oeuvre et des aspects méconnus de sa personnalité : l’homme tonitruant et hâbleur qui se cachait derrière un des écrivains incontournables des lettres françaises.
“Depuis longtemps la postérité s’est chargée de peinturlurer Flaubert. Il est admis aujourd’hui qu’il mena toujours une vie d’ermite dans sa maison isolée de Croisset, que son père l’écrasait de sa personnalité, que sa mère était possessive jusqu’à l’empêcher de se marier, de fonder une famille, bref, de quitter le nid.
Nous verrons dans cet ouvrage à quel point ces poncifs sont controuvés. En outre, je me permets à plusieurs reprises d’évoquer le Flaubert tonitruant, hâbleur et par certains aspects assez grotesque qu’évoquent à l’occasion ses contemporains. Ce n’est certes pas pour l’accabler, au contraire cette facette de sa personnalité me semble presque attendrissante et fait de lui un commensale des pantins que nous sommes. Et puis, que voulez-vous, j’ai toujours préféré les humains aux dieux. Si je fus humble dans ma tâche – sans humilité, la littérature se fane au fur et à mesure de son apparition sur le papier, l’écran, le papyrus – je n’ai pas hésité à faire preuve d’une grande familiarité envers le maître. J’ai passé près de cinq années en sa compagnie, il est devenu pour moi une sorte de camarade d’outre-tombe.
Un ami que j’ai pris souvent dans mes bras, malgré son corps fumeux de fantôme et avec lequel je me suis régulièrement disputé jusqu’à la fâcherie. Néanmoins, je n’ai jamais poussé le ridicule jusqu’à me prendre pour lui car je suis assez occupé à me croire vaniteusement moi-même et à finir mon oeuvre à laquelle je tiens davantage qu’à celle de notre Gustave. Je devrais m’abstenir de proférer pareil blasphème.
A force de sincérité les romanciers se montrent mufles”.
Regis Jauffret est l’auteur de nombreux ouvrages dont Microfictions, Sévère, La Ballade de Rikers Island, Papa et Le Dernier Bain de Gustave. Il a reçu le prix Goncourt de la nouvelle pour Microfictions 2018, le prix Femina pour Asile de fous et le prix Décembre pour Univers, Univers.
Dictionnaire amoureux de Flaubert
de Régis Jauffret (Auteur)
Alain Bouldouyre (Dessins)
Éditeur: Plon
Illustrated édition
4 mai 2023
Langue: Français
Broché
480 pages
ISBN-10:2259310613
ISBN-13:978-2259310611
€ 28,00
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L’Homme à la hache
D’après et pour P. Gauguin
A l’horizon, par les brouillards,
Les tintamarres des hasards,
Vagues, nous armons nos démons
Dans l’entre-deux sournois des monts.
Au rivage que nous fermons
Dome un géant sur les limons.
Nous rampons à ses pieds, lézards.
Lui, sur son char tel un César
Ou sur un piédestal de marbre,
Taille une barque en un tronc d’arbre
Pour debout dessus nous poursuivre
Jusqu’à la fin verte des lieues.
Du rivage ses bras de cuivre
Lèvent au ciel la hache bleue.
Alfred Jarry
(1873-1907)
L’Homme à la hache
D’après et pour P. Gauguin
(1894)
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Maud Joiret est née en 1986 à Bruxelles. Chroniqueuse notamment pour Le Carnet et les Instants, elle est programmatrice littéraire. Cobalt est son premier recueil de poésie. Quelques textes ont paru aussi pour la revue Boustro (numéro VII), Passa Porta, Poetenational.be, Bela. Lauréate d’une bourse de la Fédération Wallonie-Bruxelles – Bourse de découverte 2020
Maud Joiret: Jerk
Arbre de Diane,
coll. « Les deux sœurs »,
2022
ISBN: 978-2-930822-21-1
89 pages
€12,00
Bibliographie
Jerk (2022)
Cobalt (2019)
Marées vaches
“ Tu deviendrais muet sans même le savoir
Tu garderais secrètes tes plaintes et tes larmes
Tu écrirais des poèmes
que personne ne lirait
Les jours impairs, tu te cuisinerais des pâtes
pourvu qu’elles soient cuites à point
juste comme elle les aime.”
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In a landscape scarred by conflict, two women begin a quest for a lost child and a lost world of peace.
Bound together by love and acceptance, their story and path interweave with fellow outcasts — people like the ever-suave Dame Blanche, Sister Asunta, martial artist and magician, Master Wu Wu, and the lost soul, Tulip — but whether peace is simply the end of war or something deeper is something they must discover for themselves.
A haunting tale, told in a series of visionary prose poems, The True Story of Cowboy Hat & Ingénue interweaves memory and yearning to ask questions that reflect on our past and, disturbingly, on our futures.
Maria Jastrzębska is a Polish-born poet, editor and translator. Her most recent collection was At The Library of Memories (Waterloo Press 2013) and her selected poems, The Cedars of Walpole Park, have been translated into Polish by Anna Błasiak, Paweł Gawroński and Wioletta Grzegorzewska and published bilingually (Stowarzyszenie ŻŻwych Poetów 2015). Old Knives is a selection of her work translated into Romanian by Lidia Vianu and published bilingually by Integral Contemporary Literature Press (2017). She was co-editor with Anthony Luvera of Queer in Brighton (New Writing South 2014). She co-translated Iztok Osojnik’s selected poems Elsewhere with Ana Jelnikar and her translations of Justyna Bargielska’s selected poems The Great Plan B are published by Smokestack Press (2017). Her work features in the British Library poetry and translation project Poetry Between Two Worlds. Dementia Diaries, her literary drama, toured nationally with Lewes Live Lit in 2011. Her poems have been much anthologized from The Virago Book of Wicked Verse (1992) to This Line Is Not For Turning — An Anthology of Contemporary British Prose Poetry (Cinnamon Press 2011) and Hallelujah for 50ft Women (Bloodaxe 2015). Maria lives in Brighton and you can discover more about her work on her website. (https://mariajastrzebska.wordpress.com/)
The True Story of Cowboy Hat & Ingénue
Maria Jastrzębska
Prose-poetry
Language: English
Publisher: Cinnamon Press
2018
Paperback
70 pages
ISBN-10: 1911540033
ISBN-13: 978-1911540038
Price: 14,27 euro
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Austrian poet and playwright Ernst Jandl died in 2000, leaving behind his partner, poet Friederike Mayröcker—and bringing to an end a half century of shared life, and shared literary work. Mayröcker immediately began attempting to come to terms with his death in the way that poets struggling with loss have done for millennia: by writing.
Requiem for Ernst Jandl is the powerfully moving outcome.
In this quiet but passionate lament that grows into a song of enthralling intensity, Mayröcker recalls memories and shared experiences, and—with the sudden, piercing perception of regrets that often accompany grief—reads Jandl’s works in a new light.
Alarmed by a sudden, existential emptiness, she reflects on the future, and the possibility of going on with her life and work in the absence of the person who, as we see in this elegy, was a constant conversational and creative partner.
Friederike Mayröcker (1924–2021) was one of the most important Austrian poets of the twentieth and twenty-first centuries. She published over eighty works, including poetry, prose, radio plays and children’s books. Her work has been honoured with many prizes, including the Georg Büchner Prize and the Peter Huchel Prize. She lived in Vienna.
#new books
Requiem for Ernst Jandl
by Friederike Mayröcker
Translated by Roslyn Theobald
ISBN: 9781803090429
Pages: 96
Rights: UCP
Publication Year: 2022
Format: Paperback
Size: 5″ x 8″
Series: The Seagull Library of German Literature
Category: Poetry
£7.99
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From the creator of UlyssesGuide.com, this essential guide to James Joyce’s masterpiece weaves together plot summaries, interpretive analyses, scholarly perspectives, and historical and biographical context to create an easy-to-read, entertaining, and thorough review of Ulysses.
In The Guide to James Joyce’s Ulysses, Patrick Hastings provides comprehensive support to readers of Joyce’s magnum opus by illuminating crucial details and reveling in the mischievous genius of this unparalleled novel.
Written in a voice that offers encouragement and good humor, this guidebook maintains a closeness to the original text and supports the first-time reader of Ulysses with the information needed to successfully finish and appreciate the novel.
Patrick Hastings is the English Department Chair at Gilman School in Baltimore, Maryland, where he teaches sophomores and seniors and coaches the JV soccer team. He began creating UlyssesGuide.com in the summer of 2016, and that project evolved into The Guide to James Joyce’s Ulysses. His interest in Joyce began during the summer of 2003, when he lived and worked at Shakespeare & Company Bookstore in Paris. He has been published in James Joyce Quarterly and has presented at conferences on topics ranging from classroom use of digital humanities to hip hop and postmodernism. He grew up in Atlanta, Georgia.
# new books
The Guide to James Joyce’s Ulysses
by Patrick Hastings
Publisher: Johns Hopkins University Press
Publication date: 1 Feb 2022
Paperback
328 pages
Language : English
ISBN-10 : 142144349X
ISBN-13 : 978-1421443492
Reading age: 18 years and up
€ 26.00
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Die »Münchhausiade« von Karl Leberecht Immermann steht in einer langen Tradition: Sie ist die groteske Variante der Ur-Münchhausen-Legende aus dem 18. Jahrhundert, die von den Kriegs-, Jagd- und Reiseabenteuern des volkstümlichen Freiherrn von Münchhausen auf Bodenwerder fabuliert.
Immermann verwandelt die phantastischen Legenden des berühmten »Lügenbarons« zu einer in der deutschen Literatur bis dahin unbekannten Form des Romans: zeithistorisch, gesellschaftskritisch, komisch und scharf-satirisch, eine anspielungsreiche, schillernde Verbindung aus Zeit- und Kulturkritik. Immermanns Münchhausen erneuert den Roman seiner Zeit und ist eines der bedeutendsten epischen Werke der deutschen Literatur.
Karl Leberecht Immermann, heute fast vergessen, nimmt Abschied vom Bildungs- und Erziehungsroman der klassischen und romantischen Literatur. 1838/39 erschienen und nicht nur von Heinrich Heine bewundert, ist sein origineller Münchhausen eine virtuos verschlungene »Geschichte in Arabesken«.
Bei Immermann ist Münchhausen ein »Erzwindbeutel«, ein »Cäsar der Lügen« und ein »Don Juan der Erfindung « – einer, der in seinem Tun und Erzählen die Wahrheit beansprucht und den Leser, angesprochen und immer wieder ins Geschehen einbezogen, zur Wahrheitsfindung auffordert. Laurence Sternes komischer Roman Tristram Shandy ist dabei das große, vom Erzähler herbeizitierte Vorbild.
Münchhausen ist zugleich ein Doppelroman, der auch vom »Oberhof«, einem reichen westfälischen Gutshof, und vom Kosmos der damaligen ländlichen Lebenswelt erzählt; im Zentrum der »Hofschulze« und ein »Jäger Oswald« – die Gegenwelt zur verfallenden Welt des Adels, in der der Münchhausen-Enkel und sein Diener Karl Buttervogel vor dem Herrn von »Schloss Schnick-Schnack-Schnurr«, vor Tochter und Dorfschulmeister schwadronieren. Eingebunden wird das ausschweifende Geschehen in eine Ehe- und Liebesgeschichte, erzählt werden die ineinander verschlungenen Welten in einem Zeitraum von wenigen Wochen.
Und was bedeutet es, wenn Immermann von einer »Geschichte in Arabesken« spricht? »… wer dabei den Verstand behalten will, der muss einen weniger geordneten Kopf haben, als ich leider besitze. Herr von Münchhausen beginnen zu erzählen; dann fangen wieder andere Personen an, in diesen Erzählungen zu erzählen; wenn man nicht schleunigst Einhalt tut, so geraten wir wahrhaftig in eine Untiefe des Erzählens hinein, worin unser Verstand notwendig Schiffbruch leiden muss. Bei den Frauen, die mit Schachteln handeln, stecken oft vierundzwanzig ineinander …«
Karl Leberecht Immermann (1796–1840) studierte Rechtswissenschaft, pflegte literarische Interessen, nahm an den napoleonischen Kriegen teil und wurde 1818 Gerichtsreferendar in Magdeburg. In dieser Zeit schreibt er seine ersten Dramen, es folgen ein Roman, Gedichte und Trauerspiele. Als Landgerichtsrat geht er nach Düsseldorf und übernimmt die Leitung des Düsseldorfer Theaters. 1836 erscheinen Die Epigonen. Familienmemoiren in neun Büchern und 1838/39 Münchhausen. Eine Geschichte in Arabesken.
Karl Leberecht Immermann
Münchhausen.
Eine Geschichte in Arabesken
2021
Seitenanzahl: 852
Originalausgaben
Bandnummer: 435
Mit ausführlichen Anmerkungen und einem Nachwort von Tilman Spreckelsen. Originalausgabe, nummeriert und limitiert, Sondernummer zum Sonderpreis. Fadenheftung mit Lesebändchen, Dünndruckpapier. Umschlaggestaltung: Ute Henkel, Berlin
ISBN: 9783847704355
52,00 EUR
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Het moment dat een kind opeens weet: ik besta. Weinigen weten de taal te vinden om die ervaring op te schrijven; Tjitske Jansen kan dat.
Kraakhelder: ‘Als elfjarige kwam ik op een middag de trap af en wist ik dat ik er was en er niet meer zomaar niet kon zijn. Ik bestond. Daar had ik zelf niet zoveel over te zeggen.’ Zoals uit de titel zowel vervreemding als aanvaarding spreekt, zo is de ‘ik’ even ontredderd als wijs, even verward als begripvol.
Die ‘ik’ is een kind dat zich vragen stelt. Over opgroeien, over haar lichaam, over God, over pleegouders, over de fietsenmaker, over zekerheden van anderen, over de tijd. ‘Ik was bijna tien. Dat was snel gegaan. Ik was dus eigenlijk al bijna twintig, dertig, veertig, vijftig, zestig, zeventig, tachtig.’ Zo dreigend kan het besef van de eindigheid zijn. Zo onontkoombaar kun je dat opschrijven.
Tjitske Jansen (1971) combineert in wat ze schrijft als vanzelf poëzie, proza en theater. Al vanaf haar vroegste bundels, de bestsellers Het moest maar eens gaan sneeuwen en Koerikoeloem, treedt ze veel op en geeft ze met grote inzet les over schrijven, poëzie en performance aan middelbare scholieren. Haar werk werd genomineerd voor De Bronzen Uil en bekroond met de Anna Bijns Prijs
Tjitske Jansen
Iedereen moet ergens zijn
Hardcover
ISBN: 9789021425825
09-03-2021
Prijs: € 18,99
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