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Brighten up any room with this ready to hang art print. Your artwork is printed on North American Semi Gloss Artisan canvas, then stretched and mounted to a 2 in. thick - hand stained black wood frame. Arrives at your door complete with an easy to use self-levelling hanging kit. Color: Brown.

Brighten up any room with this ready to hang art print. Your artwork is printed on North American Semi Gloss Artisan canvas, then stretched and mounted to a 2 in. thick hand stained black wood frame. Arrives at your door complete with an easy to use self-levelling hanging kit. Color: Blue.

Brighten up any room with this ready to hang art print. Your artwork is printed on North American Semi Gloss Artisan canvas, then stretched and mounted to a 2 in. thick - hand stained black wood frame. Arrives at your door complete with an easy to use self-levelling hanging kit. Color: Brown.

Brighten up any room with this ready to hang art print. Your artwork is printed on North American Semi Gloss Artisan canvas, then stretched and mounted to a 2 in. thick hand stained black wood frame. Arrives at your door complete with an easy to use self-levelling hanging kit. Color: Neutral.

Brighten up any room with this ready to hang art print. Your artwork is printed on North American Semi Gloss Artisan canvas, then stretched and mounted to a 2 in. thick hand stained black wood frame. Arrives at your door complete with an easy to use self-levelling hanging kit. Color: Neutral.

In shrink wrap. Looks like an interesting title!

Losing Tim is a memoir by a mother about a soldier son who killed himself. It's not an easy read. But it's a beautiful one. Burroway, a National Book Award nominee, welcomes readers to grieve along with her, while also providing a lens into how soldiers, and military contractors, like her son, are changed by their combat experiences. Jonathan Shay, author of Achilles in Vietnam: Combat Trauma and the Undoing of Character, a highly acclaimed volume on PTSD, and a 2007 MacArthur Foundation Fellow, comments in the foreword, ''To me, the pain recalls Homer's Iliad, in which, as James Tatum puts it in The Mourner's Song, 'the beauty [of the poetry] is in the killing.''' Praise for Losing Tim: ''This book is both an elegy and a call to action by one of our finest writers, who addresses us from the deepest place imaginable in a voice that is loving, memorable and overflowing with generosity.'' --Madeleine Blais, Pulitzer Prize winner, author of The Heart is an Instrument: Portraits in Journalism ''This book brings a piercing clarity to what it means to lose, to grieve, to give everything, and to love.'' --Marya Hornbacher, Pulitzer Prize nominee, author of Madness: A Bipolar Life ''I cannot express my gratitude to Ms. Burroway for writing this soul-searching book, a comfort to no one yet a blessing for all.'' --Bob Shacochis, National Book Award winner, author of The Woman Who Lost Her Soul

As the heady promise of the 1960s sagged under the weight of widespread violence, rioting, and racial unrest, two young men--one black and one white--took to stages across the nation to help Americans confront their racial divide: by laughing at it.Tim and Tom tells the story of that pioneering duo, the first interracial comedy team in the history of show business--and the last. Tim Reid and Tom Dreesen polished their act in the nightclubs of Chicago, then took it on the road, not only in the North, but in the still-simmering South as well, developing routines that even today remain surprisingly frank--and remarkably funny--about race. Most nights, the shock of seeing an integrated comedy team quickly dissipated in uproarious laughter, but on some occasions the audience’s confusion and discomfort led to racist heckling, threats, and even violence. Though Tim and Tom perpetually seemed on the verge of making it big throughout their five years together, they grudgingly came to realize that they were ahead of their time: America was not yet ready to laugh at its own failed promise.Eventually, the grind of the road took its toll, as bitter arguments led to an acrimonious breakup. But the underlying bond of friendship Reid and Dreesen had forged with each groundbreaking joke has endured for decades, while their solo careers delivered the success that had eluded them as a team. By turns revealing, shocking, and riotously funny, Tim and Tom unearths a largely forgotten chapter in the history of comedy. 

Signed, numbered, limited edition Hardcover. Fine in Very Good slipcase. Clean, tight and unmarked. Signed by the editor.

Furious Flower: Seeding the Future of African American Poetry is an anthology of poems by more than a hundred award-winning poets, including Jericho Brown, Tracy K. Smith, and Justin Philip Reed, combined with themed essays on poetics from celebrated scholars such as Kwame Dawes, Evie Shockley, and Meta DuEwa Jones.The Furious Flower Poetry Center is the nation’s first academic center for Black poetry. In this eponymous collection, editors Joanne V. Gabbin and Lauren K. Alleyne bring together many of the paramount voices in Black poetry and poetics active today, composing an electrifying mosaic of voices, generations, and aesthetics that reveals the Black narrative in the work of twentieth- and twenty-first-century writers. Intellectually enlightening and powerfully enlivening, Furious Flower explores and celebrates the idea of the Black poetic voice, to ask, “What’s next for Black poetic expression?”

 Beginning with a deceptively simple question—What do we mean when we designate behaviors, values, or forms of expression as “black”?—Evie Shockley’s Renegade Poetics separates what we think we know about black aesthetics from the more complex and nuanced possibilities the concept has long encompassed. The study reminds us, first, that even among the radicalized young poets and theorists who associated themselves with the Black Arts Movement that began in the mid-1960s, the contours of black aesthetics were deeply contested and, second, that debates about the relationship between aesthetics and politics for African American artists continue into the twenty-first century. Shockley argues that a rigid notion of black aesthetics commonly circulates that is little more than a caricature of the concept. She sees the Black Aesthetic as influencing not only African American poets and their poetic production, but also, through its shaping of criteria and values, the reception of their work. Taking as its starting point the young BAM artists’ and activists’ insistence upon the interconnectedness of culture and politics, this study delineates how African American poets—in particular, Gwendolyn Brooks, Sonia Sanchez, Harryette Mullen, Anne Spencer, Ed Roberson, and Will Alexander—generate formally innovative responses to their various historical and cultural contexts.   Out of her readings, Shockley eloquently builds a case for redefining black aesthetics descriptively, to account for nearly a century of efforts by African American poets and critics to name and tackle issues of racial identity and self-determination. In the process, she resituates innovative poetry that has been dismissed, marginalized, or misread because its experiments were not “recognizably black”—or, in relation to the avant-garde tradition, because they were. 

The “transmigration of souls is no fable. I would it were, but men and women are only half human.” With these words, Ralph Waldo Emerson confronts a dilemma that illuminates the formation of American individualism: to evolve and become fully human requires a heightened engagement with history. Americans, Emerson argues, must realize history’s chronology in themselves―because their own minds and bodies are its evolving record. Whereas scholarship has tended to minimize the mystical underpinnings of Emerson’s notion of the self, his depictions of “the metempsychosis of nature” reveal deep roots in mystical traditions from Hinduism and Buddhism to Platonism and Christian esotericism. In essay after essay, Emerson uses metempsychosis as an open-ended template to understand human development.In Leaves of Grass, Walt Whitman transforms Emerson’s conception of metempsychotic selfhood into an expressly poetic event. His vision of transmigration viscerally celebrates the poet’s ability to assume and live in other bodies; his American poet seeks to incorporate the entire nation into his own person so that he can speak for every man and woman.

Intended as a concise but thorough introduction to the various movements of twentieth century American poets, this book will help readers understand and analyze modern and contemporary poems. It covers the work of major modernists such as Robert Frost, Ezra Pound, Wallace Stevens, and Marianne Moore, as well as the poets of the Harlem Renaissance, the New Critics, the Confessionals, and the Beats.

Edited this year by beloved and inventive poet Denise Duhamel, the foremost annual anthology of contemporary American poetry returns.Over the last twenty-five years, the Best American Poetry series has become an annual rite of autumn, eagerly awaited and hotly debated: “an essential purchase” (The Washington Post). This year, guest editor Denise Duhamel brings her wit and enthusiasm and her commitment to poetry in all its wide variety to bear on her choices for The Best American Poetry 2013. These acts of imagination—from known stars and exciting newcomers—testify to the vitality of an art form that continues to endure and flourish, defying dour predictions of its demise, in the digital age. This edition of the most important poetry anthology in the United States opens with David Lehman’s incisive “state of the art” essay and Denise Duhamel’s engagingly candid discussion of the seventy-five poems that made her final cut.

Sing, Stranger is a comprehensive historical anthology of a century of American poetry written in Yiddish and now translated into English for the first time. Here are the Proletarian or "sweat-shop" poets, sympathizing with Socialist Anarchists, who were highly popular with Yiddish audiences at the end of the nineteenth century; the lyrical moods and ironies of the "Young Generation" at the beginning of the twentieth century; the sophisticated poetry of the modern world seen through the individualistic prism of the "Introspectivists" after World War I; samples of epic poetry; and, finally, the poetry of the Holocaust and the decline of the Yiddish language. This anthology reveals both an amazing achievement of Jewish creative work and an important body of American poetry, written in a minority language, practically unknown to most readers. The travails, joys, and intimate experiences of the individual in the big metropolis are intertwined with representations of American realities: architecture and alienation in the big city, the migration of the blacks, trade unions and underworld, the immigrant experience in this immense and strange land, and the destinies of Jewish history.

starting point. David Herd sets out to provide readers with a new critical language through which they can appreciate the beauty and complexity of Ashbery’s writing.Presenting the poet in all his forms –avant-garde, nostalgic, sublime and camp – the book argues that the perpetual inventiveness of Ashbery’s work has always been underpinned by the poets desire to write the poem fit to cope with its occasion.Tracing Ashbery’s development in the light of this idea, and from its origins in the dazzling artistic environment of 1950’s New York, the book evaluates his poetry against the aesthetic, literary and historical backgrounds that have informed it.The story of a brilliant career, and a history of the period in which that career has taken shape, John Ashbery and American Poetry provides a compelling account of Ashbery’s importance to Twentieth Century Literature.

Unread book in perfect condition.

The first anthology of its kind, Indivisible brings together forty-nine American poets who trace their roots to Bangladesh, India, Nepal, Pakistan, and Sri Lanka. Featuring award-winning poets including Meena Alexander, Agha Shahid Ali, Chitra Banerjee Divakaruni, and Vijay Seshadri, here are poets who share a long history of grappling with a multiplicity of languages, cultures, and faiths. The poems gathered here take us from basketball courts to Bollywood, from the Grand Canyon to sugar plantations, and from Hindu-Muslim riots in India to anti-immigrant attacks on the streets of post–9/11 America. Showcasing a diversity of forms, from traditional ghazals and sestinas to free verse, experimental writing, and slam poetry, Indivisible presents 141 poems by authors who are rewriting the cultural and literary landscape of their time and their place. Includes biographies of each poet.

Presenting American history through poetry, Lee Bennett Hopkins offers a unique perspective on each part of the American experience. Filled with wit, color, knowledge, and truth, these selections offer rich detail about the lives and events that have shaped our nation. Each poet lends a particular voice and vision to the subject. From the founding of this nation, through the Great Depression and the wars we've fought, to the issues of today, these poems echo the emotions of our triumphs and defeats. Here are all the varied people who make up America -- the different races and their various ways of facing life. Their brave spirit speaks loudly in the special language of poetry. It opens our eyes to see in a new way that which we already knew. Lee Bennett Hopkins, a renowned anthologist, has chosen with care a collection of poetry, some that readers know and some that they will come to know. Peter M. Fiore's magnificent paintings complement the poetry, offering a human portrait of us as we were and as we are today.

Volume I begins with a generous selection of Native American materials, then spans the years from the establishment of the American colonies to about 1900, a world on the brink of World War I and the modern era. Part One focuses on poetry from the very beginnings through the end of the eighteenth century. The expansion and development of a newly forged nation engendered new kinds of poetry. Part Two includes works from the early nineteenth century through the time of the Civil War. The poems in Part Three reflect the many issues affecting a nation undergoing tumultuous change: the Civil War, immigration, urbanization, industrialization, and cultural diversification.Such well-recognized names as Anne Bradstreet, Edward Taylor, Phillis Wheatley, Edgar Allan Poe, Herman Melville, Walt Whitman, Emily Dickinson, and Stephen Crane appear in this anthology alongside such less frequently anthologized poets as George Horton, Sarah Helen Whitman, Elizabeth Oakes-Smith, Frances Harper, Rose Terry Cooke, Helen Hunt Jackson, Adah Menken, Sarah Piatt, Ina Coolbrith, Emma Lazarus, Albery Whitman, Owl Woman (Juana Manwell) Sadakichi Hartmann, Ernest Fenollosa, James Weldon Johnson, Paul Laurence Dunbar, and—virtually unknown as a poet—Abraham Lincoln. It also includes poems and songs reflecting the experiences of a variety of racial and ethnic groups.