Ergebnis für "Graves" in Lyrik

The idea of doing this book took shape in Tammana Sharma's mind way before she even started writing poems. She firmly believes that poems are a reflection of the heart, and as a person who feels deeply, her heart has been writing poems for a long time now. But she started to let her poems manifest onto paper only when she turned twelve. One can call this a collection of Tamanna's poems from her school days.

Did you know that, seen from archaeological perspective, London soil is a layer cake with evidence dating as far as Neolithic era through to Bronze and Iron ages, Roman, Medieval, Post Medieval and Contemporary period?

In the midst of bombs and bullets, trenches and trauma, the soldiers of World War I, and those observing the horrors taking place from home, took pen to paper to record their experiences in verse. These poems - considered the greatest written during WWI and some of the greatest poetry of the twentieth century - show the horror of war but also shine a light on the strength of human courage, bravery, and virtue.

This collection of 29 short stories, poems, and essays will take your breath away, break your heart, and even inspire transformation in your life. Because there’s no time like the present to break out of your shell, spread your wings, and embrace your own metamorphosis.

The poems in this collection, "Fairies and Fusiliers", appeared in 1918, after Robert Graves returned from World War I in his early 20s. The fairy poems are from the carefree happy days of childhood and make-believe recalled by a man who has lived the reality and horror of war. The poems of war are written only as one who has witnessed it can tell them.

Hear rare recordings from some of the world's most-respected poets reading their own works: Ezra Pound, "Old Men With Beautiful Manners"; W. B. Yeats, "The Lake Isle of Innisfree"; Robert Graves, "A Last Poem"'; Edna St. Vincent Millay, "The Harp-Weaver"; Richard Eberhart, "The Groundhog"; Philip Levine, "Blasting from Heaven"; Marianne Moore, "The Mind Is an Enchanting Thing"; Stephen Spender, "What I Expected"; and Vachel Lindsay, "An Interpolation by Mr. Lindsay".

Gregory Corso exploded onto the Beat scene in the mid-1950s when the names Jack Kerouac, Allen Ginsberg, and William S. Burroughs were changing the course of American literature. Corso added a street appeal to Beat poetry that may have been lacking in the works of others who had more elitist backgrounds. Corso had been a real live juvenile delinquent, in and out of reform schools and written off by society as a wayward youth. But while in prison he learned to read - and he read deeply and began to produce his own poetry, showing a rare perception and facility with words.