検索キーワード： 制作 "-- Kevin Wright --" 死・悲嘆・喪失

In Big Man Katie Kemple creates a portrait of fatherhood in the shadow of loss: the untimely death of partners, unresolved trauma as a veteran, and chronic pain. Kemple shows a father moving forward despite it all with the generosity and grace to love and be loved. He's the teacher who gives hitchhiking students a lift to the mall, the dad who chaperones Girl Scout fieldtrips, the husband who clings to the last flame of his wife's life. A man who stayed open to "rocks, sea glass, / shells and pinecones. Small things we / might have passed into his big hands."

In this deeply intimate second poetry collection, Ocean Vuong searches for life among the aftershocks of personal and social loss, embodying the paradox of sitting in grief while being determined to survive beyond it. Shifting through memory, and in concert with the themes of his novel On Earth We’re Briefly Gorgeous, Vuong contends with the meaning of family and the cost of being the product of an American war in America. At once vivid, brave, and propulsive, these poems circle fragmented lives to find both restoration as well as the epicenter of the break.

Guided by the Roman poet Virgil and the love of his life, Beatrice, Dante traverses the three realms of the dead—Hell, Purgatory, and Heaven—encountering sinners, souls seeking forgiveness, and divine beings. With vivid imagery, sharp social commentary, and profound spiritual insight, The Divine Comedy is an unforgettable exploration of the human soul’s journey toward salvation.

Our quoted authority is not the people in white coats but those with a quill, a heart and a soul that can take these feelings of love and loss and with the ink of words put to verse feelings and emotions that can be re-lived and shared by all. As they venture through depression, war, slavery to heartache and the loss of loved ones our eyes may mist and tears gently fall at what collectively we have done, have experienced, have witnessed and lost.

This collection of 23 poems contains most of the verse for which Wildred Owen is known today. Few poets have captured more effectively the tragic dichotomy of war, where, for many, survival can be a fate worse than death. The opening poem "Strange Meeting" describes a posthumous encoaunter between a soldier and an enemy combatant who he has killed on the previous day. The penultimate poem, "Disabled", is the private lament of a crippled veteran as he helplessly surveys the daily lives of people unscarred by war.

Emily Dickinson was one of the most reclusive of all poets. She spent much of her life in seclusion in her father’s house in Amherst, and only a handful of her 1800 poems were published in her lifetime. Credit for the posthumous publication of her work must be given to her editor and friend Thomas W. Higginson, who reported that, in spite of the voluminous correspondence which passed between himself and Dickinson, he only met her twice in person.

“Il libro della follia” è la prima traduzione integrale in italiano di "The Book of Folly", che Anne Sexton diede alle stampe nel 1972. Lo stile confessionale che aveva reso celebre l’autrice, fruttandole nel 1967 il premio Pulitzer, giunge qui alla piena maturità trasformandosi nell’allegoria di un Gran Teatro psichedelico. La Signora Benestante che scrive occasionalmente versi rispettando le forme metriche lascia il posto, definitivamente e consapevolmente, al personaggio della Poetessa Martire della società benpensante e all’aspirante suicida, in un rovesciamento parodico dei valori patriarcali.

Sometimes Therapy Isn’t Enough finds the author coping with mental health struggles through poetry. The book is divided into four chapters, taking the listener on a raw emotional journey through anxiety, addiction, depression, and grief.

This is a literary composition composed for those who feel like nobody's listening. For my comrades, my mom and my dad, and my two sisters who showed me what it means to be different. For the drug addicts that fiend but still dream of better conditions, huddled with puddles on pillows with Brillos and pipes, not bathed or slept in days, high as a kite. For the single parents that struggle working doubles, taxing their muscles so their children can comfortably cuddle and sleep at night.

In this deeply intimate second poetry collection, Ocean Vuong searches for life among the aftershocks of his mother's death, embodying the paradox of sitting within grief while being determined to survive beyond it. Shifting through memory, and in concert with the themes of his novel On Earth We're Briefly Gorgeous, Vuong contends with personal loss, the meaning of family and the cost of being the product of an American war in America. At once vivid, brave and propulsive, Vuong's poems circle fragmented lives to find both restoration as well as the epicentre of the break.

Seit sein Hund Lola gestorben ist, kann den kleinen Niklas nichts mehr erfreuen. Alles ist in Traurigkeit gehüllt. Selbst wenn er mit seinen Freunden spielt, ist es nicht mehr so wie früher. Die Erde sieht dunkler aus als sonst, die Nässe ist nasser und die guten Schuhe drücken, wenn er rennt. Niklas fragt sich, ob Trauer je verschwinden kann, wenn doch alles vergeht - selbst die Schönheit der Welt... Oder ob man verlernen kann diese Schönheit zu sehen? Eines Tages lernt er einen alten Mann kennen, der immer allein auf einer Bank sitzt und in die Sonne blinzelt oder in den Schnee starrt.

Author Mae Bea Sayes is an artist-poet inspired by life, love, and literature. She transposes poems from images that come alive from ideas about her journey with the meter of language and the characters of literature. She creates cadence through wordplay and loves rhyme whenever it works. In her new collection of poems, The Graveyard and Other Poems, she examines the journey of the souls death, reawakening, and redemption.

The poems in An Interesting Detail confront our shared, layered past (both planetary and human) and its knotty relationship to the present, stretching from today to prehistory, in a voice that is knowing and yearning, sincere and sardonic, and at times defiant. Campanello’s prose poems, brief lyric outbursts, and poetic sequences ludically navigate catastrophe and sweep us up in the minutiae of everyday life, which includes pain and illness, machinations of power and moments of suspended connection.

A story of the aftermath of a shattering event told through over 50 poems, Bo Grant's epic emotional rollercoaster packs a big punch. Feel all the feels!

In this stunning new poem, Canisia Lubrin’s signature epic vision distills her elegy to her mother, along an interwoven and unresolvable axis of astonishment that belongs as much to history as to today. Her lucid attention to what might be the oldest metaphor for grief is drawn from the searing gravity and resonance of the modern poet’s decisive, interior, and inexpressible meditation on love, time, and loss in the excesses of life’s ambitions.

I am divine, sitting upon my throne, time’s pedestal, waiting — baiting. My venomous tales tear at life’s seams, desecrating freedom. Your illusions awaken. Your eyes grace my design. I am madness. Journey into the shadows of the soul, where darkness and light intertwine in a dance of raw emotion and profound revelation. Divine Madness: A Dark Poetry Collection beckons you into the depths of the human psyche, inviting you to explore the turbulent landscapes of the mind and embrace the haunting allure of poetic madness.

The poems in About Loss are written in free verse. They are simple and direct, yet emotional and beautiful. Love is part of loss, and this book has many love poems as well as poems of heartache.

Sonata of the Soul is a collection of poetry expressing personal transformation, the beauty of the natural world, and the depths of spiritual awakening. Each poem bridges the mystical and the mundane, weaving elements of mysticism and personal memoir—drawing inspiration from Western science and Eastern philosophy, including Kundalini and Reiki. This collection encourages readers to find their own path to spiritual illumination, offering a sanctuary for contemplation and enlightenment.

“You are told to believe in one paradise / and then there is the paradise you come to know,” begins Rick Barot. What follows is an account of the rich and thorny valley between those poles. Moving the Bones dwells in liminal spaces—of love and memory, the pandemic’s singular domesticity, a serene cemetery of ancestral plots, dawn. In precise and tender verse, Barot captures the particularities of being in the middle of one’s life, reflecting on the joys and sorrows of the past and confronting the inevitabilities that lie ahead.

Following on his exquisite Stones, Young's new collection shapes stories of familial and familiar love, inspired in part by other lives. A central sequence, “The Two-Headed Nightngale,” is spoken by Millie-Christine McCoy, the famous conjoined African American “Carolina Twins.” Born into slavery and ill treatment as a “freak” sensation in 1851 and later free women, their alto and soprano voices harmonized, and Young's poem explores their evolving selfhood and self-understanding: “As one we sang, /we spake— / She was the body / I the soul / Without one / Perishes the whole.”