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Books > Language & Literature > Literature: texts
This elegant deluxe slipcased edition of three medieval English
poems, translated by Tolkien for the modern-day reader and
containing romance, tragedy, love, sex and honour, features a
beautifully decorated text and includes as a bonus the complete
text of Tolkien's acclaimed lecture on Sir Gawain. Sir Gawain and
the Green Knight and Pearl are two poems by an unknown author
written in about 1400. Sir Gawain is a romance, a fairy-tale for
adults, full of life and colour; but it is also much more than
this, being at the same time a powerful moral tale which examines
religious and social values. Pearl is apparently an elegy on the
death of a child, a poem pervaded with a sense of great personal
loss: but, like Gawain it is also a sophisticated and moving debate
on much less tangible matters. Sir Orfeo is a slighter romance,
belonging to an earlier and different tradition. It was a special
favourite of Tolkien's. The three translations represent the
complete rhyme and alliterative schemes of the originals, and are
uniquely accompanied in this special deluxe slipcased edition with
the complete text of Tolkien's acclaimed 1953 W.P. Ker Memorial
Lecture that he delivered on Sir Gawain.
Die bundel bestaan uit ses afdelings met die son as deurlopende
tema. In die eerste afdeling kom die Suid-Afrikaanse seelewe,
plante, diere en voels aan die bod. Die digter tref dikwels
amusante vergelykings tussen natuur- en sosiale verskynsels, soos
die vergelyking van 'n jellievis met 'n straatvrou in die reeks
"Kwal". In die derde, omvangryke afdeling "Songod", word die
aanbidding van die son in antieke Egipte en argeologiese opgrawings
tematies ontgin. 'n Boeiende tema in die vierde afdeling, "Soveel
onder die son", is die herdigting van verhale en legendes uit die
noordweste van Suid-Afrika. Die digter se belangstelling in die
skepping van kunswerke lei tot boeiende gedigte oor kunstenaars
soos Leonardo da Vinci, Albrecht Durer en Suid-Afrikaanse skilders
soos Cecily Sash. Dit is egter bowenal die groter skepping wat
herhaaldelik deur die digter ondersoek word, van die nietigste
plantjie tot die grootse hemelruim. Die bundel begin nie verniet
met die afdeling "Sonbesie" en eindig met die gedig
"Liewenheersbesie" nie – tussenin word die lewe op aarde in sy wye
verskeidenheid ter sprake gebring.
Joan Didion’s savage masterpiece, which, since first publication in 1968, has been acknowledged as an unparalleled report on the state of America during the upheaval of the Sixties Revolution.
In her non-fiction work, Joan Didion not only describes the subject at hand – her younger self loving and leaving New York, the murderous housewife, the little girl trailing the rock group, the millionaire bunkered in his mansion – but also offers a broader vision of the world, one that is both terrifying and tender, ominous and uniquely her own.
Anna Enquist is die skrywersnaam van die Nederlandse digter en
prosaskrywer Christa Widlund-Broer. Sy het sowel psigoanalise as
musiek gestudeer en albei hierdie terreine word in haar skryfwerk
weerspieel. Haar gewildheid in Nederland kan onder meer toegeskryf
word aan die herkenbare alledaagse werklikheid in haar poesie,
waarby lesers aansluiting vind. Alhoewel haar gedigte oenskynlik
verstandelik en nugter is, word die leser juis getref deur die
vasberade erns en innerlike krag waarmee sy byvoorbeeld die verlies
van haar dogter verwerk deur daaroor te skryf. Die emosionele word
egter altyd gebalanseer deur redelikheid, sodat haar gedigte nie
sentimenteel is nie, maar tog die leser raak, soos in die gedig
“Habanera” Daar was ’n kind. Met haar het ek deur die kamer gedans,
ons het van hoek tot kant galop, ons het luidkeels ’n lied gesing.
Sy het ’n warm gesig gehad. Sy was my dogter. As ek asemhaal vonk
sy na in die gedig.
The Believer, a ten-time National Magazine Award finalist, is a
literature, arts, and culture magazine published by the Beverly
Rogers, Carol C. Harter Black Mountain Institute, and based in the
College of Liberal Arts at the University of Nevada, Las Vegas.
Since 2003, The Believer has published writers that take the long
view, and work that's too unusual or experimental for mainstream
outlets. In each issue, readers will find journalism, essays,
intimate interviews, an expansive comics section, poetry, timely
and untimely reviews, and on occasion, delightful and unexpected
bonus items. The Believer is edited by: Hayden Bennett, Vera
Blossom, Camille Bromley, Jericho Brown, Daniel Gumbiner, Niela
Orr, Tamar Peterson, Kristen Radtke, Ross Simonini, Summer Thomad,
and James Yeh. The Believer is edited by a group of novelists,
poets, artists, columnists, critics, regular readers of the Chicago
Manual of Style, and aficionados of print and digital literature.
The editors are far-flung, curious, and interested in the kinds of
things that contributors are passionate about. Our regular
columnists are Nick Hornby and Peter Orner. Each issue of the
magazine is perfect-bound and printed by friendly Canadians on
recycled, acid-free, heavy-stock paper and suitable for archiving,
framing, or reading in the tub. Questions? Please give us a call:
(866) 930-0264 or reach us by email:
[email protected].
Cas Vos het hom met sy vorige bundels reeds gevestig as digter van
liefdespoesie. In hierdie is dit nie bloot die tema van die liefde
wat opval nie, maar ook die liefdevolle hantering van ’n wye
register onderwerpe. Opvallend is die groot aantal gedigte oor kuns
en kunstenaarsfigure soos Vincent van Gogh en die Suid-Afrikaanse
skilder Marlene Dumas, die komponis J.S. Bach en die beeldhouer
Michelangelo. Ook eietydse ikone soos Edith Piaf, Kate Moss en
Katie Melua word met deernis aan die leser voorgestel.
Jaco Barnard-Naudé se digdebuut betrek ’n wye verskeidenheid temas:
queer identiteit, die trauma van kinderjare, en die verhouding tussen
ouers en seun. Deurgaans vloei die digterlike geheue soos ’n leitmotiv
deur die verse. Die bundel getuig van ’n soepel en gespierde
taalaanvoeling, en tree dikwels in gesprek met ander digters, filosowe
en musici. ’n Diep-gelade emosionele bewussyn vibreer regdeur die
bundel – getuienis van ’n uitsonderlike nuwe digter-denker ter plaatse.
In Kinderlê kom verse oor die kwesbaarheid van kinders,
swangerskapsverlies, genderkwessies, die liefde en erotiek, en
geestesgesondheid aan die bod. Die titel is die naam van ’n
monument by Steinkopf in die Noord-Kaap ter herinnering aan ’n
kinderuitwissing wat daar plaasgevind het – ’n historiese gegewe wat
nie wyd bekend is nie.
’n Afdeling in die bundel word aan verse gewy
wat dié verhaal vertel. In ander afdelings word narratiewe verse
gebruik om te vertel van die ontstellende belewenis van opname in ’n
psigiatriese instelling, en van ’n miskraam. Laasgenoemde tema is
nog weinig in Afrikaanse digkuns ondersoek. Voorts word erotiese
ervarings treffend, evokatief en met ’n tikkie humor verwoord. Julius
tree dikwels in gesprek met haar literêre voorgangers en betrek dan
die huidige sosiopolitiek.
Soos met Uit die kroes, haar bekroonde
debuutbundel, verruim sy Afrikaans met die gebruik van
Gariepafrikaans en Nama-woordeskat in haar jongste bundel.
In Pieter Odendaal se langverwagte tweede bundel skryf hy oor aktuele temas soos queer-identiteitspolitiek, geboortegrond, die klimaatskrisis, verlies en vervreemding.
Dit is ’n selfbewuste maar ook selfversekerde digterstem wat aan die woord is.
Die digter skroom nie om binnetoe te kyk en ongemaklike vrae te vra oor herkoms, tuiswees en heengaan nie: Waar kom ons vandaan? Waar behoort ons? En waar gaan ons heen as ons van die aarde ontwortel word?
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Cranford
(Paperback)
Elizabeth Cleghorn Gaskell; Adapted by Laura Turner
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R296
Discovery Miles 2 960
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Ships in 12 - 17 working days
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"Marigold was absorbed in her book; she had gotten as far as the
V." So begins Marigold and Rose, Louise Gluck's astonishing
chronicle of the first year in the life of twin girls. Imagine a
fairy tale that is also a multigenerational saga; a piece for two
hands that is also a symphony; a poem that is also, in the spirit
of Kafka's The Metamorphosis, an incandescent act of autobiography.
Here are the elements you'd expect to find in a story of infant
twins: Father and Mother, Grandmother and Other Grandmother, bath
time and naptime-but more than that, Marigold and Rose is an
investigation of the great mystery of language and of time itself,
of what is and what has been and what will be. "Outside the playpen
there were day and night. What did they add up to? Time was what
they added up to. Rain arrived, then snow." The twins learn to
climb stairs, they regard each other like criminals through the
bars of their cribs, they begin to speak. "It was evening. Rose was
smiling placidly in the bathtub playing with the squirting
elephant, which, according to Mother, represented patience,
strength, loyalty and wisdom. How does she do it, Marigold thought,
knowing what we know." Simultaneously sad and funny, and shot
through with a sense of stoic wonder, this small miracle of a book,
following thirteen books of poetry and two collections of essays,
is unlike anything Gluck has written, while at the same time it is
inevitable, transcendent.
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