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from Okazaki Fragments by Kanika Agrawal These proceedings in
nature These proceedings in cold biology These proceedings in
chemical society These proceedings in physical communication We
refer to the concentration of residues We observe that one
sediments faster than the other We presume as fact that most of
what we do is in growing incomplete short chains We further support
the conclusion We indicate direction also by another method We are
grateful to Drs. BAX 2020, guest-edited by Joyelle McSweeney and
Carmen Maria Machado, is the sixth edition of the critically
acclaimed anthology series compiling an exciting mix of fiction,
poetry, non-fiction, and genre-defying work. Featuring a diverse
roster of new and established authors - including Anne Boyer, Alice
Notley, and Raquel Salas Rivera - BAX 2020 presents an expansive
view of high-energy writing.
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Yi Sang: Selected Works (Paperback)
Yi Sang; Edited by Don Mee Choi; Translated by Jack Jung, Sawako Nakayasu, Don Mee Choi, …
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R690
R577
Discovery Miles 5 770
Save R113 (16%)
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Ships in 10 - 15 working days
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Formally audacious and remarkably compelling, Yi Sang’s works
were uniquely situated amid the literary experiments of world
literature in the early twentieth century and the political
upheaval of 1930s Japanese occupied Korea. While his life ended
prematurely at the age of twenty-seven, Yi Sang’s work endures as
one of the great revolutionary legacies of modern Korean
literature. Presenting the work of the influential Korean modernist
master, this carefully curated selection assembles poems, essays,
and stories that ricochet off convention in a visionary and daring
response to personal and national trauma, reminding us that to
write from the avant-garde is a form of civil disobedience.
In Toxicon & Arachne, McSweeney allows the lyric to course
through her like a toxin, producing a quiver of lyrics like
poisoned arrows. Toxicon was written in anticipation of the birth
of McSweeney's daughter, Arachne. But when Arachne was born sick,
lived brie?fly, and then died, McSweeney unexpectedly endured a
second inundation of lyricism, which would become the poems in
Arachne, this time spun with grief. Toxicon & Arachne is the
culmination of eight years of engagement with lyric under a regime
of global and personal catastrophes.
'The power of McSweeney's work cannot be separated from its
association with forms of oracle and soothsaying, and so it is
uncanny that it should arrive in the middle of a global pandemic...
Frightening and brilliant' Dan Chiasson, New Yorker How does the
body gestate grief? How does toxicity birth catastrophe? In the
months leading up to her daughter Arachne's birth, US poet Joyelle
McSweeney set out to write a quiver of poems like a quiver of
poison arrows: formally and sonically virtuosic, laced with the
poet's obsessive concerns with contamination, decay and the
sublime, featuring a crown of 'toxic sonnets' for the tuberculosis
bacterium that killed Keats. But when Arachne was born with an
unexpected birth defect, lived briefly and died, the poet was
visited by a second welter of poems, odes of love, grief,
perplexity and rage. These two books, Toxicon & Arachne, form a
double collection of poems weighing love, grief, art and survival
in increasingly toxic days. Toxicon & Arachne is the
culmination of eight years of engagement with lyric under a regime
of global and personal catastrophes.
In The Necropastoral: Poetry, Media, Occults, poet Joyelle
McSweeney presents an ecopoetics and a theory of Art that reflect
such biological principles as degradation, proliferation,
contamination, and decay. In these ambitious, bustling essays,
McSweeney resituates poetry as a medium amid media; hosts "strange
meetings" of authors, texts, and artworks across the boundaries of
genre, period, and nation; and examines such epiphenomena as
translation, anachronism, and violence. Through readings of artists
as diverse as Wilfred Owen, Andy Warhol, Harryette Mullen, Roberto
Bolano, Aime Cesaire, and Georges Bataille, The Necropastoral shows
by what strategies Art persists amid lethal conditions as a
spectacular, uncanny force.
With the persistent, dappled vision of an ecstatic pragmatist,
Joyelle McSweeney sees things as they are through "the modern
knothole": "Up on the hill, / a white tent had just got unsteadily
to its feet/ like a foal or a just-foaled cathedral." Eventuality,
as it is delicately shaded by the fine and fearless intelligence of
these kinesthetic arrangements, coincides with imaginative
possibility; the resulting poems are as much mind as place; much
galaxy as time-inevitable and correct as only true whimsy can be.
"Outside, the web of tenthousandthings; / inside here, only three:
filmstrip of a helicopter's shadow; / against an Antarctic wall;
silkscreen/ of the grand central ceiling. The idealized landscape-/
I want a room in it."
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