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'Where land becomes sky and the sky becomes sea, I first saw the
whale, and the whale first saw me. And high on the breeze came his
sweet-sounding song 'I've so much to show you, if you'll come
along'. Come on a magical journey of wonder and discovery from
misty seaside shorelines to cold ice capped seas. This beautiful
tale of friendship between a child and a whale invites us to
consider our responsibilities towards the environment and makes a
direct plea to end plastic pollution.
Any reader engaging the work of Keats, Shelley, or Coleridge must
confront the role biography has played in the canonization of each.
Each archive is saturated with stories of the life prematurely cut
off or, in Coleridge's case, of promise wasted in indolence. One
confronts reminiscences of contemporaries who describe subjects
singularly unsuited to this world, as well as still stranger
materials-death masks, bits of bone, locks of hair, a
heart-initially preserved by circles and then circulating more
widely, often in tandem with bits of the literary corpus.
Especially when it centers on the early deaths of Keats and
Shelley, biographical interest tends to be dismissed as a largely
Victorian and sentimental phenomenon that we should by now have put
behind us. And yet a line of verse by these poets can still trigger
associations with biographical detail in ways that spark pathos or
produce intimations of prolepsis or fatality, even for readers
suspicious of such effects. Biographical fascination-the untoward
and involuntary clinging of attention to the biographical
subject-is thus "posthumous" in Keats's evocative sense of the
term, its life equivocally sustained beyond its period. Lives of
the Dead Poets takes seriously the biographical fascination that
has dogged the prematurely arrested figures of three romantic
poets. Arising in tandem with a sense of the threatened end of
poetry's allotted period, biographical fascination personalizes the
precariousness of poetry, binding poetry, the poet-function, and
readers to an irrecuperable singularity. Reading romantic poets
together with the modernity of Benjamin and Baudelaire, Swann shows
how poets' afterlives offer an opening for poetry's survival, from
its first nineteenth-century death sentences into our present.
Any reader engaging the work of Keats, Shelley, or Coleridge must
confront the role biography has played in the canonization of each.
Each archive is saturated with stories of the life prematurely cut
off or, in Coleridge's case, of promise wasted in indolence. One
confronts reminiscences of contemporaries who describe subjects
singularly unsuited to this world, as well as still stranger
materials-death masks, bits of bone, locks of hair, a
heart-initially preserved by circles and then circulating more
widely, often in tandem with bits of the literary corpus.
Especially when it centers on the early deaths of Keats and
Shelley, biographical interest tends to be dismissed as a largely
Victorian and sentimental phenomenon that we should by now have put
behind us. And yet a line of verse by these poets can still trigger
associations with biographical detail in ways that spark pathos or
produce intimations of prolepsis or fatality, even for readers
suspicious of such effects. Biographical fascination-the untoward
and involuntary clinging of attention to the biographical
subject-is thus "posthumous" in Keats's evocative sense of the
term, its life equivocally sustained beyond its period. Lives of
the Dead Poets takes seriously the biographical fascination that
has dogged the prematurely arrested figures of three romantic
poets. Arising in tandem with a sense of the threatened end of
poetry's allotted period, biographical fascination personalizes the
precariousness of poetry, binding poetry, the poet-function, and
readers to an irrecuperable singularity. Reading romantic poets
together with the modernity of Benjamin and Baudelaire, Swann shows
how poets' afterlives offer an opening for poetry's survival, from
its first nineteenth-century death sentences into our present.
Many times, we have said that we want to excel and become the best
in all that we do in our lives. Through the struggles and hardship,
we push pass the negativity and aim our way to success. We start
out trying to accomplish what we have long dream of and it seems
like the more we try the harder it gets. Let's remember, that it is
not that we have fail at what we do, but one thing we cannot denied
that indeed we are lacking the knowledge, wisdom and power in all
the things that we would want to accomplish. Since that is the
case, and we know where our problem lies we can now stop beating
ourselves up. Not because our problems got worst, mean that we are
a failure, but certainly we have to understand that we are lacking
what is needed to get ahead in our walk with God. Often time's
people try to hinder us and stop us from moving forward. Even
though this has been known to be a fact, if we are honest with
ourselves, we can say that we are our own worst enemy. So let us be
encourage and begin walking in our Purpose and fulfill our Destiny.
Knowing that God has given us everything that we would need to
succeed and it is up to us to grab hold of what he has already made
available to us. KAREN SWANN is a Preacher, Teacher, an Encourager
and Author. Karen focuses on family values, the ministry of Jesus
Christ, building up the kingdom and she has a passion for souls and
for seeing people being delivered and set free.
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Discovery Miles 450
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