'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.