Corregidor is an independent Argentine publisher with more than five decades, dedicated to publishing and distributing a catalog focused in Latin American and Argentine literature.
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Círculo de Poesía is a publishing group specialized in poetry with three publishing houses. In addition we publish the most widespread digital poetry magazine in the entire Spanish language world to share poems and information about books and authors with more than 12,000,000 readers (https://circulodepoesia.com/) We have built an extensive distribution and advertising networks specialized in poetry books.
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This is a poetry collection of Bai Hua. It contains most representative works during 35 years of the poet’s creation. Bai Hua is one of the most excellent lyric poets in contemporary China. From the year 1979, he started poetry, essay, and critic writing, as well as translation of British and American literature.
Mirza Abdolqader Azimabadi—penname “Bee’del”— was born in Putna, India in 1644 CE and died in Delhi in 1721. He spoke Bengali, wrote poetry in Persian (Farsi), and was familiar with Arabic, Urdu, Bengali and Sanskrit. One of the most prolific and regarded poets of his day, his style is considered the glory of Persian poetry of Central Asian/Indian origin. Among many ethnic groups outside the present borders of Iran, whose culture/mysticism and literature is influenced by the Iranian culture and language, Bee’del is classified alongside Ha’fez—an honor conferred on very few. As he became familiar with the teachings of the Sufis, he continued to frequent their gatherings throughout life. Their literature influenced both his work and his growing involvement in things of the spirit. Bee’del’s relevance to our times is obvious—his message is informed by a universal regard for the inner life and potential of humans, regardless of geography, ethnicity or religion. As a Sufi poet, Bee’del urges us to attend to our most important task—experiencing, as opposed to reading/hearing about, one’s inner Origin/Essence—and thus realize the true purpose of our existence.
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There are beginnings in literature that encapsulate in a few words the entire conflict and grandeur of a work. Thus begins Los galgos, los galgos: “From my father, I inherited a house, half a field, and some money. I cried a lot over his death, but I can’t say that the inheritance took me by surprise. Sitting in the morning light, toward the end of the wake, I suggested to my brother that I would exchange my house for his part of the field, and as he immediately agreed and I had to sign a lot of papers, I realized I had made a bad deal.” These are the words of Julián, the protagonist and narrator of this novel, which can certainly be read as a story of love and heartbreak, but is so much more: an essay on the erosion of our convictions by time, a subtle commentary on the customs and practices of a class, and the impact of those customs and practices on certain fantasies and dissatisfaction, as well as a representation of the countryside, animals and plants like no other in Argentine literature. First published in 1968, Los galgos, los galgos won the Municipal Literature Prize and is considered a major work within Sara Gallardo’s extraordinary oeuvre. Written in a state of grace, infused with a melancholic sense of fatality but imbued with intelligent and refined humor, this is a novel that leaves an indelible mark, profound admiration, and eternal sorrow.
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A hundred years of history from two branches of a Jewish family, set against the backdrop of Tsarist Russia, from the early 19th century to their migration to Argentina in the early 20th century. It's not just the tradition of the Jews from Eastern Europe, but a vivid portrayal of the characters that inhabited this complex and diverse society of declining nobility, gypsies, and Bolsheviks. Clandestine loves, uprisings, and persecutions are described with nostalgic detail, alongside an unexpected display of Hasidic humor and magic.
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What does the life of a modern poet look like? What dream, imagination, emotion or malaise give him the fuel to live, give him the taste of dark death? How much is he related, or not related, to life? Is life a clichéd dirty clothing to him which can be donated to his servant easily? Is it better not to be born or to die in the very first age of life? How much is a modern poet man, or eunuch? How much is he sentenced? After passing boyhood, the main protagonist of the book, Hasan Rashid, a young poet, goes ahead to poetry. He rejects an average mediocre life and chooses the impossible life of art. Beauty, continuous stir and nectar-like poison are always here. The violent antagonistic life of art takes extreme revenge on Hasan Rashid and makes him a eunuch. At last, Hasan yields to a life which is more tragic than death and more woeful than tragedy. Himself a poet, Humayun Azad explores the inner and outer object of the life of a modern poet. The Poet or the Condemned Eunuch is at the same time a poem and novel of unparalleled anguish. Novels with the name of poet are aplenty in Bengali language, but one on a real poet was very rare before this novel of Azad.
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This book collects reprehensive short poems of modern Chinese poet Zhai Yongming. This female poet is well-known for her elegant language, exquisite skill, imagination, and especially her deep exploration of modern women’s inner world. Her poems are also influential among international poetry field.
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When reading this book, Taras Shevchenko's admirers will sincerely empathise with the poet, make unexpected biographical discoveries and enjoy his art and his quirky sense of humour. Non-fans, whose dislike for the Ukrainian genius stems from the Soviet rendering which still dominates the school curricula, have a chance to see a different Shevchenko. The book shows the great poet in situations that destroy his stereotypical image that was cultivated over the years. Last but not least, a thoughtful reader will be able to see that Russia in the times of Nikolas I is not too different from today's Russia and that the challenges Ukrainians faced in the mid-19th century repeat in the 21st century.
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Li Bai is the greatest romantic poet in our country in the Tang Dynasty. Romanticism, as a trend of literary thought, is a social product of Europe from the late 18th century to the early 19th century. However, as a traumatic method, like realism, it is produced simultaneously with literature and art. Realism pays more attention to the portrayal of objective things, while romanticism focuses more on the expression of subjective feelings. With the Chinese poetic term "Fu Beixing" to describe the use of realism works more method, the use of romantic multi-Xing method. The use of Bi Xing is a major feature of Li Bai's poetry. Li Bai is a poet representing the Tang Dynasty culture. The ancient northern Yellow River valley culture in the philosophical thinking, with Confucius "Analects" as the representative, in the literary arts, the realist "Book of Songs" as a typical. The southern culture in the Yangtze River Valley, the philosophical representative is Lao Tzu "moral classics", and the typical literary style is "romantic". Li Bai, on the other hand, is a typical representative of the integration of North and South cultures.
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This is a poem collection of modern Chinese poet Lan Lan, who chooses about 200 works from 1983-2014. Her poems are characterized with strong emotion, sharp thoughts, and lyrical expression.
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The apocalyptic day of the Ukrainian poet in Moscow begins on the seventh floor of the literary hostel, which is an ironic modification of both Tower of pure art and cultic Space Tower. Seven floors of the building, according to Mircho Eliade, correspond to seven planetary heavens. After starting his journey from the point where the Sky and the Earth meet, the hero all the time goes downstairs. After attaining some initiations that are obligatory for men such as probation by alcoholism, probation by love and testing in fight the hero reaches a parodic afterlife.
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The names Edmund Spenser and John Donne are typically associated with different ages in English poetry, the former with the sixteenth century and the Elizabethan Golden Age, the latter with the 'metaphysical' poets of the seventeenth century. This collection of essays, part of The Manchester Spenser series, brings together leading Spenser and Donne scholars to challenge this dichotomous view and to engage critically with both poets, not only at the sites of direct allusion, imitation, or parody, but also in terms of common preoccupations and continuities of thought, informed by the literary and historical contexts of the politically and intellectually turbulent turn of the century. Juxtaposing these two poets, so apparently unlike one another, for comparison rather than contrast changes our understanding of each poet individually and moves towards a more holistic, relational view of their poetics.
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This autobiographical work centers on literary creativity. Poet Ali Jaafar Alallaq recollects his academic and professional experiences, as well as their diverse ventures into poetic, literary, critical, and academic writing earlier in his life. The book covers the poet’s upbringing in a humble, impoverished village, his family’s subsequent move to Baghdad in the early 1950s, and his journey up until the present day. ///The biography details a plethora of human, cultural, and poetic events that impacted Alallaq’s perspective on events he witnessed, interacted with, or was involved in. These events range in intensity and scope, spanning from his childhood years in the countryside to navigating significant societal changes in Baghdad, and from his early explorations in writing and literary journalism to pursuing doctoral studies in the United Kingdom. He reflects on enduring two destructive wars that displaced Iraq’s people, leading to a life of exile and reliance on divine providence under the night sky. ///Beginning in 1991, Alallaq began a long period abroad that included six years of teaching at Sanaa University, followed by ten years of work at the United Arab Emirates University from 1997 to 2015. He produced a remarkable body of poetry and critical works during his tenure as a university instructor and his active involvement in cultural and poetic affairs in Sanaa and later in the UAE, which continues to this day. ///In this book, Alallaq takes on several roles, including narrator, contemplator, restorer, and descriptor, and expresses himself using elevated literary language. As a result, the work serves as an aesthetic testament to the purity of language as well as a cohesive account of the ups and downs of daily life. Despite living and working in a prosperous and stable environment for many years, he remains emotionally and imaginatively connected to the events and struggles affecting his country and the Arab world. He continues to document his aesthetic and patriotic testimony of current happenings, as clearly evidenced in his present autobiography.
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Though poets have always written about cities, the commonest critical categories (pastoral poetry, nature poetry, Romantic poetry, Georgian poetry, etc.) have usually stressed the rural, so that poetry can seem irrelevant to a predominantly urban populati. Explores a range of contemporary poets who visit the 'mean streets' of the contemporary urban scene, seeking the often cacophonous music of what happens here. Poets discussed include: Ken Smith, Iain Sinclair, Roy Fisher, Edwin Morgan, Sean O'Brien, Ciaran Carson, Peter Reading, Matt Simpson, Douglas Houston, Deryn Rees-Jones, Denise Riley, Ken Edwards, Levi Tafari, Aidan Hun, and Robert Hampson. Approaches contemporary poetry within a broad spectrum of personal, social, literary, and cultural concerns. Includes 'loco-specific' chapters, on cities including Hull, Liverpool, London, and Birmingham, with an additional chapter on 'post-industrial' cities such as Belfast, Glasgow and Dundee. ;
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Zheng Chouyu is one of the most representative poets of modern Chinese poetry. His poems are characterized with elegance, fluency, imagination and lyricism. Various images and gentle, gorgeous style make him a very popular poet.
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Rereading Chaucer and Spenser is a much-needed volume that brings together established and early career scholars to provide new critical approaches to the relationship between Geoffrey Chaucer and Edmund Spenser. By reading one of the greatest poets of the Middle Ages alongside one of the greatest poets of the English Renaissance, this collection poses questions about poetic authority, influence, and the nature of intertextual relations in a more wide-ranging manner than ever before. With its dual focus on authors from periods often conceived as radically separate, the collection also responds to current interests in periodisation. This approach will engage academics, researchers and students of Medieval and Early Modern culture.
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A ground breaking new book that considers all Siddal poems with reference to female and primarily male counterparts, adding substantially to knowledge of her work as a writer, and their shared contemporary concerns. Dante Rossetti, Swinburne, Tennyson, Ruskin and Keats were either known to her or a source of influence on the Pre-Raphaelite Brotherhood with which she was associated, and certain of their texts are compared with hers to discuss interplay between erotic and spiritual love, the ballad tradition, nineteenth-century feminism, and the Romantic concept of the conjoined physical and spectral body. Siddal's artwork is used to introduce each chapter, while other Pre-Raphaelite paintings illuminate the texts and further the inter-disciplinary philosophy of the Brotherhood. This important and stimulating book focuses on the intrinsic merit of Siddal's poetics whilst advocating a research method that could have multiple applications elsewhere.
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The title selects 100 classic pieces of Chinese poet Yu Kwang-chung’s from his 1000 poems. It is divided into seven parts: ambition, affection, homesickness, art, education, nature, life. Through different themes, the poet presented his longing for hometown, his love towards wife, his appreciation of other poets, and his contemplation of universe and life.
