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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The twenty-seven contributions gathered here and superbly illustrated by Hamid Tibouchi - critical studies and creative texts - pay tribute to a work that is at the forefront of Algerian and, more broadly, contemporary letters, but paradoxically still little-known. On the occasion of Habib Tengour's seventy-fifth birthday, this volume is intended to open up new avenues of research into this work, and provide a more accurate understanding of the issues at stake. Tributes from his peers - poets from all over the world - give the book an affective, carnal dimension, extending the researchers' analyses with unexpected echoes. “Tengour warns us: “Only those with the right intention enter the poem! LES PORTES DU POEME thus opens on one of the most important poetic voices of his generation (Prix Dante in 2016, Prix Benjamin Fondane in 2022, Prix Dante Alighieri in 2023, for his body of work).
Dami Ajayi journeys into emotional borders that reveal the burdens of transitions, offering us lyrical poetry that reinvents perspectives. Here is the poetry of the quotidian, a philosophic and profound interrogation, and relationships, of words, of bodies and their burdens, of times and time. There is poetry here, and it breathes.
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This study examines Exeter riddles, Anglo-Saxon biblical poems (Exodus, Andreas, Judith) and Beowulf in order to uncover the poetics of spolia, an imaginative use of recycled fictional artefacts to create sites of metatextual reflection. Old English poetry famously lacks an explicit ars poetica. This book argues that attention to particularly charged moments within texts - especially those concerned with translation, transformation and the layering of various pasts - yields a previously unrecognised means for theorising Anglo-Saxon poetic creativity. Borrowed objects and the art of poetry works at the intersections of materiality and poetics, balancing insights from thing theory and related approaches with close readings of passages from Old English texts.
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The idea of the end is an essential motivic force in the poetry of Geoffrey Hill (1932-2016). This book shows that Hill's poems are characteristically 'end-directed'. They tend towards consummations of all kinds: from the marriages of meanings in puns, or of words in repeating figures and rhymes, to syntactical and formal finalities. The recognition of failure to reach such ends provides its own impetus to Hill's poetry. This is the first book on Hill to take account of his last works. It is a significant contribution to the study of Hill's poems, offering a new thematic reading of his entire body of work. By using Hill's work as an example, the book also touches on questions of poetry's ultimate value: what are its ends and where does it wish to end up?
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The lyric poetry describes and praises Yongzhou, a city of Hunan province that is noted for its profound history and breathtaking landscape. The book combines poems composed by the author and various pictures to lead readers to appreciate the beauty of Yongzhou.
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This book object, composed of 30 cards, invites the reader to stop in the poetry that surrounds us.
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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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From his earliest writings, Algerian writer Mohammed Dib (1920-2003) never gave in to the use of didactic, transparent language, nor to the expectations of so-called “commissioned” literature. It's the work of the language in its syntactic cutting, the weighing of the letter, that's important. In fact, the Dibian witness is masked: he conceals within himself what I'd like to call a literary witness, i.e. a textual device, plural in its declensions, which, going against the expected, allows for other times, (re)plays the texts in their unspoken, questions the memory of the texts, renews the very conception of the witness and asks the following question: what witness when fiction gets involved? This essay, covering fifty years of uninterrupted creation, sets out to delineate the various passages of witness that Dib's work encourages, but cannot avoid questioning the very nature of exegesis and the position of the exegete: do I become, at the end of this relay, the ultimate witness who wishes, from the depths of his heart, to pass the baton to a new guarantor? Translated with www.DeepL.com/Translator (free version)
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The first full-length collection of essays on the poetry of Carol Ann Duffy. Duffy's poetry is both respected by academics, and widely read and enjoyed by both children and adults. Approaches Duffy's work from a variety of literary theoretical perspectives, including feminism, masculinity, national identity and post-structuralism. Situates Duffy's work in relation to current debates about the state, value and social relevance of contemporary British poetry. Will become the benchmark anthology on Duffy. ;
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Renaissance pastoral poetry is gaining new interest for its distinctive imaginative vein, its varied allusive content, and the theoretical implications of the genre. This is by far the biggest ever anthology of English Renaissance pastoral poetry, with 277 pieces spanning two centuries. Spenser, Sidney, Jonson and Drayton are amply represented alongside their many contemporaries. There is a wide range of pastoral lyrics, weightier allusive pieces, and translations from classical and vernacular pastoral poetry; also, more unusually, pastoral ballads and poems set in all kinds of prose works. Each piece has been freshly edited from the original sources, with full apparatus and commentary. This book will be complemented by a second volume, to be published in 2017, which includes a book-length introduction, textual notes and analytic indices.
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This is a set of books that can make ancient poetry study and play. It contains three ancient poetry game sets, and selects 78 ancient poems that must be mastered by primary school students. Each ancient poem is designed with a game that is helpful for reading and memory, so that preschool and lower primary school children can learn ancient poems in the game. In addition, the game chess of ancient poetry and the token of flying flowers of ancient poetry are designed for the children who have spare efforts.
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This is an interesting speech of Tang poetry written by a father to his children. With vivid, funny and modern language, the author introduces Tang poetry which is suitable for primary school students to read and recite. The book is also equipped with the historical background related to poetry, the personality and experience of poets, so that children can enjoy the beauty of poetry in a relaxed and interesting atmosphere, and quickly master and learn the essence of Chinese classical culture
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'Early modern women's manuscript poetry' is an anthology of texts by fourteen women poets writing between 1589 and 1706. It is the only currently available anthology of early modern women's writing which focuses exclusively on manuscript material. Authors include Mary Sidney, Lucy Hutchinson and Katherine Philips; central figures in the emerging canon of early modern women writers, but whose work appears in a fresh and very different light in the manuscript context emphasised by this anthology. The volume also includes substantial excerpts from a recently discovered verse paraphrase of Genesis, thought to be by the previously unknown seventeenth-century writer Mary Roper, as well as selections from the unjustly neglected poet, Hester Pulter. The mix of canonical and non-canonical writers makes this book ideal for use on undergraduate and early postgraduate courses, while specialists will be particularly interested in the sophisticated and varied material taken from less familiar sources. ;
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A 420-page collection of poetry by Tunisian Moncef Ouhaibi, The Penultimate Cup covers a wide variety of topics. Rich in artistic, philosophical, literacy and historic values, Ouhaibi’s poems offer readers rich experiences, not just poetically but with the imparting of crucial knowledge, too, as his writing is steeped in his own extensive personal experiences. The Penultimate Cup begins with an autobiographical piece entitled "The Family," in which the poet chronicles his ancestral home and gives an account of his family life and childhood before poetry. "The Family" becomes a venue where his family members—those who influenced him the most—arrive in succession: his father, the village chief; his grandfather, the astrologer; his uncle, the chess player, his mother and the rest, while the places where he lived fashion the corners of the poem like furniture: the house, the jungle behind it, the sky above the Roman Amphitheater. Ouhaibi’s poetry combines several art genres, with few of the poems relying on narratives to merge reality with fiction. Poetic imagery is in abundance, his words transform into virtual art, music and philosophical ideas. "The Scream" poem for example, relates not to the sound of a person in pain but his image, which reminds the reader of the famous painting by Norwegian artist Edvard Munch. “Oh Youssef,” writes Ouhaibi, “take my hand, while I scream like Munch in the wilderness”. Once Ouhaibi has established his distinctive style, he takes us deeper into his world, through a myriad of imagery; portraits painted with words. The author says that poetry should be attributed to the language itself, not geography, and in his work we see a host of cities and countries being constantly featured alongside his beloved hometown of Kairouan, making it easy to grasp the deep connection he has with the land. The nearly 60 poems in this collection are eloquent in expression, spanning events from the past, present to the future, sharing a contemporary voice that takes readers on a journey to numerous ancient cities and lands and referencing the works of other poets, artists and novelists, such as Rodin, Darwish, Valéry and the aforementioned Munch.
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The life of poet Hafez Al-Shirazi forms the background from which this novel draws its great ideas about life, love and poetry. And although this book is based on the visions of this great poet, it is not a heterosexual biography of his life but rather an imagined novel inspired by his poetry. The events of the novel take place in one night when Hafez dies, only to be born again. Throughout the long night, the author reviews stories, conflicts and milestone events in history, and Hafez has the chance to meet the poles of Sufi love in multiple chronological paths within the novel. He contemplates the black death and is defeated by the Farsi language with his early failures in poetry, but he finds salvation in the Arabic language by memorising the entire Qur’an. As a result, Shams Al-Din chooses another name inspired by him: Hafez, who the world will embrace until the Shiraz baker becomes a minister, on a human journey in which the Shirazi tests and loses everything successively.
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“There is poetry, and there are poets, that never disappear. They circulate through new channels, at times hibernate, and with a certain persistence they are laid bare, until someone revives them.”
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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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This title collects best poems of Che Qianzi’s forty years’ composition, including 280 poems with different style. It is a complete display of the poet’s writing style and artistic exploration. It is an artistic poetry collection with remarkable character.
