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Download Sakura Park: Poems, Rachel Wetzsteon, Persea Books Sakura Park: Poems, Rachel Wetzsteon, Persea Books, Incorporated, 2006, 0892553243, 9780892553242, 115 pages. With this third collection, Rachel Wetzsteon continues to imprint American verse with her particular brand of smart, tart poems. These new pieces employ her remarkable formal agility in order to showcase an assortment of quarreling themes: learning and loss, autonomy and loneliness, love and work. The result is the rare book that is equal parts sass and sorrow.. DOWNLOAD HERE Dreams and Stones , Magdalena Tulli, 2004, Fiction, 110 pages. Dreams and Stones is a small masterpiece, one of the most extraordinary works of literature to come out of Central and Eastern Europe since the fall of communism. In sculpted .... Spring Garden New and Selected Poems, Fred Chappell, Jan 1, 1995, Poetry, 157 pages. Spring Garden selects poems from six of Fred Chappell's previous collections and adds to them some thirty new ones. Seven sections on different themes compose the main body of .... Silver Roses Poems, Rachel Wetzsteon, Grace Schulman, Dec 14, 2010, , 89 pages. "Rachel Wetzsteon achieves maturity and mastery in this poignant collection."вЂ―Harold Bloom. Immediate family , Sally Mann, Reynolds Price, 1992, Photography, 80 pages. Terror, self-discovery, doubt, vulnerability, pain, and joy all clash and converge in Mann's powerful photographs. Sally Mann's widely acclaimed Immediate Family, which .... The other stars , Rachel Wetzsteon, Jul 1, 1994, Poetry, 101 pages. Gathers sonnet-, sestina-, and ballad-metered rhymes that explore betrayal and abandonment through the lens of world-weary irony. Night and Day , Virginia Woolf, 1992, Fiction, 452 pages. Katharine Hilbery is beautiful and privileged but uncertain of her future. She must choose between becoming engaged to the oddly prosaic poet William, and her dangerous .... Personals dreams and nightmares from the lives of 20 young writers, Thomas Beller, 1998, Literary Collections, 284 pages. A provocative collection of essays by talented young writers includes observations on founding a theater company, on guarding your virginity, and on searching for the perfect .... 2666, Part 1 , Roberto BolaГ±o, Natasha Wimmer, Nov 11, 2008, , 912 pages. THE POSTHUMOUS MASTERWORK FROM “ONE OF THE GREATEST AND MOST INFLUENTIAL MODERN WRITERS” (JAMES WOOD, THE NEW YORK TIMES BOOK REVIEW) Composed in the last years of Roberto .... Early spring , Tove Irma Margit Ditlevsen, 1985, Psychology, 227 pages. Home and away poems, Rachel Wetzsteon, Oct 1, 1998, Poetry, 94 pages. A new collection of poems by the National Poetry Series winner includes a moving elegy for W. H. Auden; contemporary treatments of Narcissus, Pomona, and others; and .... The Other America , Michael Harrington, Aug 1, 1997, Political Science, 231 pages. Presents the original report on poverty in America that led President Kennedy to initiate the federal poverty program. Skirmish poems, Dobby Gibson, Jan 20, 2009, Poetry, 87 pages. New poetry by Dobby Gibson, author of "Polar," which "teems with a language so alive and so imaginative that one cannot help but read on with wonder and rapture" ("The .... Juno The Shooting Script, Diablo Cody, Jason Reitman, Jan 2, 2008, Performing Arts, 112 pages. Presents a script of the film, along with photographs, complete cast and crew credits (p. 105-109), and a foreword by the director.. Generosity An Enhancement, Richard Powers, Aug 3, 2010, Fiction, 322 pages. Intrigued by an Algerian woman whose blissful demeanor contrasts with the horrific environment of her home country, Chicago teacher Russell Stone brings her to the attention of .... Born in Manhattan, poet and editor Rachel Wetzsteon received degrees from Yale University, Johns Hopkins University, and Columbia University. She made her home in the Morningside Heights neighborhood of Manhattan, which is the setting for many of her formally assured poems. Influenced by Charles Baudelaire, Soren Kierkegaard, and Philip Larkin, Wetzsteon infused her urban and emotional landscapes with a dry wit. As critic Adam . With this third collection, Rachel Wetzsteon continues to imprint American verse with her particular brand of smart, tart poems. These new pieces employ her remarkable formal agility in order to showcase an assortment of quarreling themes: learning and loss, autonomy and loneliness, love and work. The result is the rare book that is equal parts sass and sorrow. In this accessible yet sinuous third collection, New York City's landscape becomes a subtle metaphor for a complex inner life in which hope makes room for despair and joyful recklessness attempts to coexist with sober wisdom. Using a variety of forms—from sonnets, haikus and ghazals to extended free verse and prose poems—Wetzsteon probes disturbing contradictions: "the heart's response is a matter of / degree, not kind—whether the ax is lifted / in ardor or in fury, the frozen sea still melts." She revels in melancholy, imploring, "[t]ake me back / to where thunder claps in minds and skies / and hearts are glad to be unhappy," and admits that there is safety in identifying with one's own pain: "I'm lost without my precious wounds; scrape the welts away and there's no one left to be kind to." Finally, in the title poem, set in a park near the poet's New York home, where "petals lift and scatter / like versions of myself I was on the verge / of becoming," Wetzsteon (Home and Away, 1998) acknowledges the futility, and also the necessity, of her struggle: while awaiting "sweet reprieve /... / meanwhile's far from nothing:/ the humming moment, the rustle of cherry trees." These poems are deep and artfully crafted. (July 7) I've been waiting for this collection to come out for some time based on the strength of pieces like "Love and Work" first featured in The New Yorker about five years ago and "On Leaving The Bachelorette Lunch" from Poetry a couple of years back. If you're reading this buyer's review then you're probably already aware of Wetzsteon's formal adroitness. She's a votary of Auden and she's inherited some of her master's huge empathy, self deprecation and erudition. But unlike, say, the later work of Auden, she wears her learning as lightly as a summmer dress(the seasons are a theme she goes back to again and again in these gorgeous urban pastorals). More than any poems I know, this collection depicts a negotiation between the need for privacy (creative space?) and the need for intimacy. The tension makes for first-rate lyric drama. Sometimes Sakura Park reads like Sex and The City for the intellectually adventurous, heck, the intellectually uninhibited. It's very much a hypereducated thirty something's sentimental education. There are references to Wittgenstein and Weil which are simultaneously funny, respectful and seamlessly integrated into their respective poems. Many pieces smack of seriousness and wit: These poems are a perpetual coming to terms that we're lucky to eavesdrop on. Like good movies? I don't know of any poet who has been able to internalize the sensibility of the Sturges/Hawks/Cukor screwball comedienne like Wetzsteon has. Pauline Kael would be proud. If I have one quibble with the persona behind most of the poems, it's the x factor of social class. The poems depict the universe of The Upper West Side aesthete with refulgent beauty. In fact, the poet uses the phrase "my city" in different pieces. One wishes the poet/flaneuse would train her gaze on some of the meaner streets Baudelaire or , god help us, Eliot evoke. That being said, this is her best book yet. "Evening News", "Dachsund" "But For The Grace" and "Love and Work" are great poems. You will find yourself going back to these and works just as sprightly for their playfulness and wisdom. Read more › I love books but I have struggled to find poetry that I truly enjoy. Maybe Emily Dickinson. I don't have to make that effort with Rachel Wetzsteon's work. If you're thinking of owning one book of poetry, buy this one. The title poem still fascinates me and I've read countless times. It's not the only jewel in here. Great book! Sakura Park showcases Rachel Wetzsteon's poetic style and talent as she invites the reader to share in an emotional wealth of romantic insights with respect to the meaning of love, life, truth and beauty. Pemberley: The park was very large. We drove/for some time through a beautiful wood/until the wood ceased, and the house came into view./Inside were miniatures, small faces/we gawked at until a housekeeper showed us/the maste's finer portrait in an upper room./I dredged up a shaming moment:/you asked me a question, then ducked as I spewed/an idiot's vitriol, blindness disguised as rage./The house stood well on rising ground, and beneath its slopes the thirsty couples/held their glasses high at Cafe Can't Wait./ I spent time at its flimsy tables/but then I walked under trees whose leaves/exhaled gusty stories of good deeds;/I learned empty houses are excellent teachers;/I sent you away and felt you grow/tremendous sin your absence. Ask me again. The late Wetzsteon was, like her predecessors Auden, Hart Crane, T.S. Eliot, Walt Whitman, and Stephen Crane, a poet of the city, albeit not of an entire city. She lived and died in Morningside Heights, a neighborhood in the Upper West Side of Manhattan. Her foremost influence is W.H. Auden, for which she has been criticized. I suspect that metrical poetry today is perceived as artificial and cold while turns of phrases are considered clever and witty, but Wetzsteon's poetry is not cotton candy superficial.
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