Books of poetry should be regarded as of the most readable genre of our time. Reader’s attention spans are shorter than they have ever been before; the average person typically will read snippets of text on social media and advertisements throughout the day, but will not sit to read a whole book. technology is changing our reading habits, and poetry offers a reading experience that mimics the way we read, today. Short and simple verses, accompanied by original drawings, is very similar to the way we read through Instagram or Twitter. Quick but effective, Rupi Kaur’s poignant poems keep readers flipping through pages, allowing readers to get lost similar to the way they can loose themselves scrolling through a feed. Her free verse poetry forgoes the difficult metaphors of what we traditionally associate poetry with, in favor of clear, plain language and simplicity. This is the type of book that can be read in a day, and will leave readers returning to it forever.
*EDIT: Answers have been revealed (IN CAPS).
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Author Iain S. Thomas (under the pen name PLEASEFINDTHIS) now has a series of published I Wrote This For You books, including I Wrote This For You, I Wrote This For You: Just The Words and I Wrote This For You And Only You. Find the original blog at http://www.iwrotethisforyou.me/.
They are exactly what you expect: pining love poems, written to an unknown recipient. Readers are granted access into the speaker’s advice to his beloved, and are left wondering what to make of the challenging associations.
The author wrote the first sentence in a spiral-bound notebook by the side of his bed in 2006, and uploaded the first sentence to his blog on the 5th of July, 2007. All subsequent posts encapsulate what has become the I Wrote This For You series, a seemingly never-ended photography-and-poetry project. The digitized and printed series I Wrote This For You was officially released as a book in 2011, but remains accessible at http://www.iwrotethisforyou.me/. Continue reading
Rebecca Dunham is a poet and Professor of English at the University of Wisconsin-Milwaukee, where she teaches creative writing. Her work has been described as post-confessional and concerns itself with feminist and ecological issues. Her most recent publication, Cold Pastoral, is a collection of poems based on modern ecological disasters such as the Deepwater Horizon oil spill. She has published four other collections of poetry, including Fascicle, Glass Armonica, The Miniature Room, and The Flight Cage.
Q: What does Cold Pastoral mean, for you? What do you hope readers gain after reading the poems?
Personally, the book marks a point in my life when I had to take stock of my place in the world around me, as well as the function of poetry within that world. For readers, I hope that the poet-speaker’s journey will resonate with those of us who may mean well, but who have also blinded ourselves to the mounting human and environmental crises around us. I would hope that the book will encourage readers to consider their responsibility to others, as well as potential for language and literature to enact change. Continue reading
Dunham’s poetry comes to us at a desperate time. We currently face the ecological threats of global warming, as exacerbated by our human interactions with the world we inhabit. Pollution, over-population, and deforestation are serious hazards to our environment, and Dunham understands our human contribution to the problem. With her poems, she hopes to educate and inform readers of the very real consequences of forgetting to care for the Earth.
This collection examines the man-made and/or human-influenced natural disasters of our time: the explosion on the Deepwater Horizon oil rig, Hurricane Katrina and its devastating aftermath, and the Flint water crisis. Dunham tactfully weaves desolate poems with evidenciary support, creating a powerful report on what really happened with the Oil Spill. Continue reading
Jill McDonough’s book of poetry Reaper is written at a desperate time for humanity. We currently face the very real threats of overpopulation, pollution and global warming, all of which stir up questions of control and technology. McDonough brings awareness to these issues while at the same time providing hope for the future.
McDonough predicts that the loss of our humanity, of nature, and the loss of human nature – the loss of the self – will all be, in part, due to the rise of technology. We, as a species, are becoming numb to our own desires, “wanting … wanting” (10). People are currently content to be “distracted” (16), brainwashed, in a sense, numb to life. We take for granted the little things, things that don’t require technology, like emotions, feelings, or experiences; the more we allow technology to rule our loves, the more we lose sight of our true selves.
“Not a narrative. Not an essay. Not a shopping list. Not a song. Not a diary. Not an etiquette manual. Not a confession. Not a prayer. Not a secret letter sent through the silent Palace hallways before dawn.”
A Pillow Book, Suzanne Buffam’s 2016 book of poetry, is a great companion for anyone struggling with sleep. During the darkest hours of night and through the early hours of morning, at dusk or dawn, the poems in A Pillow Book possesses the hypnotizing ability to lull readers into a restful trance. Continue reading
Shelley Jackson’s Patchwork Girl demonstrates how intertextual allusions are used as piecework in order to construct new literatures together from various sources of the past. Presented in hypertext format, Patchwork Girl uses intertextual allusions borrowed from canonical texts such as Mary Shelley’s Frankenstein and L. Frank Baum’s Patchwork Girl of Oz to create a new work inspired by and in reference to Shelley and Baum’s works, reinterpreting their ideas and making them modern. The work of Patchwork Girl proves that literature has always been intertextual – writers have forever been influenced by other writers. We are all only standing on the shoulders of giants.
Milk and Honey is a collection of poetry that takes the reader through a time of pain and personal growth. The book is separated into four chapters, or categories: the hurting, the loving, the breaking, the healing. In this order, respectively, Rupi Kaur releases her experiences with violence, abuse, love, loss, and femininity. Continue reading