Breaking Poetry Out of the Frame a collection of verse that offers a unique look at love and at a heart being broken into tiny pieces. Author Tamara Kae shares the emotional confusion experienced when we make the wrong choices for love. Her poems offer a stark reminder that inner strength can be strongest when love passes or skips a beat. Breaking Poetry Out of the Frameconsiders the need to understand life and the hidden secrets of love through poetic healing. Seeking to examine the reality of all types of love and lust, this collection offers a reminder that love comes in many different forms, some more controversial than others. Seems like almost every wedding band sparkles with diamonds and infidelity and forget the wedding bliss the first kiss hand to hand date to date Until you decide to make Her your mate. Now it's All too late. You say Forget wifey I'm going to explore The hottie from next door Lifelong vows you ready to diss to hit the skins of some two day three day whore.

Breaking Poetry Out of the Frame a collection of verse that offers a unique look at love and at a heart being broken into tiny pieces. Author Tamara Kae shares the emotional confusion experienced when we make the wrong choices for love. Her poems offer a stark reminder that inner strength can be strongest when love passes or skips a beat. Breaking Poetry Out of the Frameconsiders the need to understand life and the hidden secrets of love through poetic healing. Seeking to examine the reality of all types of love and lust, this collection offers a reminder that love comes in many different forms, some more controversial than others. Seems like almost every wedding band sparkles with diamonds and infidelity and forget the wedding bliss the first kiss hand to hand date to date Until you decide to make Her your mate. Now it’s All too late. You say Forget wifey I’m going to explore The hottie from next door Lifelong vows you ready to diss to hit the skins of some two day three day whore.

My Daily Actions, or The Meteorites is the result of a daily investigative writing practice, in which I was worried that a poem invested in the particulars of my life would be uninteresting--that the "ordinary" would be mundane. Instead memory, dreams, and the associative power of the imagination filled each moment with meaning, each tv show I watched or friend I spoke with, each outfit I wore or nail polish color I chose. In these poems, a combination of dread (for something approaching) and anxiety (for what might be approaching but isn't yet known) undid a sense of the present separate from climate change, global racial capitalism, whiteness, and gender-based violence, especially as I wrote as I tried to find out how my own gender fit into the world. The prose poem is the vehicle by which a recording practice ("journaling") meets the associative power of the poem.

In Frames of War, Judith Butler explores the media’s portrayal of state violence, a process integral to the way in which the West wages modern war. This portrayal has saturated our understanding of human life, and has led to the exploitation and abandonment of whole peoples, who are cast as existential threats rather than as living populations in need of protection. These people are framed as already lost, to imprisonment, unemployment and starvation, and can easily be dismissed. In the twisted logic that rationalizes their deaths, the loss of such populations is deemed necessary to protect the lives of ‘the living.’ This disparity, Butler argues, has profound implications for why and when we feel horror, outrage, guilt, loss and righteous indifference, both in the context of war and, increasingly, everyday life. This book discerns the resistance to the frames of war in the context of the images from Abu Ghraib, the poetry from Guantanamo, recent European policy on immigration and Islam, and debates on normativity and non-violence. In this urgent response to ever more dominant methods of coercion, violence and racism, Butler calls for a re-conceptualization of the Left, one that brokers cultural difference and cultivates resistance to the illegitimate and arbitrary effects of state violence and its vicissitudes.

Prose Poetry in Theory and Practice vigorously engages with the Why? and the How? of prose poetry, a form that is currently enjoying a surge in popularity. With contributions by both practitioners and academics, this volume seeks to explore how its distinctive properties guide both writer and reader, and to address why this form is so well suited to the early twenty-first century. With discussion of both classic and less well- known writers, the essays both illuminate prose poetry’s distinctive features and explore how this "outsider" form can offer a unique way of viewing and describing the uncertainties and instabilities which shape our identities and our relationships with our surroundings in the early twenty-first century. Combining insights on the theory and practice of prose poetry, Prose Poetry in Theory and Practice offers a timely and valuable contribution to the development of the form, and its appreciation amongst practitioners and scholars alike. Largely approached from a practitioner perspective, this collection provides vivid snapshots of contemporary debates within the prose poetry field while actively contributing to the poetics and craft of the form.

Constitutions of Self in Contemporary Irish Poetry explores the figure of the lyrical self in the work of six contemporary Irish poets: Paul Muldoon, Vona Groarke, Sinéad Morrissey, Caitríona O’Reilly, Alan Gillis and Nick Laird. By focusing on the self, this study offers the first sustained exploration of what is arguably one of the most distinctive features of Irish poetry. Readings utilise the latest theories of the lyric filtered through the work of such philosophers as Jacques Derrida, Umberto Eco, Slavoj Žižek, Giorgio Agamben and Zygmunt Bauman, and connect an interdisciplinary approach with attention to the operations of the poetic text to bring out aspects of the self in Irish writing that have been given only cursory critical attention so far.

Paulson shows how 18th-century English poets and artists confronted the decline of High Renaissance ideals in literary theory and aesthetics. The book is less a single extended argument, though, than a collection of brilliant insights and interpretations: Pope as Ovidian poet; Joseph Wright as Shandyan artist. Especially stimulating are the readings of Hogarth, Wright, Gainsborough, Stubbs, and Constable that comprise the second half of the book. Except for the deconstructionist jargon, the discussions are lucid and compelling. Highly recommended for libraries supporting graduate programs in literature or art.

This study offers a fresh approach to the theory and practice of poetry criticism from a narratological perspective. Arguing that lyric poems share basic constituents of narration with prose fiction, namely temporal sequentiality of events and verbal mediation, the authors propose the transgeneric application of narratology to the poetic genre with the aim of utilizing the sophisticated framework of narratological categories for a more precise and complex modeling of the poetic text. On this basis, the study provides a new impetus to the neglected field of poetic theory as well as to methodology. The practical value of such an approach is then demonstrated by detailed model analyses of canonical English poems from all major periods between the 16th and the 20th centuries. The comparative discussion of these analyses draws general conclusions about the specifics of narrative structures in lyric poetry in contrast to prose fiction.