This study explores the aesthetics of Pellicer's poetic vision of reality by treating the relationship between form and content in his poetry. The author creates a five-chapter volume that covers topics including Pellicer's poetic influencers, his understanding and expression of reality, and the way he portrays said reality.

What do American poets mean when they talk about freedom? How can form help us understand questions about what shapes we want to give our poetic lives, and how much power we have to choose those shapes? For that matter, what do we even mean by we? In this collection of essays, Peter Campion gathers his thoughts on these questions and more to form an evolutionary history of the past century of American poetry. Through close readings of the great modernists, midcentury objectivists, late twentieth-century poets, his contemporaries, and more, Campion unearths an American poetic landscape that is subtler and more varied than most critics have allowed. He discovers commonalities among poets considered opposites, dramatizes how form and history are mutually entailing, and explores how the conventions of poetry, its inheritance, and its inventions sprang from the tensions of ordinary life. At its core, this is a book about poetic making, one that reveals how the best poets not only receive but understand and adapt what comes before them, reinterpreting the history of their art to create work that is, indeed, radical as reality.

This is a provocative account of the astounding new answers to the most basic philosophical question: Where did the universe come from and how will it end?

Should we believe in God? In this brisk introduction to modern atheism, one of the world’s greatest science writers tells us why we shouldn’t. Richard Dawkins was fifteen when he stopped believing in God. Deeply impressed by the beauty and complexity of living things, he’d felt certain they must have had a designer. Learning about evolution changed his mind. Now one of the world’s best and bestselling science communicators, Dawkins has given readers, young and old, the same opportunity to rethink the big questions. In twelve fiercely funny, mind-expanding chapters, Dawkins explains how the natural world arose without a designer—the improbability and beauty of the “bottom-up programming” that engineers an embryo or a flock of starlings—and challenges head-on some of the most basic assumptions made by the world’s religions: Do you believe in God? Which one? Is the Bible a “Good Book”? Is adhering to a religion necessary, or even likely, to make people good to one another? Dissecting everything from Abraham’s abuse of Isaac to the construction of a snowflake, Outgrowing God is a concise, provocative guide to thinking for yourself. Praise for Outgrowing God “My son came home from his first day in the sixth grade with arms outstretched plaintively demanding to know: ‘Have you ever heard of Jesus?’ We burst out laughing. Maybe not our finest parenting moment, given that he was genuinely distraught. He felt that he had woken up one day to a world in which his peers were expressing beliefs he found frighteningly unreasonable. He began devouring books like The God Delusion, books that helped him formulate his own arguments and helped him stand his ground. Dawkins’s new book is special in the terrain of atheists’ pleas for humanism and rationalism precisely since it speaks to those most vulnerable to the coercive tactics of religion. As Dawkins himself says in the dedication, this book is for ‘all young people when they’re old enough to decide for themselves.’ It is also, I must add, for their parents.”—Janna Levin, author of Black Hole Blues “When someone is considering atheism I tell them to read the Bible first and then Dawkins. Outgrowing God—second only to the Bible!”—Penn Jillette, author of God, No!

The author addresses key scientific questions previously explained by rich mythologies, from the evolution of the first humans and the life cycle of stars to the principles of a rainbow and the origins of the universe.

Wake-up nightmares in Lower East Side, musings in public library, across the U.s. in dream auto, drunk in old Havana, brooding in Mayan ruins, sex daydreams on the West Coast, airplane vision of Kansas, lonely in a leafy cottage, lunch hour in Berkeley ... a wind-up book of dream notes, psalms, journal enigmas, & nude minutes from 1953 to 1960 poems scattered in fugitive magazines here collected now book.

A Lit Hub Most Anticipated Book of 2021 An NPR Best Book of 2021 An Electric Literature Best Poetry Book of 2021 A Dennis Cooper Best Book of 2021 Hoarders is a tender and unusual exploration of place, loneliness, grief, and desire in late capitalist America. What is the true nature of the relationship between people and objects? Kate Durbin’s Hoarders is a quest into this question, vividly capturing the sticky attachments between people and their stuff. To create the book, Durbin took detailed notes while watching the reality TV show of the same name, one she had resisted watching for years because of her family’s history of hoarding. She then began whittling, re-arranging, researching, and writing, and what emerges is her unique form–fifteen jewel-like portraits of people and their beloved objects, in curious conversation with one another. Noah and Allie live in a Chicago house toppling with books. Chuck from Bisbee, Arizona hoards thousands of paintings of naked women. Gary from Franklin, Indiana has transformed his home into a forest, where he falls asleep each night surrounded by plants, both living and dead. Cathy in Centralia, Illinois spends her nights ordering Lularoe leggings and jewelry from Home Shopping channels. Shelley’s house in Warren, Michigan is crowded with Barbies and Beanie Babies. Durbin doesn't directly critique the reality show, yet she deftly demonstrates through these magnetic poems that there's far more to a person, a life, and their “things.”

"Reality Sandwiches" is a book of poetry by Allen Ginsberg published in 1963. The title comes from one of the included poems, "On Burroughs' Work": "A naked lunch is natural to us,/we eat reality sandwiches." The book is dedicated to friend and fellow Beat poet Gregory Corso. Despite Ginsberg's feeling that this collection was not his most significant, the poems still represent Ginsberg at a peak period of his craft. Contents: My Alba Sakyamuni Coming Out From The Mountain The Green Automobile Havana 1953 Siesta In Xbalba And Return To The States On Burroughs' Work Love Poem On Theme By Whitman Over Kansas Malest Cornifici Tuo Catullo Dream Record: June 8, 1955 Fragment 1956 A Strange New Cottage In Berkeley Sather Gate Illumination Scribble Afternoon Seattle Psalm III Tears Ready To Roll Wrote This Last Night Squeal American Change 'Back On Times Square, Dreaming Of Times Square' My Sad Self Battleship Newsreel I Beg You Come Back & Be Cheerful To An Old Poet In Peru Aether Fearfully Waiting Answer, A Magic Universe Have Felt Same Before Soundy Time, I Hear Again! Einstein Books' edition of "Reality Sandwiches" contains supplementary texts: * Selected Poems From Empty Mirror, By Allen Ginsberg. * Howl, By Allen Ginsberg. * A Few Selected Quotes Of Allen Ginsberg.

From the New York Times–bestselling author of Science in the Soul. “If any recent writing about science is poetic, it is this” (The Wall Street Journal). Did Sir Isaac Newton “unweave the rainbow” by reducing it to its prismatic colors, as John Keats contended? Did he, in other words, diminish beauty? Far from it, says acclaimed scientist Richard Dawkins; Newton’s unweaving is the key too much of modern astronomy and to the breathtaking poetry of modern cosmology. Mysteries don’t lose their poetry because they are solved: the solution often is more beautiful than the puzzle, uncovering deeper mysteries. With the wit, insight, and spellbinding prose that have made him a bestselling author, Dawkins takes up the most important and compelling topics in modern science, from astronomy and genetics to language and virtual reality, combining them in a landmark statement of the human appetite for wonder. This is the book Dawkins was meant to write: A brilliant assessment of what science is (and isn’t), a tribute to science not because it is useful but because it is uplifting. “A love letter to science, an attempt to counter the perception that science is cold and devoid of aesthetic sensibility . . . Rich with metaphor, passionate arguments, wry humor, colorful examples, and unexpected connections, Dawkins’ prose can be mesmerizing.” —San Francisco Chronicle “Brilliance and wit.” —The New Yorker