A celebration of the extraordinary life of Ezra Jack Keats, creator of The Snowy Day . The story of The Snowy Day begins more than one hundred years ago, when Ezra Jack Keats was born in Brooklyn, N.Y. The family were struggling Polish immigrants, and despite Keats's obvious talent, his father worried that Ezra's dream of being an artist was an unrealistic one. But Ezra was determined. By high school he was winning prizes and scholarships. Later, jobs followed with the WPA and Marvel comics. But it was many years before Keats's greatest dream was realized and he had the opportunity to write and illustrate his own book. For more than two decades, Ezra had kept pinned to his wall a series of photographs of an adorable African American child. In Keats's hands, the boy morphed into Peter, a boy in a red snowsuit, out enjoying the pristine snow; the book became The Snowy Day , winner of the Caldecott Medal, the first mainstream book to feature an African American child. It was also the first of many books featuring Peter and the children of his -- and Keats's -- neighborhood. Andrea Davis Pinkney's lyrical narrative tells the inspiring story of a boy who pursued a dream, and who, in turn, inspired generations of other dreamers.

A beautifully told story about love, loss and the circle of life from Ezra Jack Keats New Illustrator Award winner Phoebe Wahl. Warm, nostalgic illustrations capture the earthy feel of this book about a little girl's chicken who is stolen by a fox.

This interactive board book that is perfect for lap sharing TK. "Whose knees are these?" The whimsical illustrations hide the little boy's face until the final climactic spread. Rhyming text is paired with bold artwork full of toddler appeal reminiscent of the style of Caldecott-award winning illustrator Ezra Jack Keats.

This interactive board book that is perfect for lap sharing celebrates the classic giggle-inspiring game of This Little Piggy. The whimsical illustrations hide the little girl's face until the final climactic spread. Fun, rhyming text is paired with bold artwork full of toddler appeal reminiscent of the style of Caldecott-award winning illustrator Ezra Jack Keats.

A touching tale about friendship and adventure featuring trains, cranes, a bear and a goose - the perfect bedtime story.This richly layered story is perfect for reading out loud or for children who have just learned to read.Hamish the bear and Noreen the goose lead a very good life in the country. They love to spend long days together, watching the trains whoosh past. But Hamish has always wondered what lies at the other end of the train tracks.And so begins Hamish's adventure as he journeys to the city to explore new places, makes new friends and even gets himself a job on a building site. But ultimately, Hamish realizes how much he misses his home and his good friend, Noreen.Hamish Takes the Train is a gorgeous, quirky story from rising star Daisy Hirst, who has been shortlisted for an AOI World Illustration Award and whose first picture book, The Girl With a Parrot on Her Head, was an Honor Book in the prestigious Ezra Jack Keats Awards. Daisy's artwork is expressive and beautifully textured, full of wry humour and real heart.

Flotte bilder og god tekst

The Cambridge Companion to Postcolonial Travel Writing offers readers an insight into the scope and range of perspectives that one encounters in this field of writing. Encompassing a diverse range of texts and styles, performances and forms, postcolonial travel writing recounts journeys undertaken through places, cultures, and communities that are simultaneously living within, through, and after colonialism in its various guises. The Companion is organized into three parts. Part I, 'Departures', addresses key theoretical issues, topics, and themes. Part II, 'Performances', examines a range of conventional and emerging travel performances and styles in postcolonial travel writing. Part III, 'Peripheries' continues to shift the analysis of travel writing from the traditional focus on Eurocentric contexts. This Companion provides a comprehensive overview of developments in the field, appealing to students and teachers of travel writing and postcolonial studies.

Ezra and the Second Wilderness addresses the relationship between Ezra, the Ezra Memoir, and the Pentateuch. Tracing the growth of the Ezra Memoir and its incorporation into Ezra-Nehemiah, Philip Y. Yoo discusses the literary strategies utilized by some of the composers and redactors operating in the post-exilic period. After the strata in Ezra 7-10 and Nehemiah 8-10 are identified, what emerges as the base Ezra Memoir is a coherent account of Ezra'sleadership of the exiles from Babylon over the course of a single year, one that is intricately modelled on the multiple presentations of Moses and the Israelite wilderness preserved in the Pentateuch. Through discussion of the detected influences, allusions, and omissions between the Pentateuch and the Ezra Memoir,Yoo shows that the Ezra Memoir demonstrates a close understanding of its source materials and received traditions as it constructs the Babylonian returnees as the inheritors of torah and, in turn, the true and unparalleled successors of the Israelite cult.This study presents the Ezra Memoir as a sophisticated example of 'biblical' interpretation in the Second Temple period. It also suggests that the Ezra Memoir has access to the Pentateuch in only its constituent parts. Acknowledging not only the antiquity but also efficacy of its prototypes, the Ezra Memoir employs a variety of hermeneutical strategies in order to harmonize the competing claims of its authoritative sources. In closing the temporal gap between these sources and its owncontemporary time, the Ezra Memoir grants authority to the utopic past yet also projects its own vision for the proper worship of Israel's deity.

Robert Creeley is one of the most celebrated and influential American poets. A stylist of the highest order, Creeley imbued his correspondence with the literary artistry he brought to his poetry. Through his engagements with mentors such as William Carlos Williams and Ezra Pound, peers such as Charles Olson, Robert Duncan, Denise Levertov, Allen Ginsberg, and Jack Kerouac, and mentees such as Charles Bernstein, Anselm Berrigan, Ed Dorn, Susan Howe, and Tom Raworth, Creeley helped forge a new poetry that re-imagined writing for his and subsequent generations. This first-ever volume of his lette

This is a study on the premise that expatriation in American modernism is less a flight from the homeland than a dialectical return to it. Beginning with the late work of Henry James, this book goes on to examine at length Ezra Pound and Gertrude Stein, to conclude with the uncanny regionalism of mid-century San Francisco Renaissance poet Jack Spicer, and the deterritorialised aesthetic of Spicer's peer, John Ashbery. Through an emphasis on modernism as a space of generalised interference, the practice and trope of translation emerges as central to all of the writers concerned, while the book remains in constant dialogue with key recent works on transnationalism, transatlanticism and modernism.

Tidlige dikt dekker de første elleve årene av Gary Snyders forfatterskap, 1955-1967. For første gang foreligger dette på norsk, og ikke minst, gjendiktet på trøndersk. For mange er Snyder mest kjent som modell for karakteren Japhy Ryder i Jack Kerouacs Dharma Bums fra 1958. Her tegnes et bilde av poeten som en ung vismann som veileder den litt eldre prosaisten. Dette bildet av Snyder har mange ment stemmer godt med personen og den rollen han hadde i Beat-miljøet. Men det er først og fremst som poet og essayist Gary Snyder har gått inn den amerikanske litteraturhistorien. Han er en klar arvtager av Ezra Pound, Charles Olson og William Carlos Williams. Diktene fra Snyders tre første samlinger dekker og samtaler med en periode i amerikansk historie, som var preget av store sosiale og politiske omveltninger. Snyders tekster var et viktig bidrag til den litterære samtalen i sin samtid, og speiler en poets liv, på siden, og midt i et opprør, litterært og sosialt.

"A true poet of modern classic culture in mid-twentieth century U.S.A."--Allen Ginsberg"At their best the poems have an intensely oral, I would like to call it glossolalic, freedom, as if they captured the essence of what one might like to express in the moment of rapture."--David RattrayBeginning in the 1950s until his untimely death at age 49, Stephen Jonas (1921-1970) was an influential if underground figure of the New American Poetry. A gay African-American poet of self-obscured origins, heavily influenced by Ezra Pound and Charles Olson, the Boston-based Jonas was a pioneer of the serial poem and an erudite mentor to such acknowledged masters as Jack Spicer and John Wieners, even as he lived a shadowy existence among drug addicts, thieves, and hustlers. Arcana: A Stephen Jonas Reader is the first selection of his work to appear in 25 years. With an introduction by longtime Jonas scholar and editor Joseph Torra, an editorial note by Garrett Caples and Derek Fenner, and an afterword by David Rich delving into recent discoveries concerning the poet's birthplace and background, Arcana is crucial corrective to our understanding of post-war American poetry, restoring Jonas to his rightful place among the period's vanguard. Featuring previously uncollected and unpublished work, a section of never-before-seen facsimiles from notebooks, and a generous selection from his innovative serial poem Exercises for Ear (1968), Arcana is a much-needed retrieval of an overlooked American poet, as well as a valuable contribution to African American and Queer literature.Praise for Arcana "The work of Steve Jonas, though vital to many of his more illustrious contemporaries, has remained obscured far too long, particularly as we've become unaccustomed to the high stakesonce involved in the life of poetry. Accompanied by a reprint of Joseph Torra's invaluable introduction, as vital and fresh now as when it came out 25 years ago, along with David Rich's extraordinary archaeological dig into genealogical records and biographical materials to clarify Jonas's self-effaced origins, the publication of Arcana is an important event in our increasingly evanescent cultural history, evidence of what is real."--Ammiel Alcalay

In the last years of his life, Richard Wright, the fierce and original American novelist known for Native Son and Black Boy, wrote over four thousand haiku. In Richard Wright and Haiku, Yoshinobu Hakutani considers Wright the poet and his late devotion to the spare, unrhymed verse that dwells on human beings' relationship to the natural world rather than on their relationships with one another, a strong departure from the intense and often conflicted relationships that had dominated his fiction.Wright was not the only famous American author to be attracted to the art of haiku. Jack Kerouac, the Beat Generation novelist known for On the Road and The Dharma Bums, also explored the form and wrote many haiku. For guidance Wright and Kerouac both turned to the four-volume critical history and collection Haiku by R. H. Blythe. Wright went on to emulate such classic haiku poets as Basho, Buson, and Issa as well as the modernist Shiki. Richard Wright and Haiku is presented in two parts. In the first, Hakutani traces the genesis and development of haiku in Japan, discusses the role of earlier poets, including Yone Noguchi and Ezra Pound, in the verse's development in Japan and in the West, and deals with both haiku and haiku criticism written in English. He goes on to describe how Wright acquired the theory and technique of haiku composition and offers a historical and critical study of Wright's haiku. Integral to Hakutani's analysis is an exploration of what Wright in his Black Power: A Record of Reactions in the Land of Pathos called "the African primal outlook upon life." Hakutani delves into how this view inspired Wright to turn to first the study of and then the writing of haiku.In the final chapter of the first part, Hakutani invites readers to try seeing Wright's haiku as "senryu," or humorous haiku. This departure from the relentlessly serious lens through which nearly all of Wright's work is viewed by critics helps to expand readers' perspectives on the poems and on Wright himself.In part two, Hakutani presents a selection of Wright's poems from Haiku: This Other World. Each of the selected haiku is accompanied by a note that will provide assistance in interpretation and offers such additional information as definitions of critical or technical terms and bibliographical details.Richard Wright and Haiku is a valuable addition to the critical discussion of the life and works of Richard Wright as well as a welcome contribution to scholarship on haiku in the West.

American Haiku: New Readings explores the history and development of haiku by American writers, examining individual writers. In the late nineteenth century, Japanese poetry influenced through translation the French Symbolist poets, from whom British and American Imagist poets, Amy Lowell, Ezra Pound, T. E. Hulme, and John Gould Fletcher, received stimulus. Since the first English-language hokku (haiku) written by Yone Noguchi in 1903, one of the Imagist poet Ezra Pound's well-known haiku-like poem, "In A Station of the Metro," published in 1913, is most influential on other Imagist and later American haiku poets. Since the end of World War II many Americans and Canadians tried their hands at writing haiku. Among them, Richard Wright wrote over four thousand haiku in the final eighteen months of his life in exile in France. His Haiku: This Other World, ed. Yoshinobu Hakutani and Robert L. Tener (1998), is a posthumous collection of 817 haiku Wright himself had selected. Jack Kerouac, a well-known American novelist like Richard Wright, also wrote numerous haiku. Kerouac's Book of Haikus, ed. Regina Weinreich (Penguin, 2003), collects 667 haiku. In recent decades, many other American writers have written haiku: Lenard Moore, Sonia Sanchez, James A. Emanuel, Burnell Lippy, and Cid Corman. Sonia Sanchez has two collections of haiku: Like the Singing Coming off the Drums (Boston: Beacon Press, 1998) and Morning Haiku (Boston: Beacon Press, 2010). James A. Emanuel's Jazz from the Haiku King (Broadside Press, 1999) is also a unique collection of haiku. Lenard Moore, author of his haiku collections The Open Eye (1985), has been writing and publishing haiku for over 20 years and became the first African American to be elected as President of the Haiku Society of America. Burnell Lippy's haiku appears in the major American haiku journals, Where the River Goes: The Nature Tradition in English-Language Haiku (2013). Cid Corman is well-known not only as a haiku poet but a translator of Japanese ancient and modern haiku poets: Santoka, Walking into the Wind (Cadmus Editions, 1994).

"First published in the United States by Viridian Books, New York, 1999; first published in Great Britain by Pimlico, an imprint of Random House Group UK, 2000; first University of Minnesota Press edition published in 2004"--Title page verso.