Kategoria BISAC: Poetry >> Subjects & Themes - Nature

Gwendolyn Morgan's first collection, Crow Feathers, Red Ochre, Green Tea, offers richly textured poetic renderings of natural landscapes and emotional nuances in response to those landscapes. She weaves concerns for global warming, social inequities, and health care together with images of birds, plants, animals, breath, evoking our interconnectedness with all sentient beings and the spiritual universe. There is in these poems a deep sense of care for and rootedness in the natural world.

The Libyan landscape is one of the most diverse and breathtaking, replete with barren deserts, vast ocean coasts, and a stunning display of earth s elements. Al-Koni, an award-winning and critically acclaimed Arabic writer, reflects on this fragile environment and the increasing threats to its existence in "A Sleepless Eye," a collection of the poet s desert wisdom. He highlights the relationships between humans and Libya s natural features, grouping them by theme: nature, desert, water, sea, wind, rock, trees, and fire. Each theme contains a set of aphorisms that deliver thoughtful...

This is poetry kindled by weeks in wilderness. Its muse is nature, which encompasses both the wild beauty of earth and the mystery of self and its sometimes erotic, sometimes mystical, relationship with the other. The poems are lyrical, tonal, evocative-enamored in a sensual way of being, but also drawn at times toward the counterpart of non-being. The palpable world of natural detail is brought forth, yet the poems also echo with nuance, innuendo, archetype, and both meditative as well as enraptured levels of realization.

A Hundred Million Years of Nectar Dances is a poetry cycle of singular beauty in nature and reveals an inherent Buddhist quality. Jarrette's poems are clear and meditative, unfailingly beautiful. They are self-aware but not self-obsessed, singing with the ecstatic humility of a mystic or shaman as they join all the subjects of a life well lived within nature that is ever present. The poems dance and sing and play and rest with their subjects to present a truly beautiful vision of the world. The ending poem, "The Pond," is perfectly representative of all the others before it, and...

Leland Kinsey's much-anticipated new and selected poetry collection, Galvanized, ranges from Kinsey's home in the rugged mountains of northern Vermont to the towering stone lighthouses and highland shielings of his ancestors' Scotland. Drawing from seven previous, acclaimed collections, and with more than twelve new poems, Kinsey takes us with him on his travels to the brawling rivers of Labrador, the slopes of Kilimanjaro, the wheat fields and dinosaur digs of Alberta, and the ranchos of the Tex-Mex border.

With precise and original images - the Egyptian mummies used to...

It is said there are 20,000 species of bees, a genus 50 million years old, but in the fertile imagination of the world's poets, there is no beginning or end to the bee buzz. Virgil wrote of bees, as did Rumi, Shakespeare, Burns, Coleridge, Emerson, Mandelstam, Neruda, Whitman--a lyrical hum heard well into the twentieth and twenty-first centuries in poems by Yeats, Lawrence, Plath, Mary Oliver, Carol Ann Duffy, Naomi Shihab Nye, and Sherman Alexie, among many others.

The title of this book is from Emily Dickinson: To make a prairie it takes a clover and one bee, / One clover, and...

This debut collection of poems from Timothy P. McLaughlin chronicles an inspired intimacy with the still wild places and presences of the Earth. The musical, iridescent language delights the senses and draws the reader/listener back into an essential creatureliness and basic loving kinship with the natural world.

Longleaf is a chapbook of poems deeply rooted in place and the landscape of John Saad's native coastal Alabama. This wide-ranging and wise collection shows the poet's bone-deep connection to home that stems from childhood through early adulthood. With finely wrought images and specialized yet lyrical language that recall the best of Rodney Jones and Philip Levine, Saad brings us into his world of the Deep South, where 'the fumbled light of live oaks' mingles with 'the ferrous / howls / of valley dogs.' In these pages, memories of family are woven with observations of a natural...

The Dark Edge of the Bluff engages with the mutable nature of memory and its instantiations: memory as artifact, memory as place, memory as story, memory as compulsion. The poems tackle a vast geography of recollection--from Fiesole to the Okefenokee to the turnings and obsessions of the author's mind itself. In testing memory's capacity for multiple truths, and in discovering its inherent limitations, this collection grapples with the simultaneity of memory as an act of self-preservation, self-creation, and relentless re-creation.

Larry Schug's poetry is conversational. He likes the reader to picture themselves sitting across the kitchen table, talking over a cup of tea or coffee. Poetry is an art form, like all others, which is essentially communication between one human being and another. Larry's poetry is an art, which he hopes inspires or causes readers to perhaps think in new ways or feel some sort of emotion.

2017 Reprint of 1855 First Edition. Exact facsimile of the original edition, not reproduced with Optical Recognition Software. "Leaves of Grass" was highly controversial during its time for its explicit sexual imagery, and Whitman was subject to derision by many contemporary critics. Over time, the collection has infiltrated popular culture and been recognized as one of the central works of American poetry. Though the first edition was published in 1855, Whitman spent most of his professional life writing and re-writing it, revising it multiple times until his death. This resulted...