National Book Award and Golden Kite Award Honor Winner! Fans of Jacqueline Woodson, Meg Medina, and Jason Reynolds will fall hard for this astonishing New York Times-bestselling novel-in-verse by an award-winning slam poet, about an Afro-Latina heroine who tells her story with blazing words and powerful truth. Xiomara Batista feels unheard and unable to hide in her Harlem neighborhood. Ever since her body grew into curves, she has learned to let her fists and her fierceness do the talking. But Xiomara has plenty she wants to say, and she pours all her frustration and passion onto the pages of a leather notebook, reciting the words to herself like prayers—especially after she catches feelings for a boy in her bio class named Aman, who her family can never know about. With Mami’s determination to force her daughter to obey the laws of the church, Xiomara understands that her thoughts are best kept to herself. So when she is invited to join her school’s slam poetry club, she doesn’t know how she could ever attend without her mami finding out. But she still can’t stop thinking about performing her poems. Because in the face of a world that may not want to hear her, Xiomara refuses to be silent. “Crackles with energy and snaps with authenticity and voice.” —Justina Ireland, author of Dread Nation “An incredibly potent debut.” —Jason Reynolds, author of the National Book Award Finalist Ghost “Acevedo has amplified the voices of girls en el barrio who are equal parts goddess, saint, warrior, and hero.” —Ibi Zoboi, author of American Street
the poet x
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THE WINNER OF THE 2018 NATIONAL BOOK AWARD 'I fell in love at slam poetry. This one will stay with you a long time.' - Angie Thomas, bestselling author of The Hate U Give 'This was the type of book where "I'll just do 50 pages" turned into finishing it in 2 reads. I felt very emotional, not just because the story and the words themselves were so beautiful but because I knew it was going to make so many teens who felt like no one cares about them or listens to them feel seen.' - Tomi Adeyemi, bestselling author of The Children of Blood and Bone “Crackles with energy and snaps with authenticity and voice.” —Justina Ireland, author of Dread Nation “An incredibly potent debut.” —Jason Reynolds, author of the National Book Award Finalist Ghost “Acevedo has amplified the voices of girls en el barrio who are equal parts goddess, saint, warrior, and hero.” —Ibi Zoboi, author of American Street THE POET X - a stunning New York Times bestseller with a powerful and unforgettable YA voice. Perfect for fans of Tomi Adeyemi's The Children of Blood and Bone, Angie Thomas's The Hate U Give and Sarah Crossan's One. Xiomara has always kept her words to herself. When it comes to standing her ground in her Harlem neighbourhood, she lets her fists and her fierceness do the talking. But X has secrets – her feelings for a boy in her bio class, and the notebook full of poems that she keeps under her bed. And a slam poetry club that will pull those secrets into the spotlight. Because in spite of a world that might not want to hear her, Xiomara refuses to stay silent. A novel about finding your voice and standing up for what you believe in, no matter how hard it is to say. Brave, bold and beautifully written - dealing with issues of race, feminism and faith - this is perfect for fans of Orangeboy, Nicola Yoon's Everything Everything and Zoella Book Club choice Moxie. 'A story that will slam the power of poetry and love back into your heart.' - Laurie Halse Anderson, author of Speakand Chains 'Acevedo breathes words instead of air' - Lisa Heathfield, author of award-winning Paper Butterflies ‘Powerful, finely crafted verse . . . Readers will yearn to finish this verse novel in a single sitting, but its echoes will remain with them much longer’ Guardian ELIZABETH ACEVEDO was born and raised in New York City and her poetry is infused with Dominican bolero and her beloved city’s tough grit. The Poet X is her debut novel and a National Book Award winner. With over twelve years of performance experience, Acevedo has been a featured performer on BET and Mun2, as well as delivered several TED Talks. She has performed internationally and her poetry has been featured in Cosmopolitan, The Huffington Post and Teen Vogue. Acevedo is a National Slam Champion, Beltway Grand Slam Champion, and the 2016 Women of the World Poetry Slam representative for Washington, D.C, where she lives and works.
The Student Workbooks are designed to get students thinking critically about the text they read and provide a guided study format to facilitate in improved learning and retention. Teachers and Homeschool Instructors may use the activities included to improve student learning and organization. Students will construct and identify the following areas of knowledge. Character Identification Events Location Vocabulary Main Idea Conflict And more as appropriate to the text.
The work of Wallace Stevens has been read most widely as poetry concerned with poetry, and not with the world in which it was created; deemed utterly singular, it seems to resist being read as the record of a life and times. In this critical biography Alan Filreis presents a detailed challenge to this exceptionalist view as he traces two major periods of Stevens's career from 1939 to 1955, the war years and the postwar years. Portraying Stevens as someone whose alternation between cultural comprehension and ignorance was itself characteristically American, Filreis examines the poet's impulse to disguise and compress the very fact of his debt to the actual world. By actual world Stevens meant historical conditions, often in order to impugn his own interest in such externalities as the last resort of a man whose famous interiority made him feel desperately irrelevant. In light of events ranging from the U.S. entry into World War II to the Cold War, Filreis shows how Stevens was driven to make a "close approach to reality" in an effort to reconcile his poetic language with a cultural language. "Wallace Stevens and the Actual World is not only an impressive feat of historical recovery and analysis, but also a pleasure to read. It will be useful to anyone interested in the relationship between American politics and literature during World War II and the Cold War."--Milton J. Bates, Marquette University Originally published in 1991. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
From popular culture to politics to classic novels, quintessentially American texts take their inspiration from the idea of infinity. In the extraordinary literary century inaugurated by Ralph Waldo Emerson, the lyric too seemed to encounter possibilities as limitless as the U.S. imagination. This raises the question: What happens when boundlessness is more than just a figure of speech? Exploring new horizons is one thing, but actually looking at the horizon itself is something altogether different. In this carefully crafted analysis, James von der Heydt shines a new light on the lyric craft of Emily Dickinson, Robert Frost, Elizabeth Bishop, and James Merrill and considers how their seascape-vision redefines poetry's purpose. Emerson famously freed U.S. literature from its past and opened it up to vastness; in the following century, a succession of brilliant, rigorous poets took the philosophical challenges of such freedom all too seriously. Facing the unmarked horizon, Emersonian poets capture—and are captured by—a stark, astringent version of human beauty. Their uncompromising visions of limitlessness reclaim infinity's proper legacy—and give American poetry its edge. Von der Heydt's book recovers the mystery of their world.
More than a gathering of essays, That Self-Forgetful Perfectly Useless Concentration is part memoir, part literary criticism, and a thorough and artful fusion of the two. It is an intimate portrait of a life in poetry that few other than Shapiro could have written. In this book, Shapiro brings his characteristic warmth, humor, and many years as both poet and teacher to bear on questions that revolve around the paradox that self-expression depends on impersonal conventions, inert public signs that, somehow, under the pressure of the imagination, personalize the conventional and socialize the personal. Through his now signature storytelling, and close readings ranging from Mungo Jerry to T. S. Eliot, from Lawrence Ferlinghetti to Emily Dickinson, from William Carlos Williams and Bob Dylan to Mark Twain, from Thomas Hardy to Philip Larkin, Donald Davie, Thom Gunn and many moreShapiro shows just how interdependent innovation and tradition truly are. He shows that many of the dichotomies that dominate discussions of poetry and art (e.g., openness and closure, form and individuality, feeling and thought, reason and imagination) are mutually entailing, not mutually exclusive. These larger, public issues themselves are filtered through Shapiro s personal experience of growing up and coming of age as a poet in the 1960s and 70s and the poetry scenes in Boston and San Francisco. The book includes touching and instructive essays on art, writing, mental illness, and the death of friends, along with astute readings of poems we all thought we knew well. Poignant, astute, and often very funny, Shapiro has created something unique, in the words of one reader, a memoir about poetry itself. "
The contributions in this "Festschrift" extend over the whole range of Indian civilization: in the first part the earlier stages of Indian history spanning the period from the Indus civilization up to medieval times, and in the second part the more recent history of South Asia.