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Reviews - Potkar is a convincing raconteur and can tell a story well. - K. Srilata, The Hindu Her hypnotic prose weaves intense narratives... nicely offset by effective haiku. - Amanda Bell, Haibun Today A sense of musicality never deserts Potkar's words. - Siddharth Dasgupta, Joao-Roque Literary Journal Blurbs - “Rochelle has the haibuneer’s gift of vivid succinctness: ‘Manojji is a curious man. His eyes and ears are always shifting.’ The author could be describing herself, who and what she is—her senses alive, feeding on each other, wanting nothing more than to capture our world in the honey-trap of words, a world that is slipping away from us: autumn whirlwind . . . / a child gr...
Foreword Followers of contemporary poetry who’ve heard Sonnet Mondal reading his poems at international festivals will know something of the distinctiveness of his voice and the philosophising delicacy of his work. In Karmic Chanting he has assembled many of his most beautiful recent poems. His is a poetry of light and shadow, of shimmering childhood and reflective adulthood: ‘My mind is heavier than my soul,’ he writes, and ‘I wish I had left myself / to the charity of wilderness.’ Here we find something of the tension between inner and outer worlds—and the way one betrays the other—as well as the remembered pain of such perceptions. Here is the poet ‘as a meditating owl / h...
The story of how book piracy in pre-Revolutionary France expanded the reach of the works that would inspire momentous change.
Volume #19 in Whitman's best-selling Bowers Series covers two of the earliest U.S. coin denominations: half cents and large cents. These classic copper coins were made from 1793 into the late 1850s. In this colorfully illustrated book, America's popular early coppers are given the famous Q. David Bowers treatment: insightful study, rich historical background, and detailed data analysis. Bowersthe "Dean of American Numismatics" and the most prolific numismatic author of all timetells you everything you need to know to be a smart collector: how to evaluate quality, determine value, understand the market, and make good buys. Along the way, he explains why, in all of American coinage, half cents...
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With references to the theoretical framework of Michel Foucault and Pierre Bourdieu, this book offers a critical investigation into such epic issues as the end of art and the inherent laws of literature’s evolution, while conflating the two into one major argumentation. The book proceeds from Hegel's claim of "the end of art" to tackle the universal yet essential problem of literature: its legitimacy in a sociological sense. It invests Bourdieu’s sociological terms -- power, capital, habitus, field, etc. into the study of literature and art while taking on other theoretical enquiries, particularly the Marxist exploration into ideology, as well as aspects of economics and communication studies. This book will be a valuable resource for students and scholars of the sociology of literature, cultural studies, and those with specific interests in Chinese literature, literary and art theory.
Sonnet Mondal's An Afternoon in My Mind is a young man's meditation on time, filled with the recognition that it is too late to return to childhood. It is both personal and political; concerned with questions of the spirit and of matter. The plain-spoken tone of these poems is a cover for their deeper metaphysical inquiries. Narrative saturates every observation: "A man stands holding his bicycle / in the bus stop shed," Mondal writes in "On a Snowy Morning." "When he rides away the story will follow him." And though the poems investigate loss, yearning, and solitude, they do not forgo humor, as in the wry, wary "Another Reason to Live": "Someone advised me to watch / monochromatic films and let whiskey / slip across a placid tongue to come out of this swamp." Mondal seems to have eschewed this advice: his tongue is not placid; it speaks with an impassioned clarity full of energetic surprise: "I went inside a forest to sip some solitude / and now I am stuck in a wildfire." - Catherine Barnett
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