Böcker av Charlotte Greene

THE CRESCENT MOON BOOK OF METAPHYSICAL POETRYEdited and introduced by Charlotte Greene. With a new picture gallery, and additional poems for this edition. GIFT BOOK (Pocket Size = 6 x 4 inches)All of the major and many of the minor Metaphysical poets are featured in this anthology, including: John Donne, Lady Mary Wroth, Robert Herrick, George Herbert, Sir William Davenant, the Countess of Sidney Godolphin, Richard Crashaw, John Cleveland, Abraham Cowley, Richard Lovelace, Andrew Marvell, Henry Vaughan, and Thomas Stanley. The Metaphysical poetic style is witty, learned, subjective, sensual, intellectual, reflective, philosophical, baroque, intense, and sometimes ecstatic. Metaphysical poetry was passion and emotion modified by intellect/ ('passionate ratiocination' Herbert Grierson called it), while T.S. Eliot described John Donne's poetry as experience modified by (his) sensibility. Helen Gardener said that Metaphysical verse was 'an expanded epigram', and Margaret Willy called it 'feeling thought'. Metaphysical poetry used satire and irony, as well as the new science (biology, mathematics, cosmology and microcosmic emphasis). It is a poetry concerned with living for the present, with philosophical and religious subjects - with, in short, the soul. It is a dramatic poetry, essentially lyrical, often rough at the edges, with a love of individualized verse forms and writing poems as long as needed to be. After the adherence to traditional stanzas of Elizabethan poetry (the sonnet being the most obvious type), the Metaphysical poets employed a wide variety of forms and metrical patterns. Thomas Traherne for example, wrote in a new verse form each time he composed a poem. Poets such as Vaughan, Traherne and Marvell give the impression of writing until they've finished what they wanted to say. Their poetic forms were open - a short line here, an extended stanza there, as the subject required. Metaphysical poetry was partly 'Classical', partly 'Christian' and partly 'religious'; it was partly humanist, partly Cavalier and partly Elizabethan. John Donne, for example, was just as much Elizabethan, post-Petrarchan, Renaissance and 'Classical' as 'Metaphysical'. Some critics separate the Metaphysical poets' love poems from their religious ones. The distinction may be useful, but it is not how poets write. The boundaries between profane/ sacred, love/ religion, secular/ divine is not that clearly marked by the poets themselves. The 'religious' poems of the Metaphysical poets are often their most erotic. They write of God, the beloved, and their relationship to him, in erotic terms. In poems such as 'The World', for example, Henry Vaughan narrates the old notion of the soul mystically married to the Bridegroom (God). With an introduction and bibliography. The text has been revised for this edition, with new poems added. Includes a new picture gallery. A small, pocket size edition, ideal for gifts. Also available in an E-book edition. www.crmoon.com.

When Gwen picks up a pretty hitchhiker on the side of a lonely Texas highway, she has little reason to suspect that her entire life is about to change.Annie has just broken out of prison, and she needs more than a ride-she needs Gwen's help to recover the money she stole.With other more dangerous criminals trying to stop them and the police on their tail, Gwen and Annie will have to decide what's more important: the money or each other.

When cousins Jo and Carter Lemke hike up to their family cabin after two years away, they're not surprised to find the place a disaster. What they weren't expecting, however, is a mysterious presence in the cabin that seems intent on getting rid of them.With the help of some friends, Carter's wife, and a gorgeous forest ranger Jo can't take her eyes off, Jo and Carter set out to reclaim their home from the presence that haunts it. As danger mounts, they'll have to decide if it's worth risking their lives or if it might be better to leave it to the woods.

Unemployed English professor Emily Murray has been given a chance of a lifetime: to work and study inside Gnarled Hollow, the former estate of one of her favorite authors. She doesn't believe in the supernatural, but by the end of her first day, she knows something is wrong. The house has a disturbing habit of changing dimensions-and not just physical ones. Rooms go missing, doors close on their own, and time has a strange tendency to disappear. Emily is joined by other scholars, among them the beautiful art historian, Juniper Friend. Together they begin to research the history of the house, refusing to abandon their work despite the appearance of a mysterious, frightening presence. Spurred on by their desire to uncover the mysteries of Gnarled Hollow and its ghostly inhabitant, they're determined to uncover the truth, even if it means risking their own lives.

In New Orleans for a conference, exhausted English professor Kit Kelly has been going through the motions in just about every regard for some time now. She’s tired of her job and sick of sleeping around, and her life is starting to feel like one long, stale rerun of similar days and nights. A chance encounter with Teddy, a local chef, stirs an enthusiasm for life she hasn’t felt in a long time, but news of an impending hurricane threatens to disrupt what they’ve just begun.