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In 1988 the University of Arkansas Press published Billy Collins’s THE APPLE THAT ASTONISHED PARIS, his "first real book of poems," as he describes it in a new, delightful preface written expressly for this new printing to help celebrate both the Press’s twenty-fifth anniversary and this book, one of the Press’s all-time best sellers. In his usual witty and dry style, Collins writes, "I gathered together what I considered my best poems and threw them in the mail." After "what seemed like a very long time" Press director Miller Williams, a poet as well, returned the poems to him in the "familiar self-addressed, stamped envelope." He told Collins that there was good work here but that there was work to be done before he’d have a real collection he and the Press could be proud of: "Williams’s words were more encouragement than I had ever gotten before and more than enough to inspire me to begin taking my writing more seriously than I had before."

This collection includes some of Collins’s most anthologized poems, including "Introduction to Poetry," "Another Reason Why I Don’t Keep a Gun in the House," and "Advice to Writers." Its success over the years is testament to Collins’s talent as one of our best poets, and as he writes in the preface, "this new edition . . . is a credit to the sustained vibrancy of the University of Arkansas Press and, I suspect, to the abiding spirit of its former director, my first editorial father.".
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Capon shows how the church has lost its astonishment over the Good News and has made Christianity into a religion that focuses on requirements and restrictions rather than on gospel. Recovery of astonishment is his saving remedy..
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"After looking for him in the poems, we search for him in the prose. The pursuit of the Other in Pessoa's work is never-ending," writes Edwin Honig. Essential to understanding the great Portuguese poet are the essays written about (and by) his heteronyms-Alberto Caeiro, Ricardo Reis, and Alvaro de Campos-the several pseudonyms under which he wrote an extraordinary body of poetry. In Always Astonished, Pessoa and his several selves debate and discuss one another's work, revealing how Portuguese modernism was shaped. Fernando Pessoa is one of the great voices of twentieth-century literature, and these manifestos, letters, journal notes, and critical essays range through aesthetics, lyric poetry, dramatic and visual arts, and the psychology of the artist. He gives us, too, a singularly heterodox political position in his strange work of fiction, The Anarchist Banker.

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The Astonished Universe is an uplifting and luminous book of poetry about consciousness It is Red Hen Press' first bilingual edition in English and French..
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Cendrars recounts the Foreign Legion (including the loss of his arm), his exploits in Africa and South America, and his encounters with everyone from Gallic gipsies to Piquita, the Mexican millionairess. To all his encounters he brings the vitality, savage humor and vivid observation that characterize his dazzling writing. What a writer learns from Cendrars is to follow his nose, to obey life's commands, to worship no other god but life""- Henry Miller..
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This digital document is an article from World Watch, published by Worldwatch Institute on May 1, 1999. The length of the article is 4356 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

From the supplier: The failure to respond to the environment challenges facing the world is discussed. Topics include warnings issued by environmental scientists, reasons for the collective lack of astonishment, and the need for fundamental changes in education, perception and consciousness.

Citation Details
Title: Why Are We Not Astonished?(adapted from 'God's Last Offer: Negotiating for a Sustainable Future')
Author: Ed Ayres
Publication:World Watch (Magazine/Journal)
Date: May 1, 1999
Publisher: Worldwatch Institute
Volume: 12 Issue: 3 Page: 25

Distributed by Thomson Gale.
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We Who Love to Be Astonished collects a powerful group of previously unpublished essays to fill a gap in the critical evaluation of women's contributions to postmodern experimental writing. Contributors include Alan Golding, Aldon Nielsen, and Rachel Blau DuPlessis; discussions include analyses of the work of Kathleen Fraser, Harryette Mullen, and Kathy Acker, among others. The editors take as their title a line from the work of Lyn Hejinina, one of the most respected of innovative women poets writing today. The volume is organized into four sections: the first two seek to identify, from two different angles, the ways women of different sociocultural backgrounds are exploring their relationships to their cultures' inherited traditions; the third section investigates the issue of visuality and the problems and challenges it creates; and the fourth section expands on the role of the body as material and performance. The collection will breach a once irreconcilable divide between those who theorize about women's writing and those who focus on formalist practice. By embracing "astonishment" as the site of formalist-feminist investigation, the editors seek to show how form configures feminist thought, and, likewise, how feminist thought informs words and letters on a page. Students and scholars of avant-garde poetry, women's writing, and late-20th-century American literature will welcome this lively discussion..
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