Julian Peters

A fresh twist on 24 classic poems, these visual interpretations by comic artist Julian Peters will change the way you see the world. This stunning anthology of favorite poems visually interpreted by comic artist Julian Peters breathes new life into some of the greatest English-language poets of the nineteenth and twentieth centuries. These are poems that can change the way we see the world, and encountering them in graphic form promises to change the way we read the poems. In an age of increasingly visual communication, this format helps unlock the world of poetry and literature for a new generation of reluctant readers and visual learners. Grouping unexpected pairings of poems around themes such as family, identity, creativity, time, mortality, and nature, Poems to See By will also help young readers see themselves differently. A valuable teaching aid appropriate for middle school, high school, and college use, the collection includes favorites from the Western canon already taught in countless English classes. Includes poems by Emily Dickinson, Langston Hughes, Carl Sandburg, Maya Angelou, Seamus Heaney, e. e. cummings, Robert Frost, Dylan Thomas, Christina Rossetti, William Wordsworth, William Ernest Henley, Robert Hayden, Edgar Allan Poe, W. H. Auden, Thomas Hardy, Percy Bysshe Shelley, John Philip Johnson, W. B. Yeats, Gerard Manley Hopkins, Edna St. Vincent Millay, Tess Gallagher, Ezra Pound, and Siegfried Sassoon.

A Comic Artist Interprets Great Poetry

Poems to See by

This thesis focuses on two novel-length graphic narratives: Poema a fumetti (1969) by the Italian novelist Dino Buzzati and The Projector (1971), created in Toronto by the British-born visual artist Martin Vaughn-James. Through an in-depth analysis of these two works and by comparing them to other ?avant-garde? comics from the 1960s and early 1970s, I seek to identify the factors that might explain the appeal of visual narrative to writers and artists from that era who were working outside of the world of comics as it would have then been defined. The first chapter, dedicated to Poema a fumetti, begins with a discussion of Buzzati’s use of the ?poetic? aspects of comics, which I relate to various experimentations with comics among certain avant-garde poets. I then examine the influence of 1960s Italian erotic and crime comics on Buzzati, and how the disreputable aura surrounding these and other comics rendered them a particularly effective means for artists to express certain repressed impulses and desires. The second chapter analyzes The Projector in terms of its subversion of: a) an alienating consumer-capitalist social order, b) a ?normal? visual perception of reality, and c) conventional modes of ordering narrative. These three lines of analysis I relate to three contemporaneous cultural tendencies that I argue also influenced other avant-garde comics. These are, respectively: the détournement strategies employed by the Situationists, the ?psychedelic? movement in the visual arts, and literary and media theories advocating for a radical break with the existing conventions of literary narrative.

Dino Buzzati{u2019}s Poema a Fumetti, Martin Vaughn-James{u2019}s The Projector, and Avant-Garde Experimentation with Comics in the 1960s and 1970s

Visual Novels and Comic-Strip Poetry

Jane Jacobs

Jenny McCartney

Augustine

N. T. Wright

Joseph Bottum

John Thornton

Eberhard Arnold

Brandon McGinley

Adriano Cirino

Clare Coffey

José Corpas

The future of humanity is urban. It might seem a bad move for a magazine named after a farm tool to bring out an issue on cities. Especially if that magazine is published by an Anabaptist community that originated in a back-to-the-land movement and still has the whiff of hayfield and woodlot to it. Why not stick to what you're good at? Why jump lanes? Because the future of humanity, pretty clearly, is urban. Urbanization is arguably the biggest change of habitat our species has ever undergone. For anyone who cares about the common good of humanity, then, cities need to matter. The modern city is an electrifying concentration of creativity, energy, and cultural dynamism. It's also still the "cauldron of unholy loves" that Saint Augustine discovered in Carthage one and a half millennia ago. It's the place where the cruelties of mammon, the hubris of power, and the perversions of lust manifest themselves most crassly. But cities have also given birth to culture and community and to remarkable movements of revival and renewal. In this issue, visit: - Belfast with Jenny McCartney - New York City with James Macklin - Medellín with Adriano Cirino - Pittsburgh with Brandon McGinley - Guatemala City with José Corpas - Philadelphia with Clare Coffey - Chicago with John Thornton Jr. - Paris with Jason Landsel You'll also find: - Insights on cities from Jane Jacobs, Eberhard Arnold, Augustine, and Philip Britts - reviews of books by Jonathan Foiles, Bethany McKinney Fox, J. Malcolm Garcia, Tatiana Schlossberg, Tim Gautreaux, Philip Bess, and Frederic Morton - art by Gail Brodholt, Michelangelo Buonarroti, Ben Ibebe, Brian Peterson, Chota, Raphael, Gertrude Hermes, Valentino Belloni, Tony Taj, and Aristarkh Lentulov Plough Quarterly features stories, ideas, and culture for people eager to put their faith into action. Each issue brings you in-depth articles, interviews, poetry, book reviews, and art to help you put Jesus' message into practice and find common cause with others.

Plough Quarterly No. 23 - In Search of a City

Julian Peters

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