O Lady, Speak Again
Autor Dayna Pattersonen Limba Engleză Paperback – 12 feb 2023 – vârsta ani
In these pages you’ll meet Cordelia, third wife of polygamous Lear. You’ll meet Miranda, sailing away from her father and his faith. You’ll encounter Ophelia, who enters an amphibious torpor when buried, and is reborn as forest ecologist, far from her father’s ghost. Lady Macbeth and the weird sisters get a retrial, and Juliet finds her way to a different ending. Shadowy goddesses like Hecate, mother of witches, are invoked and act within these pages. Rosalind from As You Like It is given the final word. These poems delve into faith crisis, queerness, abandonment, transgressive power, rebirth, and dream. Prepare to be entranced.
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Specificații
ISBN-13: 9781560854647
ISBN-10: 1560854642
Pagini: 124
Dimensiuni: 152 x 229 x 13 mm
Greutate: 0.11 kg
Ediția:First Edition
Editura: SIGNATURE BOOKS INC
Colecția Signature Books
ISBN-10: 1560854642
Pagini: 124
Dimensiuni: 152 x 229 x 13 mm
Greutate: 0.11 kg
Ediția:First Edition
Editura: SIGNATURE BOOKS INC
Colecția Signature Books
Recenzii
"Truly a triumph, this collection is a soaring, seething, singing achievement of poetic excellence. In, O Lady, Speak Again, Dayna Patterson gives us meticulously crafted poems without sacrificing a single breath of emotional dynamism. In the voices of Shakespeare’s lady characters, Patterson deftly evokes the depth and complexity of responses to the burdens and griefs of being a woman held in the confines of a patriarchal society, governed by an all-male religious hierarchy. These poems are both haunting and soothing in their questions and their graceful, ladylike rage.” —Rena Priest, Washington State Poet Laureate (2021–2023)
"What do you get when you blend Shakespeare’s canon of female characters with an already-steaming brew of the personal and culturalisms of Mormondom? O Lady, Speak Again is a love song to feminine power and artistry—power both practical and metaphysical, emergent and handed-down. Patterson repurposes with such insight that it feels like sorcery: a sprinkle of weird enlivens the familiar with mystery, and a dash of familiar grants us access to the strange.” —Nano Taggart, editor, Sugar House Review
"O Lady, Speak Again does its work in a glory, a tumble, then a flood, of characters, versions, and voicings. The beginning poem ‘Dramatis Personae,’ which limns the territory and the method of the collection, shows us that the urgent appeal of the title—that the Lady (mother, goddess, enchantress, witch) must speak from the parched silence to which she has been consigned—requires an upending to be fulfilled: that the world, to be made fecund, musical, brilliant again, must receive ‘a blue deluge’ of the Lady’s voice. The speakers of the poems inhabit gorgeous languages and a multitude of stories, many drawn from Shakespeare; Dayna Patterson embroiders the lacunae in her sources and insists on retellings and revisions in this miracle of a book. In a way, like Prospero in The Tempest, Patterson orchestrates madness, terror, and catastrophic loss, into reconciliation, claiming that power as her own deep, decidedly female, and restorative, magic.” —Lisa Orme Bickmore, Utah Poet Laureate
"What do you get when you blend Shakespeare’s canon of female characters with an already-steaming brew of the personal and culturalisms of Mormondom? O Lady, Speak Again is a love song to feminine power and artistry—power both practical and metaphysical, emergent and handed-down. Patterson repurposes with such insight that it feels like sorcery: a sprinkle of weird enlivens the familiar with mystery, and a dash of familiar grants us access to the strange.” —Nano Taggart, editor, Sugar House Review
"O Lady, Speak Again does its work in a glory, a tumble, then a flood, of characters, versions, and voicings. The beginning poem ‘Dramatis Personae,’ which limns the territory and the method of the collection, shows us that the urgent appeal of the title—that the Lady (mother, goddess, enchantress, witch) must speak from the parched silence to which she has been consigned—requires an upending to be fulfilled: that the world, to be made fecund, musical, brilliant again, must receive ‘a blue deluge’ of the Lady’s voice. The speakers of the poems inhabit gorgeous languages and a multitude of stories, many drawn from Shakespeare; Dayna Patterson embroiders the lacunae in her sources and insists on retellings and revisions in this miracle of a book. In a way, like Prospero in The Tempest, Patterson orchestrates madness, terror, and catastrophic loss, into reconciliation, claiming that power as her own deep, decidedly female, and restorative, magic.” —Lisa Orme Bickmore, Utah Poet Laureate
Notă biografică
Dayna Patterson is a photographer, textile artist, and irreverent bardophile. She’s the author of Titania in Yellow (Porkbelly Press, 2019) and If Mother Braids a Waterfall (Signature Books, 2020). Honors include the Association for Mormon Letters Poetry Award and the 2019 #DignityNotDetention Poetry Prize judged by Ilya Kaminsky. Her creative work has appeared in EcoTheo, Kenyon Review, and Poetry. She’s the founding editor (now emerita) of Psaltery & Lyre and a co-editor of Dove Song: Heavenly Mother in Mormon Poetry. She lives with her husband and two daughters in a little patch of forest in the Pacific Northwest.
Cuprins
Dramatis Personae
Thunder. Enter the three WITCHES meeting HECATE
I
Self-Portrait as Miranda after Shipwreck
O is the Sound of Tragedy
In this version
Self-Portrait as Cordelia, Mormon Polygamous Wife
And Why Not Change the Story?
Self-Portrait as Miranda, A Green Girl
Anagnorisis—in the Green Room
Self-Portrait of Isabella as Mormon Middle Child
Self-Portrait as Isabella in Theophilic Ecstasy
Self-Portrait as Ophelia in 33 Hues of Blewe
Self-Portrait as Jessica with Phoropter and Ursa Minor
Self-Portrait of Jessica as Mormon Meeting House, Repurposed
Self-Portrait as Miranda, Reminiscent
II
Hermione in Prison
Self-Portrait of Perdita as Lost I
Hermione’s Blue Beasts
Self-Portrait as Perdita with Derelict Ferris Wheel
Hermione as Phantom Limn
Self-Portrait as Perdita in 33 Washes of Purple
Hermione’s Statue
Self-Portrait as Perdita, Reperta
III
After the Curtain Falls, Isabella Speaks in Achromatics
This poem wants to be an ode
Self-Portrait as Bottom, Beloved
Gertrude on artum nuptias
Self-Portrait as Viola and Olivia in the Gloaming
Self-Portrait as Titania, Spellbound
Ode to the Plural Marriage of My Mother, Nan Page, Merry Wife, in Five Acts
Self-Portrait as Portia and Jessica at the Witching Hour
Self-Portrait as Miranda with Xenophilia and Apostasy
IV
Thunder and lightning. Enter three WITCHES
Gertrude on artis bene moriendi
Self-Portrait as Lady Macbeth in 30 Shades of Red
Incarnadine
Self-Portrait as Juliet’s Nurse with Betta splendens and Pulsar
Ode to Lady Macbeth
Ode to Paulina
Hermione, Shapeshifter
Juliet Ode
Red-Handed
Ophelia, Amphibian
V
Titania in Hypnopompic Bower
Self-Portrait as Titania with Cupid’s Flower and Changeling
Titania’s Adoption Papers
ab ovo
Self-Portrait as Titania with Newborn Animus
How Not to Bring Down the Flowers
usque ad mala
Gertrude on arte materna
Titania in Yellow
How to Give Birth to Words
Anagnorisis—on the Playhouse Mainstage
Watching The Merry Wives of Windsor with My Girls
Hecate, as you did for Demeter, do
Epilogue—Rosalind with Topophilia and Heresy
Notes
Acknowledgments
Thunder. Enter the three WITCHES meeting HECATE
I
Self-Portrait as Miranda after Shipwreck
O is the Sound of Tragedy
In this version
Self-Portrait as Cordelia, Mormon Polygamous Wife
And Why Not Change the Story?
Self-Portrait as Miranda, A Green Girl
Anagnorisis—in the Green Room
Self-Portrait of Isabella as Mormon Middle Child
Self-Portrait as Isabella in Theophilic Ecstasy
Self-Portrait as Ophelia in 33 Hues of Blewe
Self-Portrait as Jessica with Phoropter and Ursa Minor
Self-Portrait of Jessica as Mormon Meeting House, Repurposed
Self-Portrait as Miranda, Reminiscent
II
Hermione in Prison
Self-Portrait of Perdita as Lost I
Hermione’s Blue Beasts
Self-Portrait as Perdita with Derelict Ferris Wheel
Hermione as Phantom Limn
Self-Portrait as Perdita in 33 Washes of Purple
Hermione’s Statue
Self-Portrait as Perdita, Reperta
III
After the Curtain Falls, Isabella Speaks in Achromatics
This poem wants to be an ode
Self-Portrait as Bottom, Beloved
Gertrude on artum nuptias
Self-Portrait as Viola and Olivia in the Gloaming
Self-Portrait as Titania, Spellbound
Ode to the Plural Marriage of My Mother, Nan Page, Merry Wife, in Five Acts
Self-Portrait as Portia and Jessica at the Witching Hour
Self-Portrait as Miranda with Xenophilia and Apostasy
IV
Thunder and lightning. Enter three WITCHES
Gertrude on artis bene moriendi
Self-Portrait as Lady Macbeth in 30 Shades of Red
Incarnadine
Self-Portrait as Juliet’s Nurse with Betta splendens and Pulsar
Ode to Lady Macbeth
Ode to Paulina
Hermione, Shapeshifter
Juliet Ode
Red-Handed
Ophelia, Amphibian
V
Titania in Hypnopompic Bower
Self-Portrait as Titania with Cupid’s Flower and Changeling
Titania’s Adoption Papers
ab ovo
Self-Portrait as Titania with Newborn Animus
How Not to Bring Down the Flowers
usque ad mala
Gertrude on arte materna
Titania in Yellow
How to Give Birth to Words
Anagnorisis—on the Playhouse Mainstage
Watching The Merry Wives of Windsor with My Girls
Hecate, as you did for Demeter, do
Epilogue—Rosalind with Topophilia and Heresy
Notes
Acknowledgments
Descriere
The witchy, spell-soaked poems in Patterson’s second collection explore female characters from Shakespeare’s plays—with a feminist twist. The collection grapples with women’s roles in Shakespeare and in Mormon culture, both heavily influenced by patriarchal structures that often silence marginalized voices. If you’re not well-versed in Shakespeare or Mormonism, don’t worry—these poems will delight and enchant you with their own deep magic, their tremendous power, their singing.
In these pages you’ll meet Cordelia, third wife of polygamous Lear. You’ll meet Miranda, sailing away from her father and his faith. You’ll encounter Ophelia, who enters an amphibious torpor when buried, and is reborn as forest ecologist, far from her father’s ghost. Lady Macbeth and the weird sisters get a retrial, and Juliet finds her way to a different ending. Shadowy goddesses like Hecate, mother of witches, are invoked and act within these pages. Rosalind from As You Like It is given the final word. These poems delve into faith crisis, queerness, abandonment, transgressive power, rebirth, and dream. Prepare to be entranced.
In these pages you’ll meet Cordelia, third wife of polygamous Lear. You’ll meet Miranda, sailing away from her father and his faith. You’ll encounter Ophelia, who enters an amphibious torpor when buried, and is reborn as forest ecologist, far from her father’s ghost. Lady Macbeth and the weird sisters get a retrial, and Juliet finds her way to a different ending. Shadowy goddesses like Hecate, mother of witches, are invoked and act within these pages. Rosalind from As You Like It is given the final word. These poems delve into faith crisis, queerness, abandonment, transgressive power, rebirth, and dream. Prepare to be entranced.