Compre o livro Break, Blow, Burn na : confira as ofertas para livros Break, Blow, Burn: Camille Paglia Reads Forty-three of th e mais milhares. Break, Blow, Burn By Camille Paglia. pp. Pantheon Books. $ CLEARLY designed as a come-on for bright students who don’t yet know. America’s most provocative intellectual brings her blazing powers of analysis to the most famous poems of the Western tradition—and unearths.
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Celebrates the great poetry of the Western tradition, looking at diverse works by poets ranging from Shakespeare and Dickinson to Plath, Hughes, and other unconventional poets. Every sentence is a gem. Paglia is still a pagli personality, with exclamatory statements that inflame in this hostile, PC atmosphere where everyone is offended by anything that ruffles some feathers.
Alfred rated it really liked it. It’s like a freshman seminar from a professor with a strong viewpoint. Refresh and try again. Perhaps her omissions are more debatable. The format is very successful, with each typographically well-preseented poem followed by three to five pages of thoughtful, extremely well written critique and commentary, including history, analysis, and politically fresh perspectives.
This was an ideal “car book,” one I keep in the car and read in minute episodes as I’m waiting for an appointment, or eating a meal on the road. Paglia understands the needs of the general audience and meets them, which is what makes Break Blow Burn such a great read.
Will get back to you. Shakespeare if we may identify him with the speaker claims he is “outcast,” ostracized, “in disgrace with Fortune and men’s eyes” 1—2. At least with that book I knew that there was a point.
A relative bumpkin in the exquisitely meticulous world of poetry, I need not remind others these works deserve close consideration and multiple camillle before plunging into Paglia’s commentary.
Quite the contrary, she seems to have mastered the art of wringing as much out of a poem in as brief a space as possible; her explications have all the quick perfection of a Borges essay.
Break, Blow, Burn : NPR
Jan 11, J. Sometimes a cigar really is a cigar. To see what your friends thought of this book, please sign up. Dec 18, Pages Buy. Camile sporadic drift of leaves to earth like sands through an hourglass is re-created in the hesitant, tapping rhythm: I believe that all the arts should be knitted together.
It’s as if man is crucified on his own frail body. Break, Blow, Burn was recommended to me in preparation for Oxford’s entrance exam but I think this only made it all the more daunting – Camille Paglia ‘s searing powers of analysis and her stunning prose are unparalleled. I’m loving this so far.
I checked it out from the library because her crit of “Daddy” was intriguing. Adam McKay’s gonzo Dick Cheney biopic satire, Vice, won’t be compared to Shakespeare, but it shares the Bard’s disinterest in supervillains’ motivations. One of the strengths of Paglia’s book is her endless fascination brsak the English language. This may seem like a minor detail, but the fatigue of the eye those collections cause is a greater enemy to the general reader than the actual difficulty of the poetry in question.
He projects himself into the fire’s “glowing” phase, when the blaze is long gone and even the small, darting tongues have sputtered out.
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That he is least “contented” with what he most enjoys suggests Shakespeare’s writing career is in crisis 8. Inspired by Your Browsing History. Perhaps the sonnet was sent as a gift to its inspirer, but the beloved has already half materialized as a luminous presence. The Best Metal of Scattered “yellow leaves” clinging to the branches evoke other afictions and losses of age, such as fading, thinning hair an issue for Shakespeare, if our one portrait of him is accurate.
Ezra Pound had an enormous influence on other writers, including Eliot and Williams.
Break, Blow, Burn by Camille Paglia
Why Poetry Still Matters Listen. Since then she has become a prolific commentator on popular culture and film. Then there is Shelley’s staggering “Ozymandias,” a tour de force on its own, but so much more powerful under Paglia’s guiding hand, woven with Colleridge’s “Kubla Khan,” Yeat’s “The Second Coming,” or Emily Dickinson’s unsettling apocalyptic visions.
Jorie Graham is rubbished as “fey and precious”, John Berryman and Robert Creeley are so feeble cxmille banishment needs no explanation, and even the critic Helen Vendler “terminally prim” receives a sideswipe. What is she thinking? A professor at the University of the Arts in Philadelphia, Camille Paglia won acclaim and even notoriety with Sexual Personae whose plus pages emphasized the “amorality, aggression, sadism, voyeurism and pornography in great art,” from prehistory to Emily Dickinson and Henry James.
Jul 02, Jess rated it really liked it Shelves: In earlier works like her masterpiece, Sexual PersonaeBuurn voice was staccato, purple, ca,ille Wilde and Walter Pater.
Break, Blow, Burn
I agree with a reviewer on this site who complained about Paglia’s choice of mostly dead white male poets, but it doesn’t bother me much. Only a few recent selections. Housden’s brilliance isn’t what he says about the poems but rather in recognizing an area of mild interest to big audiences that hadn’t been adequately exploited and denuded of any possibility of inspiring even a minor itch.
In an interview for Oasis magazine inPaglia described her methodology: It tries to introduce good, accessible short poems in English and to help readers enjoy them as Paglia does. Instead we get “a hipster’s syncopated ode to female sexual power,” by Paul Blackburn not a bad poem, by the waya page exegesis of Sylvia Plath’s “Daddy” “one of the strongest poems ever written by a woman”three poems by Roethke and nothing else by Plath.
Linking to a self-avowed feminist writing for the markedly un-Fox News like Salon. I’d said some rude things about Camille Paglia’s reemergence as a regular columnist at Salon. Housden’s audience is one that wants to be told what things mean.
These are her favorites, using her criteria, and quite unlike many skimpy or corpulent collections slapped between covers to satisfy a fleeting fashion, she will lay her arguments in solid, comprehensible and far-flung terms, returning again, again and yet again to the respective poems she’s reviewing.
The implication is unsettling: