Hoogland cornelia (6 Ergebnisse)

Zustand: Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: New. 2020. Paperback. . . . . . Books ship from the US and Ireland. Goodden, Ted (illustrator).

Paperback. Zustand: Brand New. 155 pages. 7.75x4.75x0.50 inches. In Stock. Goodden, Ted (illustrator).

Soft cover. Zustand: New. Brick, 1995. Soft Cover First edition SIGNED BY THE AUTHOR,A BRAND NEW BOOK UNUSED. Full refund if not satisfied. 24 hour despatch. If not pictured in this listing, a scan of the actual book is available on request. Signed by Author(s).

Zustand: Sehr gut. Zustand: Sehr gut | Sprache: Englisch | Produktart: Bücher | Cornelia Hoogland's tightly scored long poem explores the thin membrane between the living and the dead.In response to her brother's sudden death, Cornelia Hoogland explores the shift in gravity his dramatic absence creates. Set on the Salish Sea on Vancouver Island's east coast, Trailer Park Elegy reaches back two thousand years to the First Peoples, as well as to the brother whose delight was summers spent at Deep Bay.Hoogland looks to her child-experiences of death, as well as to literature, chaos theory, dark matter, geological time and the effect of noise pollution on whales. She turns grief round and round, enlarges it, pushes beyond received ideas of closure and grief's stages. Death is not only part of life; the dead assign their unfinished work to the living. Hoogland's narrator puts in the time. Listens. Attends. But the responsibility for connection belongs as much to the dead as to the living.The book's form, a long poem, provides thematic coherence for the multiple contingencies that disturb the narrator's present. Like keeping balls up in the air, Hoogland expertly catches and tosses, thus sustaining her imaginative energies throughout the book. Here she is, contemplating the cliché that life flashes before the eyes of the dying, or questioning the memories stored in her body like trauma or fat, when suddenly there she is, fifty years earlier, constructing the highway at the accident site. The reader participates in Hoogland's excavations as she leans in, digs up an absurdity, hits a fault line. Similarly, she inquires deeply into her brother's life, listening for what he reveals. Through spare, never-sentimental language, Hoogland's lyric resources are adequate to human loss and suffering.…