Rivera william mcleod (5 Ergebnisse)
- Softcover
Anbieter: Ria Christie Collections, Uxbridge, Vereinigtes KönigreichRia Christie Collections
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Zustand: New. In.
Verlag: Views Associates Press ( 1960 ), Washington DC, 1960
- Hardcover
- Erstausgabe
- Signiert
Anbieter: Thomas J. Joyce And Company, Chicago, IL, USAThomas J. Joyce And Company
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In den WarenkorbHardcover. Zustand: Very Good. lacks glassine. First Edition. 8vo; 60, [ii] pages, clothbacked grey boards Signed by Rivera on the endpaper. Cuevas was a controversial but honored artist in Mexico, who was illustrating books and magazines before he was 15 years old. Cuevas was a painter, writer, draftsman, engraver, illustrator…and printmaker. The drawings in this book are coeval with his being awarded, in 1959, the International First Prize for Drawing at the São Paulo Biennale, His artistic career spanned 70 years.
- Softcover
Anbieter: moluna, Greven, Deutschlandmoluna
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Zustand: New. Über den AutorrnrnW. M. (William McLeod) Rivera is a retired agricultural educator. His academic background includes a B.A. from the University of North Carolina, M.A from The American University in Washington..
Weitere BilderVerlag: Views Associates Press, Washington, 1960
- Hardcover
- Erstausgabe
- Signiert
Anbieter: Dodman Books, Morston, Vereinigtes KönigreichDodman Books
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In den WarenkorbHardcover. Zustand: Good. No Jacket. 1st Edition. Rivera's first published collection, inscribed by him to John [R H Yeoman] to fep, signed Bill Rivera and dated 9/60. Laid in is a typed letter, signed Bill, from Rivera to Yeoman, with interesting and entertaining literary gossip. Bar a couple of minor spots all is in VG interna…l order, with the slightly disturbing illustrations by Cuevas showing well. Blue paper-covered boards with grey cloth spine are marked and a little worn to edges and dulled to spine. 8vo. 62pp. Jose Luis Cuevas (illustrator). Inscribed by Author(s).
- Softcover
Anbieter: AHA-BUCH GmbH, Einbeck, DeutschlandAHA-BUCH GmbH
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Taschenbuch. Zustand: Neu. Neuware - 'Truth, a dominatrix/asserting love is all.' W.M. Rivera writes in 'Prelude,' one of the opening poems in the book you are holding. Truth can be pleasurable, and painful all at the same time, like love and sex. This exploration of truth and love as double edged sword runs through Cafe Select.… Rivera's poems are lusty gems, there's a fighting spirit, and a wise one at work in these poems, sometimes wrestling with itself, other times wrestling with the great spiritual chink in our armor, other people and their influence upon us. Rivera kinks it up in Cafe , and I'm not just talking about sado-masochistic sex, or a lusty young couple in heat, the lines of these poems screw into each other creating a dense tough lyricism that is coupled with gritty reality: these 'sperm on the wing.' Most won't make it. Some end up in luxuriating in Rimbaud's bathtub boat on a pond in Tuileries Gardens. Some labor growing pains on death-row's dry concrete. In suburbia most land on fertile ground. Even the run-amucks multiply in manicured cracks. Rivera's describing dandelions seeding into air in 'Manicured Cracks,' how most won't make it, that the seeds of the weed, the most iconic of spring youth images, faces a fate like all of us. They might live on to flower again, or they won't. As human counterparts, many of us will die along the way, and often the worst of us, the weeds, thrive. What I like is the music in Rivera's poems. The alliterative urge, the hard consonant sounds, very much like later Seamus Heaney, acting like sharp edges to confine and crib the lines and feet. Poetry and art are created by privilege, and these poems are unabashed at their modernist raiment made possible by a privileged life. Paris is both the geographical and figurative heart of the book. Paris, the literal city, and Paris the epitome of cul- ture. Rivera is at home on both fronts, and relies on music to drive his poetry for- ward; the imagery, well that's extra sauce for the pudding, and whether he's referring to the city of lights, to art in a gallery, or to ancient Occidental poem, it doesn't matter. For Rivera their origins are the same. The urge to create, to be re- born.
