Poetry From Beyond The Grave

Poetry from Beyond the Grave is the first English publication of a large selection of poems by the Brazilian medium and Spiritist leader Francisco Cândido “Chico” Xavier. These poems, originally collected in the volume Parnaso de Além-Túmulo, were dictated to Xavier by a variety of spirits of Brazilian poets from the afterlife, as journeying souls or as witnesses of the spiritual city Nosso Lar, “our house.” Poetry from Beyond the Grave is a veritable collection of haunted writing, in which poets present their posthumous work as if they were alive. The brilliant translation by Vitor Pequeno is supplemented by an extensive afterword by Jeremy Fernando, who traces what it means to speak through the other.

A memoir and book of mourning, a grandson’s attempt to reconcile his own uncontested citizenship with his grandfather’s lifelong struggle. A memoir and book of mourning, a grandson’s attempt to reconcile his own uncontested citizenship with his grandfather’s lifelong struggle. Award-winning poet Brandon Shimoda has crafted a lyrical portrait of his paternal grandfather, Midori Shimoda, whose life—child migrant, talented photographer, suspected enemy alien and spy, desert wanderer, American citizen—mirrors the arc of Japanese America in the twentieth century. In a series of pilgrimages, Shimoda records the search to find his grandfather, and unfolds, in the process, a moving elegy on memory and forgetting. Praise for The Grave on the Wall: "Shimoda brings his poetic lyricism to this moving and elegant memoir, the structure of which reflects the fragmentation of memories. … It is at once wistful and devastating to see Midori's life come full circle … In between is a life with tragedy, love, and the horrors unleashed by the atomic bomb."—Booklist, starred review "In a weaving meditation, Brandon Shimoda pens an elegant eulogy for his grandfather Midori, yet also for the living, we who survive on the margins of graveyards and rituals of our own making."—Karen Tei Yamashita, author of Letters to Memory "Sometimes a work of art functions as a dream. At other times, a work of art functions as a conscience. In the tradition of Juan Rulfo’s Pedro Páramo, Brandon Shimoda's The Grave on the Wall is both. It is also the type of fragmented reckoning only America could instigate."—Myriam Gurba, author of Mean “Within this haunted sepulcher built out of silence, loss, and grief—its walls shadowed by the traumas of racial oppression and violence—a green river lined with peach trees flows beneath a bridge that leads back to the grandson."—Jeffrey Yang, author of Hey, Marfa: Poems "It is part dream, part memory, part forgetting, part identity. It is a remarkable exploration of how citizenship is forged by the brutal US imperial forces—through slave labor, forced detention, indiscriminate bombing, historical amnesia and wall. If someone asked me, Where are you from? I would answer, From The Grave on the Wall."—Don Mee Choi, author of Hardly War "Shimoda intercedes into the absences, gaps and interstices of the present and delves the presence of mystery. This mystery is part of each of us. Shimoda outlines that mystery in silence and silhouette, in objects left behind at site-specific travels to Japan and in the disparate facts of his grandpa’s FBI file. Gratitude to Brandon Shimoda for taking on the mystery which only literature accepts as the basic challenge."—Sesshu Foster, author of City of the Future "Shimoda is a mystic writer … He puts what breaches itself (always) onto the page, so that the act of writing becomes akin to paper-making: an attention to fibers, coagulation, texture and the water-fire mixtures that signal irreversible alteration or change. … he has written a book that touches the bottom of my own soul."—Bhanu Kapil, author of Ban en Banlieue "The Grave on the Wall is a passage of aching nostalgia and relentless assembly out of which something more important than objective truth is conjured—a ritual frisson, a veracity of spirit. I am grateful to have traveled along.”—Trisha Low, The Believer

Red spider lilies are bright summer flowers associated with death. It is said to be the color that sucked the blood of the people by the color of that red flowers was buried. It is a flower that has been appreciated by people in the past. However, in modern times seeing the cluster amaryllis ( Red spider lilies) in the grave is disliked because it associates with death. It is also known as "Higanbana flower", "hell flower" and "lycoris radiata" . In this poetry book, The concept was to create a number of poems that are said by those who are lying in their graves. The times when they try to call out to the ones they love, their past regrets and sometimes their yearning for a second chance in life. The poems are somewhat dark and pessimistic, and reflects the state of depression that may be perceived behind closed coffins. Hence, the naming of this poetry book.

Collection of my poetry. Dark, Erotic, and Religious.

This beautiful and moving poem, by an unknown author, was left by a soldier killed in Ulster "to all my loved ones". This special edition, sensitively illustrated with delicate drawings by Paul Saunders, is intended as a lasting keepsake for those mourning a loved one.

In this book Magdalene Mills reveals her path to creativity and spiritual development through images of her art and poetry. Using these mediums, she guides the reader through an intimate sojourn that results in her ultimate triumph over fear and adversity. On her creative path, she reconciles the pain, sorrow and desperation of lost loves, failed opportunities and the experience of growing-up in a poor, dysfunctional family. Ms. Mills provides us with a blueprint for forgiving, understanding, a strong belief in God and faith in the Universe. Each image and poem takes the reader to a new level of the self, leaving behind a positive experience where one emerges spiritually and emotionally clean. Her writings can serve as a tool for the spirit that we can all use, as we chart out own coarse and glimpse our own souls and its possibilities.

What happens to poets' genius when they die? The peculiar affinity which was felt to exist between their physical and literary 'remains' - their bodies and books - is the subject of this original cultural study, which concentrates on poets and poetry from the Romantic to late Victorian period. Poetical Remains deals with issues such as the place of burial, the kind of monument deemed appropriate, the poet's 'last words' and last poems, the creation of memorial volumes, and the commercial boost given to a poet's reputation by 'celebrity death', focussing in each case on the powerful, complex, often unstated but ever-present connections between the poet's body and their poetic 'corpus'. As well as the works of the poets themselves, Matthews draws on contemporary biography and memoirs, family correspondence, newspaper reports, and tribute verse among other texts, and places the literature of poetic death in its social, material, and affective context: the conflict between the idealized 'country churchyard' and the secular urban cemetery, the ideal of private, familial burial as against the pressure for public ceremony, the recuperation of death-in-exile as an extension of national pride, transactions between spiritual and material, poetic and pragmatic, in a secularizing age. Some of the most poignant and darkly comic moments in nineteenth-century literary history arose around the deathbeds of poets and the events which followed their deaths. What happened to Shelley's heart, and to Thomas Hood's monument; the different fates which dictated that the first Poet Laureate appointed by Queen Victoria, Wordsworth, was buried in his family plot in Grasmere, while her second, Tennyson, was wrested from his family's grasp and interred in Westminster Abbey - these are some of the stories which Matthews tells, and which are bound up in a sustained and powerful argument about the way in which our culture deals with artists and their work on the boundary between life and death.