The Yearning Feed

The poems in Manuel Paul López's The Yearning Feed, winner of the 2013 Ernest Sandeen Prize in Poetry, are embedded in the San Diego/Imperial Valley regions, communities located along the U.S.-Mexico border. López, an Imperial Valley native, considers La Frontera, or the border, as magical, worthy of Macondo-like comparisons, where contradictions are firmly rooted and ironies play out on a daily basis. These poems synthesize López’s knowledge of modern and contemporary literature with a border-child vernacular sensibility to produce a work that illustrates the ongoing geographical and literary historical clash of cultures. With humor and lyrical intensity, López addresses familial relationships, immigration, substance abuse, violence, and, most importantly, the affirmation of life. In the poem titled "Psalm," the speaker experiences a deep yearning to relearn his family's Spanish tongue, a language lost somewhere in the twelve-mile stretch between his family's home, his school, and the border. The poem “1984” borrows the prose-poetics of Joe Brainard, who was known for his collage and assemblage work of the 1960s and 1970s, to describe the poet’s bicultural upbringing in the mid-1980s. Many of the poems in The Yearning Feed use a variety of media, techniques, and cultural signifiers to create a hybrid visual language that melds “high” art with "low." The poems in The Yearning Feed establish López as a singular and revelatory voice in American poetry, one who challenges popular perceptions of the border region and uses the unique elements of the rich border experience to inform and guide his aesthetics.

The origin of Sufism -- Self criticism; Reflection; Privacy and seclusion; Heart; Hope or expectation; Asceticism. People follow the Sufi path when they sense that Islam has a deeper dimension. The resulting self-purification leads to this inner dimension of Islamic rituals, a deeper understanding of the Divine acts, and a greater knowledge and love of Him. After this, God draws the novice to Himself. With the help of a spiritual guide, the novice begins the life-long journey back to God. This continual process of spiritual development along a path of the innate human poverty, helplessness, and powerlessness before God is undertaken in the knowledge that everything comes from God. Each novice does what is necessary to grow spiritually, and God bestows the appropriate blessings and stations. "The highest aim of creation and its most sublime result is belief in God. The most exalted rank of humanity is knowledge of God. The most radiant happiness and sweetest bounty for jinn and humanity is love of God contained within the knowledge of God; the purest joy for the human spirit and the purest delight for the human heart is spiritual ecstasy contained within the love of God. Indeed, all true happiness, pure joy, sweet bounties, and unclouded pleasure are contained within the knowledge and love of God." And Sufism is the school where people can realise the highest aim of creation.

THE YEARNING OF YAHVEH In terms of man's morality, the Old Testament is an account of tragic failure. Israel strayed repeatedly from the path mapped out by God, and He corrected them repeatedly with tough-love discipline. From the viewpoint of God's love, the Old Testament is a journal of immense compassion. Despite Israel's failures, God kept yearning for their genuine trust and love. He refused to give up on them and called them back by His prophets who relentlessly declared, "Thus says the LORD." The LORD is a translation of the Hebrew name Yahveh, God's personal name He revealed to Moses at the burning bush. The Yearning of Yahveh takes the reader on an exciting one-page-per-day journey through the Old Testament. Join the tour and discover the gospel in the scrolls of Hebrew Scripture.

This comprehensive study explores sufism as a form of self-purification, offering a deeper understanding of the sacred acts and a greater knowledge and love of the divine. The first volume of the series presents such sufi concepts as repentance, reflection, self-criticism, asceticism, piety, abstinence, self-supervision, and sincerity.

These essays survey the histories, the theories and the fault lines that compose the field of memory research. Drawing on the advances in the sciences and in the humanities, they address the question of how memory works, highlighting transactions between the interiority of subjective memory and the larger fields of public or collective memory.

The wildly unrestrained poems in Splinters Are Children of Wood, Leia Penina Wilson's second collection and winner of the Ernest Sandeen Prize in Poetry, pose an increasingly desperate question about what it means to be a girl, the ways girls are shaped by the world, as well as the role myth plays in this coming of age quest. Wilson, an afakasi Samoan poet, divides the book into three sections, linking the poems in each section by titles. In this way the poems act as a continuous song, an ode, or a lament revivifying a narrative that refuses to adopt a storyline. Samoan myths and Western stories punctuate this volume in a search to reconcile identity and education. The lyrical declaration is at once an admiration of love and self-loathing. She kills herself. Resurrects herself. Kills herself again. She is also killed by the world. Resurrected. Killed again. These poems map displacement, discontent, and an increasing suspicion of the world itself, or the ways people learn the world. Drawing on the work of Bhanu Kapil, Anne Waldman, Alice Notley, and Mei-mei Berssenbrugge, Wilson's poems reveal familiarity and strangeness, invocation and accusation. Both ritual and ruination, the poems return again and again to desire, myth, the sacred, and body