Shadow and Refrain

This book, like the first, is troubled by the difficulty of frank expression in the more private nooks of day-to-day life, and is driven to find curious routes into the centres of experiences that resist simpler articulation.

Shadow and Refrain

Wong's highly anticipated second collection, a thematic sequel to 2017's acclaimed Poems Without Irony.

Shadow and Refrain

This book, like the first, is troubled by the difficulty of frank expression in the more private nooks of day-to-day life, and is driven to find curious routes into the centres of experiences that resist simpler articulation.

Shadow and Refrain

Alex Wong's first collection, Poems Without Irony (2016), was a book that took nothing for granted, that broke through to the particularity of things and experiences, distrusting and defying generality. Elaine Feinstein celebrated the 'extraordinarily new rhetoric for his love poetry' whilst David Morley commended his 'linguistic finesse'. Shadow and Refrain presses on, less coyly, with similar themes and a tenacious syntax that gorgeously persists until it has secured its quarry, the long sentences - sometimes running through several stanzas - asking to be read aloud to be secured. As the poet insists, 'These poems are designed to be read using the mouth' - for sensation even if not for fully voiced sound. This book, like the first, is troubled by the difficulty of frank expression in the more private nooks of day-to-day life, and is driven to find curious routes into the centres of experiences that resist simpler articulation. Some poems are imagined addresses to inaccessible friends, or engagements with significant places and objects. Intimacy is repeatedly probed, the processes by which it can be attained and lost, the preoccupations it brings with it and leaves behind.

The Substance of Shadow

The longest “stone's throw” would still allow for these last two, and the optics of the shadow formation are all right given an optimum placement of tree in relation to Mariana's window. Page 116: A shadowing refrain “We three, ...

The Substance of Shadow

In this book, based on unpublished lectures delivered at the University of Cambridge, the late John Hollander explores the poetic lives and afterlives of shadow, focusing on British and American poetry from the Renaissance to the end of the twentieth century. Hollander uncovers the myriad literary identities assumed by shadow its force as a metaphoric mirror, as material for parable, a form of knowledge, and a mode of vision. He shows us what kind of thinking can be done with and in shadow, and what love of shadow amounts to. In particular, he traces the history of how shadows acquire in poetry a mysterious substance the paradoxical means through which a thing, by nature secondary and passing, grabs at authority and becomes itself a source of life. In Hollander s poetic examples, shadow shows itself as a kind of light, clarifying things as much as it darkens them, even as it becomes a name for doubt and the unnamable. Hollander and the poets he discusses give us shadow as companion, comforter, and questioner; creator, stalker, and ghost; witness, destroyer, and double. If the book s argument suggests at moments an anatomy of melancholy, the shadow here is also an occasion of continuous wonder, an opening to the gifts of time."

Songs that Never Die

SHADOWS OF ANGELS ' WINGS . / line in the clouds be • neath it May bo abadows Rest for the Ideary , Rest . Music by W. Regredos ad a 非 of Angels ' wings . 2 볼 Refrain ad ko . Shadows shadows , shadows of An- gels ' wings , Shadows ...

Songs that Never Die


Shadow s Rise

Then the axe started to hum, before briefly bursting into the refrain, “A huntin' we will go, a huntin' we will go, high ho' the merry o' a huntin' we will go...” The axe stopped in mid-refrain as if surveying the party.

Shadow s Rise

In a world where beliefs are real, actualized by will, expressed by intent, Yip Chi Chuan, a young martial and spiritual ascetic, flees as the only home he has ever known, the ancient monastery of the Priests of K’un Lun, is destroyed by a newly ascendant extradimensional evil. Cast out and alone, Yip strikes out on a quest spanning the breadth of his home world of Ea’ae and into the greater macroverse beyond in an attempt to unseat an all-consuming Darkness rooted in his once vaunted Order’s distant past. Will Yip, the last of his kind to walk the wide world beyond his fallen sanctuary, succeed where his mighty brethren failed in Ages past? Unfortunately for Yip, the answer appears all too clear.... Without the guidance and teachings of his lineage, pursued by malevolent supernatural agents of the Cabal, unable to fully defend himself in a world steeped in magic, his own quest may fail before it ever begins. Unfazed by his own limitations, guided by his inner vision and direct experience of the energies of life, the radiant chi suffusing and enlivening the world all around, he is determined to triumph where others have faltered. To win forward, he will need help... but first he must survive. A blend of Eastern mysticism and Western fantasy, Shadow’s Rise is the first book of the Chronicles of the Fists, an epic trilogy recounting Yip’s adventures against all odds.

Ceremonies of the Pawnee

A tatu • te.rik [ a a a ] I saw him , CHORUS REFRAIN Third Stanza B cahriks rarahpaha • tu A man painted red . A a cikstit ratatu • ta And ... Hear , he says , REFRAIN : weraha · ku ka'a.ta.we • riki When the tree casts its shadow .

Ceremonies of the Pawnee


Neil Gaiman in the 21st Century

In the form of Lucy, the new god Media tries to seduce Shadow, calling him “sweetheart” and “honey” while attempting to convince ... becomes a refrain, a nightmarish thought Shadow unwillingly remembers as his journey continues (176).

Neil Gaiman in the 21st Century

A Library Journal Starred Review "An intriguing anthology of essays...fascinating...academics and readers who enjoy Gaiman's books will appreciate the care put into this impressive collection"--Library Journal "There is joy in seeing such diverse perspectives excavating Neil Gaiman's efforts. Not unexpectedly, the years of his work warrant endless analysis, and this volume is a keen example of such. It's a pleasure to be a part of it."--JH Williams III, New York Times bestselling comic book artist and writer. Neil Gaiman has emerged as one of the most influential literary figures of the 21st century. To borrow a phrase from his viral 2012 University of the Arts commencement speech, Gaiman "makes good art," from his graphic novels to his social media collaborations, award-winning fantasy fiction and beloved children's books. This collection of new essays examines a range of Gaiman's prolific output, with readings of the novels American Gods, Anansi Boys, The Graveyard Book and The Ocean at the End of the Lane. Children's books The Wolves in the Walls and Blueberry Girl and the online short story collection A Calendar of Tales are discussed. Gaiman's return to the serial comic book form with Sandman: Overture is covered, and Artist J.H. Williams III contributes an exclusive interview about his collaboration with Gaiman on Sandman. Cartoonist Judd Winick offers a personal essay on how contemporary artists have been influenced by Gaiman's work.

Rumanian Folk Music

Refrain: Lo, the crab apple is ruddy! 15. There, below, (and) lower down yet, Refrain There is a white flock of sheep. ... round shadow, Beneath (them's) round shadow, 10 Beneath (them's) round shadow, Beneath (them's) round shadow.

Rumanian Folk Music

n the first volume of Rumanian Folk Music (Instrumental Melodies) I portions of Bela Bart6k's subsequently-discarded preface, concern ing the fate of his folklore publications, are presented in explanation of the editorial processes necessary for achieving the publication. 1 By way of introduction to this revised edition of a previous, although in complete, published version of the Rumanian Carols and Christmas Songs (Colinde), we refer again to the author's suppressed lines which pertain to this volume: The second publication by the same publisher was to include my collection of Rumanian Colindas (Winter-solstice songs). Their extremely interesting texts were supposed to appear in original as well as in English. After several years of delay, the translation to English prose was completed, one part in adequate archaic English, the rest (by someone else) in most unsuitable Kitchen-English. The publisher did not wish to change this, though. Result: I published the book at my own expense; however, only the musical part, because of lack of sufficient funds. The texts are still in manuscript, even today. 2 Our primary aim, therefore, has been to unite the Rumanian poetic texts and translations with the musical part, in one volume, as was the desire of the author.

Enlightened Journey

The secret of the secret is to refrain from even stepping on the shadow of the master. 8. The inner of the secret is to refrain from harassing the consort of the teacher or one's vajra brothers or sisters, even in play. 9.

Enlightened Journey

This collection of fifteen articles and talks by Tulku Thondup constitutes a manual on how to transmute the situations encountered in daily life, whether external or internal, into spiritual disciplines and experiences. Among the topics covered are: The fundamental principles of Buddhism. The practice of meditation as a means of arousing compassion. How suffering can become a more powerful tool than happiness in achieving enlightenment. The symbolic significance of holy places, temples, statues, books, and other spiritual artifacts.

Smithsonian Contributions to Anthropology

А tatu • teorik la a al I saw him , CHORUS REFRAIN Third Stanza B cahriks rarahpaha tu A man painted red . A a cikstit ratatu.ta And well I ... Hear , he says , REFRAIN : weraha · ku.ka'a.ta.we • riki When the tree casts its shadow .

Smithsonian Contributions to Anthropology


Chanting the Psalms

[refrain] O come, thou Dayspring from on high, and cheer us by thy drawing nigh; Disperse the gloomy clouds of night, and death's dark shadow put to flight. . . . [refrain] O come, desire of nations, bind in one the heart of all ...

Chanting the Psalms

Chanting the psalms, or psalmody, is an ancient practice of vital importance in the Christian spiritual tradition. Today many think of it as a discipline that belongs only in monasteries—but psalmody is a spiritual treasure that is available to anyone who prays. You don’t need to be musical or a monk to do it, and it can be enjoyed in church liturgical worship, in groups, or even individually as part of a personal rule of prayer. Cynthia Bourgeault brings the practice into the twenty-first century, providing a history of Christian psalmody as well as an appreciation of its place in contemplative practice today. And she teaches you how to do it as you chant along with her on the accompanying CD in which she demonstrates the basic techniques and easy melodies that anyone can learn. “Even if you can’t read music,” Cynthia says, “or if somewhere along the way you’ve absorbed the message that your voice is no good or you can’t sing on pitch, I’ll still hope to show you that chanting the psalms is accessible to nearly everyone.”

The Oxford Handbook of Cinematic Listening

... a close collaborator of the firm, asserts the artistic superiority of the shadows over the cinema: we do not deny the great attraction of ... Basically they are merely short pièces d'ombres with couplets and sometimes with refrain.

The Oxford Handbook of Cinematic Listening

The Oxford Handbook of Cinematic Listening explores the place of cinema in the history of listening. It looks at the ways in which listening to film is situated in textual, spatial, and social practices, and also studies how cinematic modes of listening have extended into other media and everyday experiences. Chapters are structured around six themes. Part I ("Genealogies and Beginnings") considers film sound in light of pre-existing practices such as opera and shadow theatre, and also explores changes in listening taking place at critical junctures in the early history of cinema. Part II ("Locations and Relocations") focuses on specific venues and presentational practices from roadshow movies to contemporary live-score screenings. Part III ("Representations and Re-Presentations") zooms into the formal properties of specific films, analyzing representations of listening on screen as well as the role of sound as a representational surplus. Part IV ("The Listening Body") focuses on the power of cinematic sound to engage the full body sensorium. Part V ("Listening Again") discusses a range of ways in which film sound is encountered and reinterpreted outside the cinema, whether through ancillary materials such as songs and soundtrack albums, or in experimental conditions and pedagogical contexts. Part VI ("Across Media") compares cinema with the listening protocols of TV series and music video, promenade theatre and personal stereos, video games and Virtual Reality.

The Book Of Shadows

Shadow. 53. I shall refrain From once again And live alone Within my own And speak The word That's seldom heard And think the thought No one can think And drink The divine drink It's a concoction And a ploy Of bliss And grace And joy ...

The Book Of Shadows

The book is a collection of poems dealing with various themes, emotions and mental states, the overarching, unifying idea being concealment. Shadows can hide both negative and positive aspects of nature and human nature. This relation always concerns the questions as to what is concealed and for what reason? It also attempts to make the point that certain things are actually revealed by concealment. That is, whatever is concealed says something about the person or situation that engendered the concealment in the first place. The poems attempt to consider some of these apparent ambivalences.

Southern Literary Messenger

SHADOW . however , refrain from the expression of the surTo pursue ! prise and gratification which attended its perusal . Thus , all nakedly , to glide , In its tone of liberality and good feeling , it differs Lovely poet , by thy side ...

Southern Literary Messenger


Light and Shadow

“I ask that you refrain from making comments about him, around them.” Xargon stresses. “They are protective of him, are they?” Rahzin snuffs a laugh, amused. “Perhaps more so than needed, yes.” Xargon admits. “I want to maintain a good ...

Light and Shadow


The Divine Hours Volume One Prayers for Summertime

We are like a puff of windo our days are like a passing shadow. Psalm 144:3-4 The Refrain for the Morning Lessons Blessed be the Lord day by day,” the God of our salvation, who bears our burdens. Psalm 68:19 A Reading Jesus taught us, ...

The Divine Hours  Volume One   Prayers for Summertime

The first volume in a trilogy of prayer manuals compiled by Publishers Weekly religion editor Phyllis Tickle as a contemporary Book of Hours to guide Christians gently yet authoritatively through the daily offices. The Divine Hours is the first major literary and liturgical reworking of the sixth-century Benedictine Rule of fixed-hour prayer. This beautifully conceived and thoroughly modern three-volume guide will appeal to the theological novice as well as to the ecclesiastical sophisticate. Making primary use of the Book of Common Prayer and the writings of the Church Fathers, The Divine Hours is also a companion to the New Jerusalem Bible, from which it draws its Scripture readings. The trilogy blends prayer and praise in a way that, while extraordinarily fresh, respects and builds upon the ancient wisdom of Christianity. The first book in the set, Prayers for Summertime, filled with prayers, psalms, and readings, is one readers will turn to again and again. Compact in size, it is perfect for those seeking greater spiritual depth. As a contemporary Book of Hours, The Divine Hours: Prayers for Summertime heralds a renewal of the tradition of disciplined daily prayer, and will whet the hunger of a large and eager audience for the follow-up autumn/winter and spring volumes.

In The Shadow Of God s Love

'Tis but a refrain old, familiar. As nature played in raucous tones, joy sifted down, infiltrating my soul with peace because. But an illusion understood by human senses, this fury from the sky. Reality is from God!

In The Shadow Of God s Love

Do you hunger to have a deep, personal relationship with God. Do you long to know more of His character? Do you need to find more of His peace, love, and mercy? Do you want more strength to face the challenges and trials of life and emerge victorious? God is so awesome it is impossible to confine Him to mere words. No two people relate the same way to God, and God is fresh in His dealings with each individual. Yet His character is constant and eternal, the same yesterday, today, and forever. We glean foremost from His Word but also by the insights of others, inspired by the Holy Spirit, to discover His Workings in the lives of mankind. These can be beams of light on our own pathway through life. The first part of this book attempts to capture a fragment of Who God is in poetry and verse. The second part is stories from the life of the author and her ancestors which proclaim God in every day living. God is to be in every part and aspect of life, and this book relates stories of life's joys, sorrows, heartrending trials, triumphs, and special times with God, as well as the mundane and the funny happenings of living. There are also poems of God's hand in nature outside the author's backdoor. To proclaim God, you must also live God. This book presents not only His Word but also how His Word can be applied to real-life situations and God's faithfulness throughout generations.

The Chinese Face of Jesus Christ

Refrain: In the cross, in the cross, be my glory ever, till my raptured soul shall find rest beyond the river. 2. ... O Lamb of God, bring its scenes before me; help me walk from day to day with its shadow o'er me. Refrain ... 4.

The Chinese Face of Jesus Christ

This volume completes the previous volumes 1, 2, 3a, 3b, and 4a of an interdisciplinary book project on the reception of Jesus Christ in China, as seen from the perspectives of Sinology, mission history, theology, and art history, among others. It consists of the following parts: A "Supplementary Anthology" that presents excerpts and longer quotations from selected works – such as translations, prayers, poems, and scholarly articles – listed in the bibliography of vol. 4a; two sections of "Notes on Contributors, Vols. 1–3b" and "Notes on Authors of the Anthologies, Vols. 1–3b, 4b" that provide short biographical information on the contributors of articles and authors of all texts in the anthologies; a "List of Reviews of Vols. 1–4a" published on the whole collection as well as on individual volumes; the Tables of Contents of vols. 1, 2, 3a, 3b and 4a; a "General Index and Glossary" that gives readers access to all articles and anthologies included in vols. 1, 2, 3a, 3b, and 4b, a corpus of almost two thousand pages of text; and finally a list of "Errata and Corrigenda."