By Guy Gavriel Kay
Ahead of man Gavriel Kay grew to become identified for his groundbreaking works of speculative fiction he used to be an entire poet, his paintings showing in significant literary journals reminiscent of The Antigonish evaluation and Prism. over the years, whereas writing his dramatic overseas bestsellers, Kay has persisted to quietly discover the trails and bounds of poetry as well.
Now for the 1st time, man Gavriel Kay's poetry has been accrued and chosen for publication.
Readers of up to date poetry should be captivated through the beautiful craft and gear of those poems. a few are ironic and austere, slyly tracing the interaction of author and international, current and prior; others are sensual, even erotic, charting the mercurial yet abiding nature of passion-in love, in language, in historical past.
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Additional info for Beyond This Dark House
It also furnished h i m , his son Stanislaus suggested, with his remarkable vocabulary of oaths and obscenities. D u r ing these years he distinguished himself as a hunter and as a bon vivant at the 'jollifications' that followed the hunts. His quick, retentive m i n d formed the habit of mastering all the local details; he prided himself on knowing the history of every house and householder and, as he boasted later, 'There is not a field i n County Cork that I don't k n o w . ' His encyclopedia of local trivia was to be transmitted to James Joyce.
His sisters and his servants soon after discovered that the marshal had been killed at Prague at that very moment. T h e other tradition was that Archibald H a m i l t o n Rowan, a patriot and friend of Wolfe Tone, fled to the castle after his conviction i n 1794 for sedition. He shut its door just as the soldiers were shooting, so that their bullets entered the door; then he threw his hat o n the haha as a decoy, and let himself through a secret door into a tower room. His pursuers were fooled, thinking he had left, and he was able afterwards to make good his escape to France.
Or see only a youth in his florizel, a boy in innocence, peeling a twig, a child beside a weenywhite steed. —Finnegans Wake (621) James Joyce liked to think about his birthday. I n later years, fond of coincidences, he was pleased to discover that he shared his birth year, 1882, with Eamon De Valera, W y n d h a m Lewis, and Frank Budgen, and his birthday and year with James Stephens. That February 2 was Candlemas helped to confirm its importance; that it was Groundhog Day added a comic touch; and Joyce made it even more his own by contriving, with great difficulty, to see the first copies o f both Ulysses and Finnegans Wake on that white day.