Download The Dream Songs: Poems (FSG Classics), by John Berryman Michael Hofmann

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Review

“I'd be shucking my obligation not to . . . make a renewed case for ‘The Dream Songs.' It's a book that collects Berryman's original 77 dream songs and adds the further 308 he later wrote. This new edition includes a fond, funny and brilliant introduction by the poet and translator Michael Hofmann. Here is Berryman's masterpiece, one of those books of American poetry that, like certain mountains, has its own weather. Berryman found his form in these songs. They are serious, ambitious and elastic arrangements he could put everything into, high culture and low, Shakespeare as well as the blues, strong religious feeling as well as low impulses of every variety.” ―Dwight Garner, The New York Times“The character of Henry [the hero of The Dream Songs] is a permanent addition to our literature.” ―James Schevill“A major achievement . . . [Berryman] has written an elegy on his brilliant generation and, in the process, he has also written an elegy on himself.” ―A. Alvarez, The Observer

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About the Author

John Berryman (1914–1972) was an American poet and scholar. He won the Pulitzer Prize for 77 Dream Songs in 1965 and the National Book Award and the Bollingen Prize for His Toy, His Dream, His Rest, a continuation of The Dream Songs, in 1969. Michael Hofmann is an acclaimed poet, translator, and critic. He has published six books of poetry and has translated more than sixty books from the German, including Gottfried Benn's Impromptus: Selected Poems and Some Prose, as well as works by Ernst Jünger, Franz Kafka, and Joseph Roth. His criticism appears regularly in the London Review of Books, The New York Review of Books, and Poetry. He currently teaches poetry and translation at the University of Florida.

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Product details

Series: FSG Classics

Paperback: 464 pages

Publisher: Farrar, Straus and Giroux; Reprint edition (October 21, 2014)

Language: English

ISBN-10: 0374534551

ISBN-13: 978-0374534554

Product Dimensions:

5.5 x 1.3 x 8.2 inches

Shipping Weight: 1.2 pounds (View shipping rates and policies)

Average Customer Review:

4.4 out of 5 stars

42 customer reviews

Amazon Best Sellers Rank:

#357,892 in Books (See Top 100 in Books)

To say I love John Berryman's THE DREAM SONGS is a vexed statement. These poems are brilliant, inventive, exciting, and put you in a careening roller-coaster with no brakes unless you drag your feet. They are intense past imagining. Berryman himself wrote that his protagonist, Henry, has "suffered an irreversible loss". As a consequence his life is hell. I don't think you should necessarily see that sentence as metaphorical. Yes, Henry is in hell but he has been there so long he's grown accustomed to the burning and the despair. You could say every time he voices one of his "dream song" he rises above both and speaks in a firm, persuasive, commanding voice. The problem I have as a novice with these poems is one of entry. I sense there are doors and windows galore to enter and exit each poem, but I have not found them accessible.What I need are notes such as we find in volumes of Eliot, Yeats, and others. Also, a series of close reading of selected poems would provide invaluable guidance. Needless to say, you don't pick up THE DREAM SONGS for casual readings. Berryman is the Dostoyevsky of poets; be prepared for that kind of intensity and transcendence.

In the preface to Berryman’s, The Dream Songs, Merwin writes that the work was – and in my opinion, still is – a, “…primal manifestation of poetry itself.” With its broken syntax, its mediations that pit themselves against gigantic thoughts like God and the universe, and the constant, yet erratic, format, tenses and word choice, The Dream Songs, especially the initial 77 Dream Songs, indeed feel like a man who is wrestling with language in a manner that is both infantile and foreign. But no reader should assume this was accidental, much less a sign of incompetence on Berryman’s part. In his 1965 review for POETRY magazine, Frederick Seidel concluded that 77 Dream Songs were a, “…brave original work, having a magnificent obstinancy.” This is possibly the most accurate description of Berryman’s craft in 77 Dream Songs I have found. They are magnificent in their scope of content: politics, race, Greek myth, biblical allusions, and pop-culture, etc. The obstinacy, for me, refers to Berryman’s devotion to being borderline incomprehensible, and at the same time, wildly enjoyable. Berryman know exactly what he was doing; it took him 13 years to write 77 Dream Songs. In a stroke of linguistic genius, he whittled away at language until we, the reader, are left with the core details, twisted and full of knots, like a walking stick with which we can traverse the chaos of The Dream Songs.

This assemblage of six line stanzas, in precarious sonnet form, that is, Henry's de facto form, finds the text crammed and twisted, the poetic content bewilderingly mashed into many of these lines of text. What starkly emerges is the power of an intense amount of self-generated pain.The despair and self-loathing contrasts sharply with the wicked wit and occasional flash of meanness; the confessionally inclined Henry emerges as a not-too-honest, lustful and quite sad storyteller. The DREAM SONGS are anything but flawless; and yet, the flaws are so unique that they augment the collage of experience that Berryman at times compellingly depicts. Some of the SONGS are flat out brilliant, while others are just oozing with sticky pathos and self-indulgent whining. These are the loosely linked themes that bear the load of Henry's loves, losses, work-in-progress, current events, and even some domestic details.Berryman's denial notwithstanding, his Henry and Bones personas, standing unsteadily through the too-many alcoholic dawns ... well, he somehow manages to pull himself together enough to shakily get to class and lecture in order to earn some more whiskey money. And to his credit, his erudition lurks on through these self-styled sonnet songs - experimental collages, maudlin at times, fueled by the hard liquored nights.Jung would say Berryman is "too high up in his mind", a personality riddled with self-importance. Under the currents of self-loathing and pity lurks an obvious hankering for fame - and the DREAM SONGS provide the catharsis and exit for his regrets, which seem many.No, Henry is not one prone to humility - and his creator can be a real horse's ass, with many racist undercurrents weaving through the sniveling and morbid death obsessions. Yet, throughout all the textual dross, lies the glint of poetic nuggets waiting to be claimed by the metaphorically intrepid.

Berryman’s poetry is complex and deep. There were many points where I felt lost and simply decided to swim along with the words. I didn’t regret any of the time I spent with this book. I notice some reviewers observed that this is a book that you can return to year after year and I anticipate doing so myself. There is beauty here, sometimes of a very dark kind, and some passages that I would read over and over again because they seemed to so true. Highly recommended for fans of modern poetry.

Henry's pelt was put on sundry wallswhere it did much resemble Henry andthem persons was delighted.Especially his long & glowing tailby all them was admired, and visitors.They whistled: This is it!--From Dream Song 16. That final "it" is italicized.You will admire his long & glowing tail. You will whistle, as I have so often whistled, This is it. You will read these poems again and again. Indispensable.

This was the book that inspired me to attend grad school (so should I send Berryman's estate the bill?). The book follows Henry, a persona developed by John Berryman...many of the poems are autobiographical and confessional in nature.The poems are wild and yet Berryman strongly adheres to a sonnet form.A great book in the canon and not often celebrated enough.

I studied this book at the graduate level. Berryman is frequently difficult, but truly important to study for a rounded perspective of 20th century poetry. While not easily accessible, his work takes off in magical ways that always amaze. A must read for the serious poet, but consider reading other writings about these poems.

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Get Free Ebook Bossypants

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Audible Audiobook

Listening Length: 5 hours and 32 minutes

Program Type: Audiobook

Version: Unabridged

Publisher: Hachette Audio

Audible.com Release Date: April 5, 2011

Whispersync for Voice: Ready

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Free PDF Who HQ 3-Book Collection: Presidents (Who Was?)

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About the Author

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Product details

Age Range: 8 - 12 years

Grade Level: 3 - 7

Lexile Measure: 0720 (What's this?)

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Series: Who Was?

Paperback: 336 pages

Publisher: Penguin Workshop (May 15, 2018)

Language: English

ISBN-10: 9781524790998

ISBN-13: 978-1524790998

ASIN: 1524790990

Product Dimensions:

5.4 x 0.9 x 7.7 inches

Shipping Weight: 13.6 ounces (View shipping rates and policies)

Average Customer Review:

5.0 out of 5 stars

2 customer reviews

Amazon Best Sellers Rank:

#192,458 in Books (See Top 100 in Books)

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PDF Ebook Porcelain: A Memoir, by Moby

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Review

“A lovingly composed new memoir that tracks his journey from living in an abandoned factory in Connecticut to playing the hottest clubs in New York and Europe. …Porcelain reads like an intimate meditation on the various contradictions Moby has resolved over the course of his 50 years: his Christian faith vs. his hedonistic streak; his hunger for stardom vs. his retiring nature; his respect for ambition vs. his deep belief in luck. The book is also a tender ode to a vanished New York City.”—Los Angeles Times    “As much a portrait of downtown Manhattan in the late ‘80s and ‘90s as it is an iconoclastic artist’s coming-of-age story, this raucous, candid memoir will fascinate the electronic musician’s many fans.”—People “Porcelain vividly evokes a certain place and time—specifically, New York in the ’90s. It simultaneously presents a portrait of its author that’s withering in the extreme. At the same time, it offers a perfect freeze-frame of downtown New York in the Dinkins to early Giuliani years, when far more of the cherished stench of ’70s and ’80s city lingered than some may remember.”—New York Observer “Riveting.”—Rolling Stone“Rock memoirs rarely live up to expectations, but… Porcelain is an exception. It ranks with Kim Gordon's Girl in a Band and a handful of others in recent years as a particularly incisive look at not just a life in music, but at the cultural and social circumstances that helped shape it. It is by turns self-deprecating, hilarious and moving.”—Chicago Tribune “Moby’s Porcelain is a buoyant coming-of-age story set in the filthy, dangerous New York City of the 1990s that the musician and DJ adored. Funny, bighearted and raw.”—San Francisco Chronicle“Entertainingly gritty… A distinctive addition to the recent spate of well-written memoirs by contemporary musicians, a list that would include the likes of Elvis Costello, Patti Smith, and Carrie Brownstein.”—Kirkus Reviews“A love letter to chaotic 1990s New York…Moby’s prose is honest, self-deprecating, and full of mordant wit, and when music is playing, it shines with exhilarating emotion.” —Publishers Weekly, starred“Ten years of Moby’s life, mostly in the decrepit, dangerous, much-loved New York City of the 1990s, a life comically overcrowded,  filthy, alcohol-fuelled, vegan, unbelievably noisy, full of spit and semen and some sort of Christianity; and often, suddenly, moving. The writing is terrific, enlivened by a bewildered deadpan humor that makes crazy sense of it all. His ancestor Herman Melville would, I think, be simultaneously revolted and proud.” —Salman Rushdie“Full disclosure: Moby is a friend of mine, yet I had no idea that he was such a brilliant writer and storyteller. Porcelain, to me, is a classic and beautifully told bildungsroman—a young man comes to the city to find himself. And Moby tells this tale of his youth—his search for meaning and music—with gorgeous clarity, comedy, and compassion. Porcelain also serves as a history of downtown New York of a certain time, a New York that doesn't really exist anymore, but I was very happy to reencounter it here through Moby's particular and fascinating lens.” —Jonathan Ames, author of Wake Up, Sir! “This is one of the funniest and most accessible books you'll ever read about an erstwhile Christian/alcoholic vegan electronic music maker. Throughout the adventures and misadventures, Danish music festivals and Barbadan disasters, Moby manages to stay wide-eyed, grateful and amazed, which itself is a real gift to the reader: we feel welcome in—or just as out of place as he feels—in the world of rock and raves and clubs. He remakes the music world into the form it should be: nonexclusive, unpretentious, less about division and stratification, and more about radical inclusion. Music shouldn't exist any other way.” —Dave Eggers   “Raw, honest, cruel and funny, Moby's beautifully-written memoir is a pure act of bravery. He allows us to ride on his shoulder as he chases a dream through New York nightlife and the European club scene, his self-deprecating humor and unguarded nature lulling us into believing the ride will be breezy and the landing soft. Only when he starts plummeting to earth do we realize that we’ve left his shoulder and climbed into his head, where self-deprecation reveals itself as self-loathing that is chasing self-destruction. It’s a dark place with jagged edges—not the spot to ride out this kind of fall, and Moby hides not one shard of it from us. But, in perhaps in an even greater act of bravery, he also never hides behind cynicism, or distances himself from the hope, and even innocence, of his dreams. I wish my writing could be even half as honest.” —Paul Haggis   “Honest, funny, and sometimes raw, Porcelain is an intimate look at a life in motion. It proves that Moby writes like he plays music–with passion and precision and heart.” —Susan Orlean

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About the Author

Moby is a singer-songwriter, musician, DJ, and photographer. His records have sold 20 million records worldwide. AllMusic called him "one of the most important dance music figures of the early '90s." He lives in Los Angeles.

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Product details

Paperback: 416 pages

Publisher: Penguin Books; Reprint edition (May 16, 2017)

Language: English

ISBN-10: 0143110209

ISBN-13: 978-0143110200

Product Dimensions:

5.4 x 0.9 x 8.4 inches

Shipping Weight: 1.1 pounds (View shipping rates and policies)

Average Customer Review:

4.3 out of 5 stars

134 customer reviews

Amazon Best Sellers Rank:

#291,766 in Books (See Top 100 in Books)

"With reluctance, I agreed. To be descended from Herman Melville and not try to write my own memoir would seem like a bit of a hereditary affront."Before launching the editor to write up this review, I checked my iTunes library and discovered that I have seven and a half hours of Moby's songs on my laptop, some of which have been played hundreds of times. As an avid listener for nearly two decades now, I knew precious little about the musician himself.I didn't know he grew up dirt poor and lived for several years out of an abandoned factory in Stamford, Connecticut with not much more to his name than some assembled DJ equipment and an electric hot plate. I didn't know that he wrestled for most of his life over what it means to be a Christian and whether he was one. I didn't know he released a punk rock album in 1996 that nearly crashed his career. Nor was I aware that he once had a full head of hair and that his losing it, along with the ebb and flow of his early musical career, persistently plagued his wavering self-image.Now I had learned that he declined the usual route of handing your story to a ghostwriter and instead chose to go it alone, earning himself a glowing blurb from none other than Salman Rushdie in the process.This 2016 memoir-cum-bildungsroman covers what I take to be the most pivotal decade of Moby's life (1989-99). It precedes his meteoric rise ushered in with the release of Play, and it was during this interval that a young, David Lynch-obsessed artist living in squalor and struggling to make ends meet put his hopeful ambition to the test. This is Moby at his most raw, the literary counterpart to the brooding lyrics and emotional vulnerability echoed throughout his diverse catalog. His anxieties, frustrations and patient reflections are all on full display, enabling a clearer image of the life and mind behind such masterpieces as "Honey," "Flower" and "Go."Today Richard Melville Hall—a patronym completely usurped by his familiar stage handle—is uncontroversially regarded, on both sides of the pond, as among the world's most influential electronic musicians. But reaching such a high point of acclaim and notoriety was hardly preordained, even for one as talented as Moby. Sure, he rubbed elbows with Dream Frequency, 808 State, Underground Resistance and other toplining acts in the thriving 90s rave scene, and later cut his teeth on international tours with the likes of Soundgarden, The Prodigy and Red Hot Chili Peppers, but his ultimate status as an industry icon was never a guarantee.The transition from quasi-homeless youth with sporadic access to running water to leading DJ for a new nightclub in the heart of Manhattan is a fascinating story in and of itself. When he caught wind of a club soon to open in the Meatpacking District, Moby scraped together the fare to make the trip from his ascetic abode in Connecticut to the anarchic streets of NYC. He waited in the long line of job-seekers, only to learn that busboys, bouncers, and bartenders were being hired, not DJs. He awkwardly left his mixtape with the staff anyway. One day later, he received the call that would change his life forever.In Gotham's rave scene circa the late 80s and early 90s, Moby was as much of an outlier as ever. Electronic music was still underground, and nightclubs of the era featured dancefloors populated almost solely by African Americans, Latinos, and LGBTs. Moby was none of the above. But it was here that he felt most at home, more so than with his Christian friends and at the faith-filled weekend retreats he found himself attending with his on-and-off girlfriend. The self-seeking judgment and mounting internal guilt that so engulfed his religious existence outside the club all but evaporated whilst spinning dancehall records for vibrant non-white crowds until the sun came up.It's no secret that the scent of nostalgia combined with the distance of time can cause one to idealize a complicated past. Moby attests to the dangers of living in New York City in 1989. Ravaged by AIDS and crack and gang violence, the city was infamous for the highest murder rate per capita in the country, with "teenagers running through Times Square and stabbing tourists with infected syringes," ran one story in the Post, where "kids routinely walked through the [subway] cars stabbing people and stealing their watches and wallets and chains and sneakers." Nevertheless, for Moby SoHo, with its quiet lofts and art galleries, was home, part of "a perfect city"—and where DJ genius was born.Perhaps the least surprising pivot in the book concerns his fraught relationship with alcohol and promiscuity, which marked a shift from his deacadeslong spree as a straight-edge, teetotaling animal rights activist. He never drops the veganism, of course, but as with any musical celebrity you can care to name, Moby battled with alcoholism over the years and liberally pursued a wanton sex life. He is straightforward and honest about this, never one to make excuses, even as he describes a series of bleak events in his life such as the loss of his mother and the looming dread that his career as a musician might be over.Moby never renounces his Christian faith outright in his memoir. He does, however, recount his evolving views on religion and belief in God. Growing up in youth group, he vents often about a felt incompatibility between the actions of his fellow Christians on the one hand and living what he believed to be a truly ethical life on the other—one committed to lessening the suffering of others, both of the human and nonhuman variety. He notes that reading Sartre and Camus and exposure to existentialist philosophy in college helped undermine his confidence in theistic traditions. At one point he describes a particularly resonant moment of satori in which the final vestiges of his Judeo-Christian worldview seem to slip away, replaced by a humble sublimity that acknowledges human ignorance in the face of cosmic complexity.Closing ThoughtsMoby's music has always carried with it a spark of inspiration, uniquely capable of catering to just the right mood for almost any occasion. Indeed, he's the only artist I know of whose melodies can calm as effortlessly as they can energize. Though genres and tastes evolve, his recordings, both the more ambient soundscapes as well as the pulsating dance rhythms designed to be played at deafening volumes, have remained relevant through it all. His recent memoir, by turns glum and joyous, provides an unflinching look at Moby's life as an aspiring musician navigating the bedlam of the Big Apple in the 1990s and the thought processes and influences that fed into his work.For me his origin story raised a number of intriguing questions related to determinism versus chance—namely whether Moby's success was shaped my random encounters, or whether musicians of his caliber and in possession of his talents were always destined for greatness at the outset. (I'd be curious to hear other's thoughts on this question.) But in the end, Porcelain is a brooding, anxious, frequently insightful memoir that commemorates an intimate period in the life of a brilliant artist whose timeless music continues to inspire generations of fans around the world.

I've followed Moby for years. I loved listening to him in the 90s. Then as he got popular, I continued to enjoyed his music. This isn't a happy book to read. Moby isn't happy. At least he doesn't seem to be happy when he shares his life story...But it's raw. Really raw. Reading it gave me a sense of catharsis in much the same way I feel it gave Moby as he wrote it.Here's what I like most. Contrast. Reading this book was a fascinating journey and I grew as a result of it. And I couldn't stop reading it.Let me explain.I relate to Moby in a variety of ways. We're one year apart in age. I grew up in Minnesota - and I had lots of anxiety and fear growing up. I married a woman from New York (she grew up in Manhattan) and her family is there. I've learned a lot about humanity by spending lots of time in NYC.I'm a natural-born serial entrepreneur but in my youth I had aspirations of being a musician and artist. I had a MIDI studio and much of the same equipment he did (like the Alesis Drum Machine in his photos).Many of my friends are musicians. They chose their path, I chose capitalism and business. I was too scared to pursue music and afraid of being poor.I've been successful at business. I have a very nice life. When I visit my musician friends, they've had it much harder than me. Now, as they're 50 or so, most have moved on to different things and they struggle. None of them made it "big" - even though many survived full-time on the road.I'm not trying to compare - I just haven't spent time thinking through a lens like this in a long time. This book took me on a meaningful journey. It made me think. And feel. In ways I haven't in quite a while.Moby takes you with him and shares his life in a way that explains what each of the songs from his album "Play" means in a very creative way in the last chapter of the book.I can't give the book 5 stars.. But I gave it 4 stars because I enjoyed the journey. Nice job, Mobe. You made me feel and think. I appreciate your talent.And I'll definitely read your next book if you write another one.

If you're reading this, chances are you've heard some of Moby's music. Most people probably recognize him by his best selling album "Play". I'm personally a pretty big fan of his so I pre-ordered this book with disregard as to whether or not Mr. Moby could string two sentences together. Wow, what a wonderful surprise.It's a well written snippet into 10 years of this man's life that helped make him the amazing artist that he is today. Using mostly NYC as the backdrop, you get to relive so many moments out of his life that are at times seem almost too crazy to be true. Some of the stories are humorous. Some are dark. Others are sad. While some are poignant and really show a side of him I never thought I'd learn about.Some of my favorite chapters involve his stories of how he created his most iconic songs ("Go", "Feelin' So Real" etc.). Really fascinating stuff.Even if you aren't a fan of Moby, I'd still recommend this as a good read.Thank you Moby for writing this and sharing with us a piece of your life.

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Free Ebook Keena Ford and the Field Trip Mix-Up, by Melissa Thomson

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Review

Another sassy, impulsive chapter-book heroine "a la" Clementine or Moxy Maxwell. "Kirkus Reviews"?Another sassy, impulsive chapter-book heroine "a la" Clementine or Moxy Maxwell.? ?"Kirkus Reviews""Another sassy, impulsive chapter-book heroine "a la" Clementine or Moxy Maxwell." - "Kirkus Reviews"

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About the Author

Melissa Thomson is an elementary school teacher in New York City where she lives with her husband, Pete, and their three plants. Melissa began her teaching career at Emery Elementary School in Washington, DC. Her students at Emery inspired her to write about Keena Ford.

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Product details

Age Range: 6 - 8 years

Grade Level: 1 - 3

Lexile Measure: 620L (What's this?)

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Series: Keena Ford (Book 2)

Paperback: 112 pages

Publisher: Puffin Books (August 12, 2010)

Language: English

ISBN-10: 9780142415726

ISBN-13: 978-0142415726

ASIN: 0142415723

Product Dimensions:

5.1 x 0.3 x 7.8 inches

Shipping Weight: 3.5 ounces (View shipping rates and policies)

Average Customer Review:

4.8 out of 5 stars

92 customer reviews

Amazon Best Sellers Rank:

#15,330 in Books (See Top 100 in Books)

This book was finished in one sitting by my 9 year old. She (my 9 year old) was laughing so loud at one point I thought she was watching television instead of reading. The Junie B. book series are good, but this book allowed my African American child to see herself in a character AND enjoy the read.

In her second book, second grader, Keena Ford lives with her middle-school-age brother and mother in Washington, DC. Her father lives in Maryland, and she and Brian visit him on weekends. Her class is preparing for a major field trip to the capital. Not only does she have a big mishap with her hair before the trip, it is the first of many. Keena doesn't want to be the line leader for her class, she always wants to be the last in line, the "caboose." She is usually outsmarted by Tiffanyand getting to be the "caboose" becomes a real issue for Keena. This issue for Keena spills over - literally - to Representative Thomas, the house representative for her district.With insight into the emotions and thoughts of a small girl, the author has made this character into a real character. Keena's misadventures will make all readers laugh. When running for the student council, Keena's poster read, "You'll never be bored with Keena Ford. " Neither will readers.

My daughter loved this book. I struggled for a while with getting her to enjoy reading. She's always read above grade level but hates to do it. I realized the way to get her to enjoy it more was by buying books that she herself could relate to. It also helped that this book featured a little brown girl on the cover that looked just like her. Only issue I had was a few minor grammatical errors but the content was great and she was very engaged. I'll definitely buy more books from this author for my little one.

Purchased this book for my 2-year old a granddaughter who at school insists that she always has to be first in line. The book is a teaching tool for her.

My daughter is starting to read chapter books - she is in the 1st grade. I was purchasing the Junie B Jones series for her but began to get irritated that Junie B Jones cannot speak proper english. I like this book because Keena Jones is a cute character and she speaks using real words and she is dealing with real situations that kids are faced with at school.

My daughter loves this book because it's easily relatable.

Fantastic read for your little one. My 7 y/o absolutely love this book.

Cute book, easy read for 9 yr old

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