Kirjahaku

In this remarkable book, Jane Miller writes about the experience of being a daughter and a sister, about the intensities of family life and the illuminations that come from the last days of parents. Relations describes a record-keeping kinship and offers portraits of her parents' long marriage, its mysteries and incompatibilities, of her grandfather, the scientist Redcliffe Salaman, and of her great-aunt Clara Collet, one of the first women civil servants. It is a story in which Karl Marx and George Gissing have parts to play.Here are the tensions of belonging and yet not belonging to an English middle-class at once hospitable to difference and internally divided. More than two hundred years of English history are present in these portraits, which show the dawning emancipation of women and the effects of empire on family life. It is the story of an evolution, of a move out of trade towards public service and the professions, and towards the dramas and family romance of recent times.

For the past four years Jane Miller, author of Crazy Age: Thoughts on Being Old, has been writing a column for an American magazine called In These Times. Her beautifully observed pieces about life, politics and Britain open a window to her American readers of a world very different from their own.'Her erudition is both dazzling and lightly borne, the personal often illuminating the political . . . Miller's is a welcome, necessary voice - readable, informative and entertaining' Times Literary SupplementJane Miller, author of the acclaimed Crazy Age, has for the past few years been writing a column for an American magazine based in Chicago called In These Times. Now, these beautifully observed pieces about life, politics and Britain, which opened a window for Americans on a world rather different from their own, are collected and published for the first time for her British readers.'Miller is a fantastic companion' Viv Groskop, Telegraph

Jane Miller loves poetry. In these provocative and deeply insightful essays, she unpacks the work of giants like Adrienne Rich, Paul Celan, Marina Tsvetaeva, Osip Mandelstam, and Federico García Lorca alongside painters such as Caravaggio and Paul Klee, as well as ancient Chinese music and techniques of the contemporary poem. Miller explores the use of the question mark in the history of poetry and its function as a revelation of poetic voice. She considers the positive and negative aspects of surrealism on the contemporary poem, its anti-feminist origins in France, its contemporary usage, and the benefits of super-real images. Miller examines how identity politics might affect the imagination. She describes ancient Chinese musical instruments to show how their sounds resonate off/in American poems and on the aural integrity of the lyric poem. She interrogates the political implications of language and the degeneration and regeneration of words. Finally, in an essay about what she dares not say about poetry, she comes out against forms of surrealism, narrative, jargon, rhetoric, irony, and appropriation. This masterful work can be read as advice to a young writer, but it also invites us into the mind of a writer who has developed her craft through the course of a lifetime of writing, reading, and exploring the world, showing not only the ideas that influenced her—feminist, lesbian, and international works—but also how Miller has, in turn, influenced ideas.

Working Time collects essays by prize-winning poet Jane Miller on the subjects of poetry, travel, and culture. The discussions of contemporary poetry begin with excursions into geography, where language literally “takes shape.” Each essay is set in a landscape, where the notion of travel as a poetic experience, from the American Southwest to places in Italy, France, and Spain, is explored. The essays consider notions of time, duration, narrative, documentary, and history in American poetry, and view poetry in the light of developments in feminism, postmodern theory, and contemporary poetic practice. In addition to poetry, Miller investigates a range of cultural products and art forms, including film, video, photography, painting, sculpture, music, and the Madonna phenomenon.

Jane Miller loves poetry. In these provocative and deeply insightful essays, she unpacks the work of giants like Adrienne Rich, Paul Celan, Marina Tsvetaeva, Osip Mandelstam, and Federico García Lorca alongside painters such as Caravaggio and Paul Klee, as well as ancient Chinese music and techniques of the contemporary poem. Miller explores the use of the question mark in the history of poetry and its function as a revelation of poetic voice. She considers the positive and negative aspects of surrealism on the contemporary poem, its anti-feminist origins in France, its contemporary usage, and the benefits of super-real images. Miller examines how identity politics might affect the imagination. She describes ancient Chinese musical instruments to show how their sounds resonate off/in American poems and on the aural integrity of the lyric poem. She interrogates the political implications of language and the degeneration and regeneration of words. Finally, in an essay about what she dares not say about poetry, she comes out against forms of surrealism, narrative, jargon, rhetoric, irony, and appropriation. This masterful work can be read as advice to a young writer, but it also invites us into the mind of a writer who has developed her craft through the course of a lifetime of writing, reading, and exploring the world, showing not only the ideas that influenced her—feminist, lesbian, and international works—but also how Miller has, in turn, influenced ideas.

Attitudes to bilingualism have always been contradictory. The possession of more than one language has been thought to be an advantage, even a necessity, while simultaneously being regarded as an inconvenience, sometimes a disastrous one. Yet more than half the world’s population is bilingual. Britain is also now a multilingual society. It is therefore important to understand the phenomenon of bilingualism and to unravel the contradictions in attitudes towards it. In her book Many Voices (originally published in 1983 and now with a new foreword by John Yandell), Jane Miller has set out to listen to children and to adults—some of whom are well-known writers—for whom bilingualism is undeniably an asset.If there are advantages to being bilingual, there are also problems: personal, social, and inevitably, political ones. Jane miller moves from individual testimonies to their cultural and educational implications. It may be, she suggests, that we can gain from the strengths of bilingual speakers’ knowledge which could enrich schooling and the curriculum for all children. By attending to the experiences of people who have had to make their way within a new society, we learn something about how all individuals construct their identities out of cultural difference. Language, languages are central to this. Jane Miller argues that bilingualism allows for a special focus on developments in culture generally which is useful to teachers, linguists, readers of literature, and makers of educational policy.

"Book by book, Jane Miller has evolved a mode, a voice, a palette and landscape entirely her own. If she were a painter, one might describe it as a descendant of cubism, a composition of multiple planes and reflections that appears to emerge out of itself, true to laws of its own nature, and yet is disturbingly recognizable, continuously suggestive, intimate and beautiful. Her subject is love and illusion and their revelation about each other."--W. S. Merwin"Reading Jane Miller's poetry is like channel-surfing on acid."--L.A. WeeklyJane Miller is a traveler stimulated by ideas beyond our immediate sphere. In this book-length sequence animated and propelled by a confrontation with her dead father, she meditates on home, love, war and the responsibility of the poet.A Palace of Pearls is inspired by one of the most spectacular civilizations in history, the Arab kingdom of Al-Andalus--a Middle Age civilization where architecture, science and art flourished and Christians, Jews and Muslims lived in relative harmony. The reader roams through "rooms," encountering Greek, Judaic and Roman mythology, and through the streets of fifteenth-century Spain and contemporary Rome in Miller's most personal and associative volume.From A Palace of PearlsWe bow our heads for the ancient draping of the gardenia lei in the hotel lobby and are relieved of our possessions as per a reminder that one must enter Paradise a little nakedJane Miller is the author of eight previous books of poetry and essays. She is a recipient of a Guggenheim Fellowship, two National Endowment for the Arts fellowships and a Lila Wallace-Reader's Digest Award. She lives in Tucson and teaches in the creative writing program at The University of Arizona, having served as the program's director from 1999-2003.

Our childhood such a large cellar with no bulb.Jane Miller brings a painterly eye to the elegiac in an ambitiously linked sequence that explores ecstasy and desire, memory and loss, the ancient and the ultramodern. Suggesting the thunderbird of Native American lore as readily as modern American warfare, Thunderbird is a book of mourning and loss redeemed by the body and the mind.Jane Miller is the author of nine books of poetry, including A Palace of Pearls (Copper Canyon Press, 2005), which won the Audre Lorde Prize. Miller teaches at the University of Arizona and lives in Tucson, Arizona.

"Her lusher effusions gain astringency from an achingly palpable heartbreak, and from an increased awareness of technology, commodity, politics: swoon meets zoom." --Boston Review"Jane Miller is by far one of our best poets writing today . . . Miller is like the NASA space station of poetry: out of this world, yet of it, and still looking down. From her peculiar and important vantage she blows us kisses in the form of images that hit their mark." --Lambda Book ReportJane Miller's eleventh book, Who Is Trixie the Trasher? and Other Questions, is a hyper-political and brassy collection of poems that questions authority, sexism, ageism, and romance in the face of mortality. Differing from her earlier poems in their range and urgency, this collection retains Miller's signature lyric voice, personal yet thrilling in its associative leaps. Her intimate language illuminates and soothes our current trauma--especially as experienced by women--where nightmarish reality must answer to human dignity.. . . Would you ever catch her at home, washing her panties before dawn, her dishes, leveling with you in this sexist worldof male gaze and female fuckability, everyone looking for a little empathy in the end? . . .Jane Miller is the author of eleven collections of poetry, including A Palace of Pearls, winner of the 2006 Audre Lorde Award. She has received numerous awards and fellowships, including a Guggenheim fellowship and the Western States Book Award. She currently resides in Tucson, Arizona.

A herald of desire, mortality, and the mission of poetry itself, Jane Miller's Paper Banners catalogs the intimate experiences that create a life, hoping that "what will survive of us is love."A herald of desire, suffering, mortality, and the mission of poetry itself, Jane Miller's Paper Banners "say the cosmos/ isn't hostile/ yet strangles a dove /with one hand." Against this angst, Miller steps outside of history to contemplate voices of love, aging, and artmaking. Many poems are addressed to family members, friends, and young poets, or pay homage to familiar figures taken by time or tragedy, including Virginia Woolf, Osip Mandelstam, and the Song Dynasty poet Li Qingzhao. In clear, short lines, these poems harken to ancient banderoles, or pennants, which announced rallying cries on the lances of knights and mottoes on the flags of ships. Here, Miller's Paper Banners are made of images of the American Southwest and scrutinize its political and physical landscape. Like skywriting streamed in white smoke, this collection bears its message on the wind, its words addressed to anyone. As Miller catalogs the intimate experiences that make up a life--friendships, loves, dreams, our human connection to the environment--Paper Banners becomes a hope that "what will survive of us is love."

Take your French braid quilts in dramatic new directions with this sequel to the bestselling French Braid Quilts. You'll love the new shapes and sizes, new techniques, and bold new colors. You'll also love what hasn't changed-the fast strip piecing and crystal-clear instructions that have made French braid quilts a favorite style for thousands of quilters.