Keuze uit de cabaret- en musicalliedjes van de Nederlandse dichter (1945- ) uit de periode 1965-2000.

Liedteksten uit het Nederlandse Cabaret van 1945 tot nu

Voor Geerten van Gelder die naar Australie vertrekt, vriendenboek met bijdragen van 42 leden van het Taalpodium

Bundel met 150 gedichten, gekozen uit de vele inzendingen voor de jaarlijks door de Stichting 'Werelddag voor kinderen en poëzie' uitgeschreven wedstrijd voor kinderen, geïllustreerd met enkele zwart-witte kindertekeningen. Vanaf ca. 9 jaar.

Gedichten van de Nederlands-Irakese dichter en politieke vluchteling (1958- ).

Keuze uit het werk van de Portugese dichter (1949- ) met vertaling.

Keuze uit de liefdesgedichten van de Duitse dichter (1797-1856).

"Nunca he visto reunidos como en él la gracia y el genio, el corazón alado y la cascada cristalina." PABLO NERUDA ROMANCE SONÁMBULOVerde que te quiero verde.Verde viento. Verdes ramas.El barco sobre la mary el caballo en la montaña.Con la sombra en la cintura,ella sueña en su barandaverde carne, pelo verde,con ojos de fría plata.Verde que te quiero verde.Bajo la luna gitana,las cosas la están mirandoy ella no puede mirarlas. Verde que te quiero verde.Grandes estrellas de escarcha,vienen con el pez de sombraque abre el camino del alba.La higuera frota su vientocon la lija de sus ramas,y el monte, ga

Ruth Stone once said, 'I decided very early on not to write like other people.' What Love Comes To shows the fruits of this resolve in the lifetime's work of a true American original. The winner of the National Book Award at the age of 87, Ruth Stone was still writing extraordinary poetry well into her 90s. This comprehensive selection includes early formal lyrics, fierce feminist and political poems, and meditations on her husband's suicide, on love, loss, blindness and ageing. What Love Comes To opens up her own particular world of serious laughter; of uncertainty and insight; of mystery and acceptance. It is a Poetry Book Society Recommendation. The book has a foreword by Sharon Olds, who 'had the joy of meeting Ruth Stone' as a teenager, a later encounter giving her 'a vision of a genius at work' 'Ruth Stone's poems are mysterious, hilarious, powerful. They are understandable, often with a very clear surface, but not simple - their intelligence is crackling and complex... She is a poet of great humor - mockery even - and a bold eye, not obedient. There is also disrespect in her poems, a taken freedom, that feels to me like a strength of the disenfranchised. Ruth's poems are direct and lissome, her plainness is elegant and shapely, her music is basic, classical: it feels as real as the movement of matter. When we hear a Stone first line, it is as if we have been hearing this voice in our head all day, and just now the words become audible. She is a seer, easily speaking clear truths somehow unmentioned until now... She has a tragic deadpan humor: love and destruction are right next to each other...'

We Are Owed. is the debut poetry collection of Ariana Brown, exploring Black relationality in Mexican and Mexican American spaces. Through poems about the author's childhood in Texas and a trip to Mexico as an adult, Brown interrogates the accepted origin stories of Mexican identity. We Are Owed asks the reader to develop a Black consciousness by rejecting U.S., Chicano, and Mexican nationalism and confronting anti-Black erasure and empire-building. As Brown searches for other Black kin in the same spaces through which she moves, her experiences of Blackness are placed in conversation with the histories of formerly enslaved Africans in Texas and Mexico. Esteban Dorantes, Gaspar Yanga, and the author's Black family members and friends populate the book as a protective and guiding force, building the "we" evoked in the title and linking Brown to all other African-descended peoples living in what Saidiya Hartman calls "the afterlife of slavery."