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The Collected Poems of W.B. Yeats Introduction by Cedric Watts Wordsworth, 1994. Mek povez, 402 strane. William Butler Yeats[a] (13 June 1865 – 28 January 1939) was an Irish poet, dramatist and writer, and one of the foremost figures of 20th-century literature. He was a driving force behind the Irish Literary Revival, and along with Lady Gregory founded the Abbey Theatre, serving as its chief during its early years. He was awarded the 1923 Nobel Prize in Literature, and later served two terms as a Senator of the Irish Free State. A Protestant of Anglo-Irish descent, Yeats was born in Sandymount, Ireland. His father practised law and was a successful portrait painter. He was educated in Dublin and London and spent his childhood holidays in County Sligo. He studied poetry from an early age, when he became fascinated by Irish legends and the occult. While in London he became part of the Irish literary revival. His early poetry was influenced by John Keats, William Wordsworth, William Blake and many more. These topics feature in the first phase of his work, lasting roughly from his student days at the Metropolitan School of Art in Dublin until the turn of the century. His earliest volume of verse was published in 1889, and its slow-paced and lyrical poems display debts to Edmund Spenser, Percy Bysshe Shelley and the poets of the Pre-Raphaelite Brotherhood. From 1900 his poetry grew more physical, realistic and politicised. He moved away from the transcendental beliefs of his youth, though he remained preoccupied with some elements including cyclical theories of life. He had become the chief playwright for the Irish Literary Theatre in 1897, and early on promoted younger poets such as Ezra Pound. His major works include The Land of Heart`s Desire (1894), Cathleen ni Houlihan (1902), Deirdre (1907), The Wild Swans at Coole (1919), The Tower (1928) and Last Poems and Plays (1940). Biography Early years William Butler Yeats was born in Sandymount in County Dublin, Ireland.[1] His father, John Butler Yeats (1839–1922), was a descendant of Jervis Yeats, a Williamite soldier, linen merchant, and well-known painter, who died in 1712.[2] Benjamin Yeats, Jervis`s grandson and William`s great-great-grandfather, had in 1773[3] married Mary Butler[4] of a landed family in County Kildare.[5] Following their marriage, they kept the name Butler. Mary was of the Butler of Neigham (pronounced Nyam[needs IPA]) Gowran family, descended from an illegitimate brother of The 8th Earl of Ormond.[6] At the time of his marriage, his father, John, was studying law but later pursued art studies at Heatherley School of Fine Art, in London.[7] William`s mother, Susan Mary Pollexfen, from Sligo, came from a wealthy merchant family, who owned a milling and shipping business. Soon after William`s birth, the family relocated to the Pollexfen home at Merville, Sligo, to stay with her extended family, and the young poet came to think of the area as his childhood and spiritual home. Its landscape became, over time, both personally and symbolically, his `country of the heart`.[8] So too did its location by the sea; John Yeats stated that `by marriage with a Pollexfen, we have given a tongue to the sea cliffs`.[9] The Butler Yeats family were highly artistic; his brother Jack became an esteemed painter, while his sisters Elizabeth and Susan Mary—known to family and friends as Lollie and Lily—became involved in the Arts and Crafts movement.[10] Their cousin Ruth Pollexfen, who was raised by the Yeats sisters after her parents` separation, designed the interior of the Australian prime minister`s official residence.[11] Yeats was raised a member of the Protestant Ascendancy, which was at the time undergoing a crisis of identity. While his family was supportive of the changes Ireland was experiencing, the nationalist revival of the late 19th century directly disadvantaged his heritage and informed his outlook for the remainder of his life. In 1997, his biographer R. F. Foster observed that Napoleon`s dictum that to understand the man you have to know what was happening in the world when he was twenty `is manifestly true of W.B.Y.`[12] Yeats`s childhood and young adulthood were shadowed by the power-shift away from the minority Protestant Ascendancy. The 1880s saw the rise of Charles Stewart Parnell and the home rule movement; the 1890s saw the momentum of nationalism, while the Irish Catholics became prominent around the turn of the century. These developments had a profound effect on his poetry, and his subsequent explorations of Irish identity had a significant influence on the creation of his country`s biography.[13] In 1867, the family moved to England to aid their father, John, to further his career as an artist. At first, the Yeats children were educated at home. Their mother entertained them with stories and Irish folktales. John provided an erratic education in geography and chemistry and took William on natural history explorations of the nearby Slough countryside.[14] On 26 January 1877, the young poet entered the Godolphin School,[15] which he attended for four years. He did not distinguish himself academically, and an early school report describes his performance as `only fair. Perhaps better in Latin than in any other subject. Very poor in spelling`.[16] Though he had difficulty with mathematics and languages (possibly because he was tone deaf[17] and had dyslexia[18]), he was fascinated by biology and zoology. In 1879 the family moved to Bedford Park taking a two-year lease at 8 Woodstock Road.[19] For financial reasons, the family returned to Dublin toward the end of 1880, living at first in the suburbs of Harold`s Cross[20] and later in Howth. In October 1881, Yeats resumed his education at Dublin`s Erasmus Smith High School.[21] His father`s studio was nearby and William spent a great deal of time there, where he met many of the city`s artists and writers. During this period he started writing poetry, and, in 1885, the Dublin University Review published Yeats`s first poems, as well as an essay entitled `The Poetry of Sir Samuel Ferguson`. Between 1884 and 1886, William attended the Metropolitan School of Art—now the National College of Art and Design—in Thomas Street.[1] In March 1888 the family moved to 3 Blenheim Road in Bedford Park [22] where they would remain until 1902.[19] The rent on the house in 1888 was £50 a year.[19] He began writing his first works when he was seventeen; these included a poem—heavily influenced by Percy Bysshe Shelley—that describes a magician who set up a throne in central Asia. Other pieces from this period include a draft of a play about a bishop, a monk, and a woman accused of paganism by local shepherds, as well as love-poems and narrative lyrics on German knights. The early works were both conventional and, according to the critic Charles Johnston, `utterly unIrish`, seeming to come out of a `vast murmurous gloom of dreams`.[23] Although Yeats`s early works drew heavily on Shelley, Edmund Spenser, and on the diction and colouring of pre-Raphaelite verse, he soon turned to Irish mythology and folklore and the writings of William Blake. In later life, Yeats paid tribute to Blake by describing him as one of the `great artificers of God who uttered great truths to a little clan`.[24] In 1891, Yeats published John Sherman and `Dhoya`, one a novella, the other a story. The influence of Oscar Wilde is evident in Yeats`s theory of aesthetics, especially in his stage plays, and runs like a motif through his early works.[25] The theory of masks, developed by Wilde in his polemic The Decay of Lying can clearly be seen in Yeats`s play The Player Queen,[26] while the more sensual characterisation of Salomé, in Wilde`s play of the same name, provides the template for the changes Yeats made in his later plays, especially in On Baile`s Strand (1904), Deirdre (1907), and his dance play The King of the Great Clock Tower (1934).[27] Young poet 1900 portrait by Yeats`s father, John Butler Yeats The family returned to London in 1887. In March 1890 Yeats joined the Hermetic Order of the Golden Dawn, and with Ernest Rhys co-founded the Rhymers` Club,[28] a group of London-based poets who met regularly in a Fleet Street tavern to recite their verse. Yeats later sought to mythologize the collective, calling it the `Tragic Generation` in his autobiography,[29] and published two anthologies of the Rhymers` work, the first one in 1892 and the second one in 1894. He collaborated with Edwin Ellis on the first complete edition of William Blake`s works, in the process rediscovering a forgotten poem, `Vala, or, the Four Zoas`.[30][31] Yeats had a lifelong interest in mysticism, spiritualism, occultism and astrology. He read extensively on the subjects throughout his life, became a member of the paranormal research organisation `The Ghost Club` (in 1911) and was influenced by the writings of Emanuel Swedenborg.[32] As early as 1892, he wrote: `If I had not made magic my constant study I could not have written a single word of my Blake book, nor would The Countess Kathleen ever have come to exist. The mystical life is the centre of all that I do and all that I think and all that I write.`[33] His mystical interests—also inspired by a study of Hinduism, under the Theosophist Mohini Chatterjee, and the occult—formed much of the basis of his late poetry. Some critics disparaged this aspect of Yeats`s work.[34] His first significant poem was `The Island of Statues`, a fantasy work that took Edmund Spenser and Shelley for its poetic models. The piece was serialized in the Dublin University Review. Yeats wished to include it in his first collection, but it was deemed too long, and in fact, was never republished in his lifetime. Quinx Books published the poem in complete form for the first time in 2014. His first solo publication was the pamphlet Mosada: A Dramatic Poem (1886), which comprised a print run of 100 copies paid for by his father. This was followed by the collection The Wanderings of Oisin and Other Poems (1889), which arranged a series of verse that dated as far back as the mid-1880s. The long title poem contains, in the words of his biographer R. F. Foster, `obscure Gaelic names, striking repetitions [and] an unremitting rhythm subtly varied as the poem proceeded through its three sections`:[35] We rode in sorrow, with strong hounds three, Bran, Sceolan, and Lomair, On a morning misty and mild and fair. The mist-drops hung on the fragrant trees, And in the blossoms hung the bees. We rode in sadness above Lough Lean, For our best were dead on Gavra`s green. `The Wanderings of Oisin` is based on the lyrics of the Fenian Cycle of Irish mythology and displays the influence of both Sir Samuel Ferguson and the Pre-Raphaelite poets.[36] The poem took two years to complete and was one of the few works from this period that he did not disown in his maturity. Oisin introduces what was to become one of his most important themes: the appeal of the life of contemplation over the appeal of the life of action. Following the work, Yeats never again attempted another long poem. His other early poems, which are meditations on the themes of love or mystical and esoteric subjects, include Poems (1895), The Secret Rose (1897), and The Wind Among the Reeds (1899). The covers of these volumes were illustrated by Yeats`s friend Althea Gyles.[37] During 1885, Yeats was involved in the formation of the Dublin Hermetic Order. That year the Dublin Theosophical lodge was opened in conjunction with Brahmin Mohini Chatterjee, who travelled from the Theosophical Society in London to lecture. Yeats attended his first séance the following year. He later became heavily involved with the Theosophy and with hermeticism, particularly with the eclectic Rosicrucianism of the Hermetic Order of the Golden Dawn. During séances held from 1912, a spirit calling itself `Leo Africanus` apparently claimed it was Yeats`s Daemon or anti-self, inspiring some of the speculations in Per Amica Silentia Lunae.[38] He was admitted into the Golden Dawn in March 1890 and took the magical motto Daemon est Deus inversus—translated as `Devil is God inverted`.[b] He was an active recruiter for the sect`s Isis-Urania Temple, and brought in his uncle George Pollexfen, Maud Gonne, and Florence Farr. Although he reserved a distaste for abstract and dogmatic religions founded around personality cults, he was attracted to the type of people he met at the Golden Dawn.[39] He was involved in the Order`s power struggles, both with Farr and Macgregor Mathers, and was involved when Mathers sent Aleister Crowley to repossess Golden Dawn paraphernalia during the `Battle of Blythe Road`. After the Golden Dawn ceased and splintered into various offshoots, Yeats remained with the Stella Matutina until 1921.[40] Maud Gonne Main article: Maud Gonne Maud Gonne (c. 1900) In 1889, Yeats met Maud Gonne, a 23-year-old English heiress and ardent Irish nationalist.[c] She was eighteen months younger than Yeats and later claimed she met the poet as a `paint-stained art student.`[41] Gonne admired `The Island of Statues` and sought out his acquaintance. Yeats began an obsessive infatuation, and she had a significant and lasting effect on his poetry and his life thereafter.[42] In later years he admitted, `it seems to me that she [Gonne] brought into my life those days—for as yet I saw only what lay upon the surface—the middle of the tint, a sound as of a Burmese gong, an over-powering tumult that had yet many pleasant secondary notes.`[43] Yeats`s love was unrequited, in part due to his reluctance to participate in her nationalist activism.[44] In 1891 he visited Gonne in Ireland and proposed marriage, but was rejected. He later admitted that from that point `the troubling of my life began`.[45] Yeats proposed to Gonne three more times: in 1899, 1900 and 1901. She refused each proposal, and in 1903, to his dismay, married the Irish nationalist Major John MacBride.[46] His only other love affair during this period was with Olivia Shakespear, whom he first met in 1894, and parted from in 1897. W. B. Yeats (no date) Yeats derided MacBride in letters and in poetry. He was horrified by Gonne`s marriage, at losing his muse to another man; in addition, her conversion to Catholicism before marriage offended him; Yeats was Protestant/agnostic. He worried his muse would come under the influence of the priests and do their bidding.[47] Gonne`s marriage to MacBride was a disaster. This pleased Yeats, as Gonne began to visit him in London. After the birth of her son, Seán MacBride, in 1904, Gonne and MacBride agreed to end the marriage, although they were unable to agree on the child`s welfare. Despite the use of intermediaries, a divorce case ensued in Paris in 1905. Gonne made a series of allegations against her husband with Yeats as her main `second`, though he did not attend court or travel to France. A divorce was not granted, for the only accusation that held up in court was that MacBride had been drunk once during the marriage. A separation was granted, with Gonne having custody of the baby and MacBride having visiting rights.[48] In 1895, Yeats moved into number 5 Woburn Walk and resided there until 1919.[49] Charcoal portrait of Yeats by John Singer Sargent (1908) Yeats`s friendship with Gonne ended, yet, in Paris in 1908, they finally consummated their relationship. `The long years of fidelity rewarded at last` was how another of his lovers described the event. Yeats was less sentimental and later remarked that `the tragedy of sexual intercourse is the perpetual virginity of the soul.`[45] The relationship did not develop into a new phase after their night together, and soon afterwards Gonne wrote to the poet indicating that despite the physical consummation, they could not continue as they had been: `I have prayed so hard to have all earthly desire taken from my love for you and dearest, loving you as I do, I have prayed and I am praying still that the bodily desire for me may be taken from you too.`[50] By January 1909, Gonne was sending Yeats letters praising the advantage given to artists who abstain from sex. Nearly twenty years later, Yeats recalled the night with Gonne in his poem `A Man Young and Old`:[51] My arms are like the twisted thorn And yet there beauty lay; The first of all the tribe lay there And did such pleasure take; She who had brought great Hector down And put all Troy to wreck. In 1896, Yeats was introduced to Lady Gregory by their mutual friend Edward Martyn. Gregory encouraged Yeats`s nationalism and convinced him to continue focusing on writing drama. Although he was influenced by French Symbolism, Yeats concentrated on an identifiably Irish content and this inclination was reinforced by his involvement with a new generation of younger and emerging Irish authors. Together with Lady Gregory, Martyn, and other writers including J. M. Synge, Seán O`Casey, and Padraic Colum, Yeats was one of those responsible for the establishment of the `Irish Literary Revival` movement.[52] Apart from these creative writers, much of the impetus for the Revival came from the work of scholarly translators who were aiding in the discovery of both the ancient sagas and Ossianic poetry and the more recent folk song tradition in Irish. One of the most significant of these was Douglas Hyde, later the first President of Ireland, whose Love Songs of Connacht was widely admired. Abbey Theatre Main article: Abbey Theatre Yeats photographed in 1908 by Alvin Langdon Coburn In 1899, Yeats, Lady Gregory, Edward Martyn and George Moore founded the Irish Literary Theatre to promote Irish plays.[53] The ideals of the Abbey were derived from the avant-garde French theatre, which sought to express the `ascendancy of the playwright rather than the actor-manager à l`anglais.`[54][55] The group`s manifesto, which Yeats wrote, declared, `We hope to find in Ireland an uncorrupted & imaginative audience trained to listen by its passion for oratory ... & that freedom to experiment which is not found in the theatres of England, & without which no new movement in art or literature can succeed.`[56] Yeats`s interest in the classics and his defiance of English censorship were also fueled by a tour of America he took between 1903 and 1904. Stopping to deliver a lecture at the University of Notre Dame, he learned about the student production of the Oedipus Rex.[57] This play was banned in England, an act he viewed as hypocritical as denounced as part of `British Puritanism`.[58] He contrasted this with the artistic freedom of the Catholicism found at Notre Dame, which had allowed such a play with themes such as incest and parricide.[58] He desired to stage a production of the Oedipus Rex in Dublin.[57][58] The collective survived for about two years but was unsuccessful. Working with the Irish brothers with theatrical experience, William and Frank Fay, Yeats`s unpaid but independently wealthy secretary Annie Horniman, and the leading West End actress Florence Farr, the group established the Irish National Theatre Society. Along with Synge, they acquired property in Dublin and on 27 December 1904 opened the Abbey Theatre. Yeats`s play Cathleen ni Houlihan and Lady Gregory`s Spreading the News were featured on the opening night. Yeats remained involved with the Abbey until his death, both as a member of the board and a prolific playwright. In 1902, he helped set up the Dun Emer Press to publish work by writers associated with the Revival. This became the Cuala Press in 1904, and inspired by the Arts and Crafts Movement, sought to `find work for Irish hands in the making of beautiful things.`[59] From then until its closure in 1946, the press—which was run by the poet`s sisters—produced over 70 titles; 48 of them books by Yeats himself. Yeats met the American poet Ezra Pound in 1909. Pound had travelled to London at least partly to meet the older man, whom he considered `the only poet worthy of serious study.`[60] From 1913 until 1916, the two men wintered in the Stone Cottage at Ashdown Forest, with Pound nominally acting as Yeats`s secretary. The relationship got off to a rocky start when Pound arranged for the publication in the magazine Poetry of some of Yeats`s verse with Pound`s own unauthorised alterations. These changes reflected Pound`s distaste for Victorian prosody. A more indirect influence was the scholarship on Japanese Noh plays that Pound had obtained from Ernest Fenollosa`s widow, which provided Yeats with a model for the aristocratic drama he intended to write. The first of his plays modelled on Noh was At the Hawk`s Well, the first draft of which he dictated to Pound in January 1916.[61] The emergence of a nationalist revolutionary movement from the ranks of the mostly Roman Catholic lower-middle and working class made Yeats reassess some of his attitudes. In the refrain of `Easter, 1916` (`All changed, changed utterly / A terrible beauty is born`), Yeats faces his own failure to recognise the merits of the leaders of the Easter Rising, due to his attitude towards their ordinary backgrounds and lives.[62] Yeats was close to Lady Gregory and her home place of Coole Park, County Galway. He would often visit and stay there as it was a central meeting place for people who supported the resurgence of Irish literature and cultural traditions. His poem, `The Wild Swans at Coole` was written there, between 1916 and 1917. He wrote prefaces for two books of Irish mythological tales, compiled by Lady Gregory: Cuchulain of Muirthemne (1902), and Gods and Fighting Men (1904). In the preface of the latter, he wrote: `One must not expect in these stories the epic lineaments, the many incidents, woven into one great event of, let us say the War for the Brown Bull of Cuailgne or that of the last gathering at Muirthemne.`[63] Politics Yeats in Dublin on 12 December 1922, at the start of his term as member of the Seanad Eireann Yeats was an Irish nationalist, who sought a kind of traditional lifestyle articulated through poems such as `The Fisherman`. But as his life progressed, he sheltered much of his revolutionary spirit and distanced himself from the intense political landscape until 1922, when he was appointed Senator for the Irish Free State.[64][65] In the earlier part of his life, Yeats was a member of the Irish Republican Brotherhood.[66] In the 1930s, Yeats was fascinated with the authoritarian, anti-democratic, nationalist movements of Europe, and he composed several marching songs for the Blueshirts, although they were never used. He was a fierce opponent of individualism and political liberalism and saw the fascist movements as a triumph of public order and the needs of the national collective over petty individualism. He was an elitist who abhorred the idea of mob-rule, and saw democracy as a threat to good governance and public order.[67] After the Blueshirt movement began to falter in Ireland, he distanced himself somewhat from his previous views, but maintained a preference for authoritarian and nationalist leadership.[68] Marriage to Georgie Hyde-Lees Main article: Georgie Hyde-Lees Walter de la Mare, Bertha Georgie Yeats (née Hyde-Lees), William Butler Yeats, unknown woman, summer 1930; photo by Lady Ottoline Morrell By 1916, Yeats was 51 years old and determined to marry and produce an heir. His rival, John MacBride, had been executed for his role in the 1916 Easter Rising, so Yeats hoped that his widow, Maud Gonne, might remarry.[69] His final proposal to Gonne took place in mid-1916.[70] Gonne`s history of revolutionary political activism, as well as a series of personal catastrophes in the previous few years of her life—including chloroform addiction and her troubled marriage to MacBride—made her a potentially unsuitable wife;[45] biographer R. F. Foster has observed that Yeats`s last offer was motivated more by a sense of duty than by a genuine desire to marry her. Yeats proposed in an indifferent manner, with conditions attached, and he both expected and hoped she would turn him down. According to Foster, `when he duly asked Maud to marry him and was duly refused, his thoughts shifted with surprising speed to her daughter.` Iseult Gonne was Maud`s second child with Lucien Millevoye, and at the time was twenty-one years old. She had lived a sad life to this point; conceived as an attempt to reincarnate her short-lived brother, for the first few years of her life she was presented as her mother`s adopted niece. When Maud told her that she was going to marry, Iseult cried and told her mother that she hated MacBride.[71] When Gonne took action to divorce MacBride in 1905, the court heard allegations that he had sexually assaulted Iseult, then eleven. At fifteen, she proposed to Yeats. In 1917, he proposed to Iseult but was rejected. That September, Yeats proposed to 25-year-old Georgie Hyde-Lees (1892–1968), known as George, whom he had met through Olivia Shakespear. Despite warnings from her friends—`George ... you can`t. He must be dead`—Hyde-Lees accepted, and the two were married on 20 October 1917.[45] Their marriage was a success, in spite of the age difference, and in spite of Yeats`s feelings of remorse and regret during their honeymoon. The couple went on to have two children, Anne and Michael. Although in later years he had romantic relationships with other women, Georgie herself wrote to her husband `When you are dead, people will talk about your love affairs, but I shall say nothing, for I will remember how proud you were.`[72] During the first years of marriage, they experimented with automatic writing; she contacted a variety of spirits and guides they called `Instructors` while in a trance. The spirits communicated a complex and esoteric system of philosophy and history, which the couple developed into an exposition using geometrical shapes: phases, cones, and gyres.[73] Yeats devoted much time to preparing this material for publication as A Vision (1925). In 1924, he wrote to his publisher T. Werner Laurie, admitting: `I dare say I delude myself in thinking this book my book of books`.[74] Nobel Prize Main article: 1923 Nobel Prize in Literature Yeats photographed in 1923 In December 1923, Yeats was awarded the Nobel Prize in Literature `for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation`.[75] Politically aware, he knew the symbolic value of an Irish winner so soon after Ireland had gained independence, and highlighted the fact at each available opportunity. His reply to many of the letters of congratulations sent to him contained the words: `I consider that this honour has come to me less as an individual than as a representative of Irish literature, it is part of Europe`s welcome to the Free State.`[76] Yeats used the occasion of his acceptance lecture at the Royal Academy of Sweden to present himself as a standard-bearer of Irish nationalism and Irish cultural independence. As he remarked, `The theatres of Dublin were empty buildings hired by the English travelling companies, and we wanted Irish plays and Irish players. When we thought of these plays we thought of everything that was romantic and poetical because the nationalism we had called up—the nationalism every generation had called up in moments of discouragement—was romantic and poetical.`[77] The prize led to a significant increase in the sales of his books, as his publishers Macmillan sought to capitalise on the publicity. For the first time he had money, and he was able to repay not only his own debts but those of his father.[78] Old age and death By early 1925, Yeats`s health had stabilised, and he had completed most of the writing for A Vision (dated 1925, it actually appeared in January 1926, when he almost immediately started rewriting it for a second version). He had been appointed to the first Irish Senate in 1922, and was re-appointed for a second term in 1925.[79][80] Early in his tenure, a debate on divorce arose, and Yeats viewed the issue as primarily a confrontation between the emerging Roman Catholic ethos and the Protestant minority.[81] When the Roman Catholic Church weighed in with a blanket refusal to consider their anti position, The Irish Times countered that a measure to outlaw divorce would alienate Protestants and `crystallise` the partition of Ireland. In response, Yeats delivered a series of speeches that attacked the `quixotically impressive` ambitions of the government and clergy, likening their campaign tactics to those of `medieval Spain.`[82] `Marriage is not to us a Sacrament, but, upon the other hand, the love of a man and woman, and the inseparable physical desire, are sacred. This conviction has come to us through ancient philosophy and modern literature, and it seems to us a most sacrilegious thing to persuade two people who hate each other... to live together, and it is to us no remedy to permit them to part if neither can re-marry.`[82] The resulting debate has been described as one of Yeats`s `supreme public moments`, and began his ideological move away from pluralism towards religious confrontation.[83] His language became more forceful; the Jesuit Father Peter Finlay was described by Yeats as a man of `monstrous discourtesy`, and he lamented that `It is one of the glories of the Church in which I was born that we have put our Bishops in their place in discussions requiring legislation`.[82] During his time in the Senate, Yeats further warned his colleagues: `If you show that this country, southern Ireland, is going to be governed by Roman Catholic ideas and by Catholic ideas alone, you will never get the North... You will put a wedge in the midst of this nation`.[84] He memorably said of his fellow Irish Protestants, `we are no petty people`. In 1924 he chaired a coinage committee charged with selecting a set of designs for the first currency of the Irish Free State. Aware of the symbolic power latent in the imagery of a young state`s currency, he sought a form that was `elegant, racy of the soil, and utterly unpolitical`.[85] When the house finally decided on the artwork of Percy Metcalfe, Yeats was pleased, though he regretted that compromise had led to `lost muscular tension` in the finally depicted images.[85] He retired from the Senate in 1928 because of ill health.[86] Towards the end of his life—and especially after the Wall Street Crash of 1929 and Great Depression, which led some to question whether democracy could cope with deep economic difficulty—Yeats seems to have returned to his aristocratic sympathies. During the aftermath of the First World War, he became sceptical about the efficacy of democratic government, and anticipated political reconstruction in Europe through totalitarian rule.[87] His later association with Pound drew him towards Benito Mussolini, for whom he expressed admiration on a number of occasions.[77] He wrote three `marching songs`—never used—for the Irish General Eoin O`Duffy`s Blueshirts. William Butler Yeats, 1933; photo by Pirie MacDonald (Library of Congress) At the age of 69 he was `rejuvenated` by the Steinach operation which was performed on 6 April 1934 by Norman Haire.[88] For the last five years of his life Yeats found a new vigour evident from both his poetry and his intimate relations with younger women.[89] During this time, Yeats was involved in a number of romantic affairs with, among others, the poet and actress Margot Ruddock, and the novelist, journalist and sexual radical Ethel Mannin.[90] As in his earlier life, Yeats found erotic adventure conducive to his creative energy, and, despite age and ill-health, he remained a prolific writer. In a letter of 1935, Yeats noted: `I find my present weakness made worse by the strange second puberty the operation has given me, the ferment that has come upon my imagination. If I write poetry it will be unlike anything I have done`.[91] In 1936, he undertook editorship of the Oxford Book of Modern Verse, 1892–1935.[46] From 1935 to 1936 he travelled to the Western Mediterranean island of Majorca with Indian-born Shri Purohit Swami and from there the two of them performed the majority of the work in translating the principal Upanishads from Sanskrit into common English; the resulting work, The Ten Principal Upanishads, was published in 1938.[92] He died at the Hôtel Idéal Séjour, in Menton, France, on 28 January 1939, aged 73.[1] He was buried after a discreet and private funeral at Roquebrune-Cap-Martin. Attempts had been made at Roquebrune to dissuade the family from proceeding with the removal of the remains to Ireland due to the uncertainty of their identity. His body had earlier been exhumed and transferred to the ossuary.[93] Yeats and George had often discussed his death, and his express wish was that he be buried quickly in France with a minimum of fuss. According to George, `His actual words were `If I die, bury me up there [at Roquebrune] and then in a year`s time when the newspapers have forgotten me, dig me up and plant me in Sligo`.`[94] In September 1948, Yeats`s body was moved to the churchyard of St Columba`s Church, Drumcliff, County Sligo, on the Irish Naval Service corvette LÉ Macha.[95] The person in charge of this operation for the Irish Government was Seán MacBride, son of Maud Gonne MacBride, and then Minister of External Affairs.[96] Yeats`s final resting place in the shadow of the Dartry Mountains, County Sligo His epitaph is taken from the last lines of `Under Ben Bulben`,[97] one of his final poems: Cast a cold Eye On Life, on Death. Horseman, pass by! French ambassador Stanislas Ostroróg was involved in returning the remains of the poet from France to Ireland in 1948; in a letter to the European director of the Foreign Ministry in Paris, `Ostrorog tells how Yeats`s son Michael sought official help in locating the poet`s remains. Neither Michael Yeats nor Sean MacBride, the Irish foreign minister who organised the ceremony, wanted to know the details of how the remains were collected, Ostrorog notes. He repeatedly urges caution and discretion and says the Irish ambassador in Paris should not be informed.` Yeats`s body was exhumed in 1946 and the remains were moved to an ossuary and mixed with other remains. The French Foreign Ministry authorized Ostrorog to secretly cover the cost of repatriation from his slush fund. Authorities were worried about the fact that the much-loved poet`s remains were thrown into a communal grave, causing embarrassment for both Ireland and France. Per a letter from Ostroróg to his superiors, `Mr Rebouillat, (a) forensic doctor in Roquebrune would be able to reconstitute a skeleton presenting all the characteristics of the deceased.`[98] Style Yeats is considered one of the key 20th-century English-language poets. He was a Symbolist poet, using allusive imagery and symbolic structures throughout his career. He chose words and assembled them so that, in addition to a particular meaning, they suggest abstract thoughts that may seem more significant and resonant. His use of symbols[99] is usually something physical that is both itself and a suggestion of other, perhaps immaterial, timeless qualities.[100] Unlike the modernists who experimented with free verse, Yeats was a master of the traditional forms.[101] The impact of modernism on his work can be seen in the increasing abandonment of the more conventionally poetic diction of his early work in favour of the more austere language and more direct approach to his themes that increasingly characterises the poetry and plays of his middle period, comprising the volumes In the Seven Woods, Responsibilities and The Green Helmet.[102] His later poetry and plays are written in a more personal vein, and the works written in the last twenty years of his life include mention of his son and daughter,[103] as well as meditations on the experience of growing old.[104] In his poem `The Circus Animals` Desertion`, he describes the inspiration for these late works: Now that my ladder`s gone I must lie down where all the ladders start In the foul rag and bone shop of the heart.[105] During 1929, he stayed at Thoor Ballylee near Gort in County Galway (where Yeats had his summer home since 1919) for the last time. Much of the remainder of his life was lived outside Ireland, although he did lease Riversdale house in the Dublin suburb of Rathfarnham in 1932. He wrote prolifically through his final years, and published poetry, plays, and prose. In 1938, he attended the Abbey for the final time to see the premiere of his play Purgatory. His Autobiographies of William Butler Yeats was published that same year.[106] The preface for the English translation of Rabindranath Tagore`s Gitanjali (Song Offering) (for which Tagore won the Nobel prize in Literature) was written by Yeats in 1913.[107] While Yeats`s early poetry drew heavily on Irish myth and folklore, his later work was engaged with more contemporary issues, and his style underwent a dramatic transformation. His work can be divided into three general periods. The early poems are lushly pre-Raphaelite in tone, self-consciously ornate, and, at times, according to unsympathetic critics, stilted. Yeats began by writing epic poems such as The Isle of Statues and The Wanderings of Oisin.[108] His other early poems are lyrics on the themes of love or mystical and esoteric subjects. Yeats`s middle period saw him abandon the pre-Raphaelite character of his early work[109] and attempt to turn himself into a Landor-style social ironist.[110] Critics characterize his middle work as supple and muscular in its rhythms and sometimes harshly modernist, while others find the poems barren and weak in imaginative power. Yeats`s later work found new imaginative inspiration in the mystical system he began to work out for himself under the influence of spiritualism. In many ways, this poetry is a return to the vision of his earlier work. The opposition between the worldly-minded man of the sword and the spiritually minded man of God, the theme of The Wanderings of Oisin, is reproduced in A Dialogue Between Self and Soul.[111] Some critics hold that Yeats spanned the transition from the 19th century into 20th-century modernism in poetry much as Pablo Picasso did in painting; others question whether late Yeats has much in common with modernists of the Ezra Pound and T. S. Eliot variety.[112] Modernists read the well-known poem `The Second Coming` as a dirge for the decline of European civilisation, but it also expresses Yeats`s apocalyptic mystical theories and is shaped by the 1890s. His most important collections of poetry started with The Green Helmet (1910) and Responsibilities (1914). In imagery, Yeats`s poetry became sparer and more powerful as he grew older. The Tower (1928), The Winding Stair (1933), and New Poems (1938) contained some of the most potent images in 20th-century poetry.[113] Yeats`s mystical inclinations, informed by Hinduism, theosophical beliefs and the occult, provided much of the basis of his late poetry,[114] which some critics have judged as lacking in intellectual credibility. The metaphysics of Yeats`s late works must be read in relation to his system of esoteric fundamentals in A Vision (1925).[115] Legacy Yeats is commemorated in Sligo town by a statue, created in 1989 by sculptor Rowan Gillespie. On the 50th anniversary of the poet`s death, it was erected outside the Ulster Bank, at the corner of Stephen Street and Markievicz Road. Yeats had remarked on receiving his Nobel Prize that the Royal Palace in Stockholm `resembled the Ulster Bank in Sligo`. Across the river is the Yeats Memorial Building, home to the Sligo Yeats Society.[116] Standing Figure: Knife Edge by Henry Moore is displayed in the W. B. Yeats Memorial Garden at St Stephen`s Green in Dublin.[117][118] Composer Marcus Paus` choral work The Stolen Child (2009) is based on poetry by Yeats. Critic Stephen Eddins described it as `sumptuously lyrical and magically wild, and [...] beautifully [capturing] the alluring mystery and danger and melancholy` of Yeats.[119] Argentine composer Julia Stilman-Lasansky based her Cantata No. 4 on text by Yeats.[120] There is a blue plaque dedicated to Yeats at Balscadden House on the Balscadden Road in Howth; his cottage home from 1880-1883.[121] In 1957 the London County Council erected a plaque at his former residence on 23 Fitzroy Road, Primrose Hill, London.[122] Вилијам Батлер Јејтс (енгл. William Butler Yeats; Даблин, 13. јун 1865 — Ментона, 28. јануар 1939), био је ирски песник и драмски писац, најзначајнија личност ирског националног препорода, један од оснивача и управник народног позоришта. Учествовао у јавном политичком животу и био сенатор од 1922. до 1928. Добио је Нобелову награду за књижевност 1923. године. Вилијам Батлер Јејтс Животопис Вилијам Батлер Јејтс рођен је 13. јуна 1865. у Дублину у Ирској.[1] Његов отац Џон Батлер Јејтс (1839–1922) био је сликар, и потомак Џервиса Јејтса, вилијаског војника, трговца платном и познатог сликара, који је умро 1712.[2] Бенџамин Јејтс, Џервисов унук и Вилијамов прадеда, оженио се 1773. године[3] са Мери Батлер[4] из властелинске породице у округу Килдер.[5] Након венчања задржали су име Батлер. Марија је била из породице Бутлера из Најама Говрана, која потиче од ванбрачног брата 8. грофа Ормонда.[6] Породица Јејтс се 1867. привремено сели у Лондон, тачније у Бедфорд Парк. Јејтс лета проводи у Слигоу, родном месту његове мајке, грофовији на западној обали Ирске, која ће са својим крајоликом, фолклором и старим легендама оставити дубок печат на његовим делима. Дом у којем је В. Јејтс одрастао био је обељежен уметношћу, те је његов брат Џек постао цењени сликар, а сестре Елизабет и Сузан Меру су се бавиле примењеном уметношћу. Године 1877. Вилијам се уписује у школу Годолфин коју похађа 4 године. Јејтс се својим школским успесима није претерано истицао. Јеацови се поткрај 1880. године, из финанцијски разлога, враћају у Даблин, изпочетка живећи у центру града, а касније се селе у предграђе Ховт. У октобру 1881. Јејтс наставља своје школовање у Ерасмус Смит средњој школи у Дублину, коју похађа до новембра 1883. године. Атеље његовог оца био је близу те школе; В. Јејтс је ту много боравио и упознао многе Даблинске уметнике. Године Јејтсовог сазревања у претежно католичкој Ирској у којој се будио ирски национализам обележене су његовом припадношћу протестантској заједници - његова је породица дапаче спадала у ред привилегиране заједнице протестанатске господе која је управљала Ирском од 18. века - тзв. Протестантска надмоћ. Од 1884. до 1886. год. Јејтс похађа Метрополитанску школу уметности (данашњи Националнио колеџ уметности и дизајна) у Даблину, где упознаје Џеорџа Расела. Од своје 17 године Јејтс пише: искушава се у писању поема и драма које се још не одликују особитом литерарном вредношћу. Годне 1885. му је у Дублински универзитетски преглед објављено прво значајније дело The Island of Statues, приповетка фантастикне тематике (о вилама и чаробњацима). Године 1886. његов отац финансира штампање 100 примерака његове прве самосталне књиге (књижице) Mosada: A Dramatic Poem. Млади Јејтс је 1885. године учествује у оснивању Даблинског херметичког реда, чији се чланови интересирају за магију. У наредним годинама се дубоко упустио у тада помодну теозофију. Године 1887. породица се поново сели у Лондон; и тамо ће Вилијам Јејтс ући у друштво младих уметника који се занимају за езотерију, те 1890. године и формално постаје члан окултног Херметичког реда златне зоре. Године 1889. објављује збирку The Wanderings of Oisin and Other Poems (1889); и надаље се бави митском тематиком везаном за ирску народну митологију. Године 1891. Јејтс одлази у Ирску запросити 25-годишњу Мод Гон, младу сликарку и ватрену ирску националискињу коју је упознао две године раније и у коју се био снажно заљубио: она одбија његову просидбу. Јејтс остаје несретно заљубљен, те понавља неуспешне просидбе 1899, 1900. и 1901. Напослетку 1903. године Мод Гон се удала за другог; јавно је изражавао (чак у песмама) своје незадовољство њеним избором - удала се за познатог ирског националисту Мајора Џона Макбрајда, који је усто био католик, те је и Мод прешла на католичанство. Тек ће 1908. године, након што се Мод раставила од супруга, Јејтс моћи да конзумира своју дуготрајну страст, та га по његовим речима „трагедија сексуалног односа” са својом дугогодишњом несретном љубави заправо збунила и њихова веза се одатле није развила. Године 1896, Јејтс улази у круг даме Изабеле Грегори, важне Ирске културне раднице која се бави фолклором и драмом; она ће своју љубав према Ирској успети да на крају ипак подстакне у правцу национализма. С њеним кругом од 1899. године делује у Ирском литерарном театру, који делује до 1901. године настојећи да у Ирској пренесе манир авангардног театра из Француске. Након финанцијског неуспеха Ирског литерарног театра, припадници групе оснивају успешнији Аби театар (који до данас делује под именом Ирско национално позориште); Јејтс је с тим кругом активно сарађивао до краја живота. Године 1902. учествује у оснивању Dun Emer Press, издавачке куће која ће под вођством његових сестара до 1946. године штампати преко 70 књига ирских аутора, од тога 48 Јејтсових. Године 1909. Јејтс упознаје великог америчког песника Езру Паундa: путовао је у Лондон како би упознао тог „јединог песника вреднога пажљивог проучавања”, како је сам рекао. Од 1909. до 1916. године њих су двојица заједно зимовали у кућици у Сасексу (један дан пута од Лондона), Јејтс је номинално био секретар старијем Поунду. Пријатељство је почело бледити када је 1916. године Поунд уредио да се неке Јејтсове пјесме објаве у америчком магазину Poetry, али уз знатне Поундове промене које Јејтс није био одобрио. Те исте године, у својој 51. години, Јејтс се одлучио да се ожени и има децу. Одлучује да по задњи пут запроси Мод Гон, чији је муж Џон Макбрајд управо те године погубљен због учествовања у ирском Ускршњем устанку. Након што га Гон опет одбија (изгледа да је просидба дугогодишње несретне љубави ионако била више формалне природе и понуђена с мањком осећаја, уз разне услове), Јејтс нуди брак 25-годишњој Џорџији Хајд Лис (1892–1968). Након просидбе у септембру, венчање је уследило већ у октобру 1916. године. Успркос разлици у годинама и Јејтсовој иницијалној збуњености (имао је грижњу савести због уласка у брак), брак је био успешан, те је пар имао и двоје деце. Јејтс је своју супругу убрзо увео у езотеријске праксе, те су у сарадњи развили један езотеријски филозофски систем, и историје: Џорџија је служила као медијум за „аутоматско писање”, којим је комуницирала разне „поруке духовних водича”. Убрзо након окончања Ирског рата на независност (1919-1921), Јејтс је у децембру 1922. године прихватио именовање за сенатора, дужност у Сенату, ту дужност обавља 6 година. Године 1923. Јејтс је добио Нобелову награду за књижевност, за велики допринос Ирској литератури и култури генерално где је „његова увек инспирисана поезија у високо уметничкој форми дала израз духу читаве нације”. Награда је представљала и охрабрење Ирској, која је недуго пре успела да задобије неовисност; сам Јејтс је тога био свестан, те је своју награду настојао да користи за промовисање Ирског националног угледа и поноса. Након награде је продаја Јејтсових дела на читавом енглеском говорном подручју још више порасла. У задњим годинама свог живота је Јејтс, као јавни интелектуалац, упућивао критику социјално конзервативном водству младе ирске државе, залажући се за либералније устројство друштва. Међутим није пуно веровао у демократију, те је исказивао симпатије према аристократској форми државе. Оставши до краја живота активни аутор, те боривши се са старошћу једним ставом којега је називао „други пубертет” (што је укључивао оживљени интерес за еротику), умро је 28. јанурара 1939. године (у 73 години живота) у Француској, у Hôtel Idéal Séjour у граду Ментону. Од своје супруге је захтевао дискретан погреб у месту смрти, како би га се након годину дана - након што новинари забораве на његову смрт - без помпе пренели у ирски Слиго, место његовог дјетињства. Тек након рата, 1948. године, та је Јејтсова жеља и испуњена. Његов гроб се налази у Друмклифу, грофовија Слиго. Пренос тела изведен је ирском корветом LÉ Macha; активности преноса тела надзирао је лично ирски министар спољашњеих послова Син Макбрајд - иначе син Мод Гон Макбрајд, коју је Јејтс више пута просио. На гробу стоји епитаф с речима из „Under Ben Bulben”, једне од његових задњих поема. Наслеђе Јејтсу је у граду Слајго подигнута статуа, коју је 1989. направио вајар Рован Гилеспи. На 50. годишњицу песникове смрти, подигнута је испред Алстер банке, на углу улица Стивен и Маркиевиц. Јејтс је приликом добијања Нобелове награде приметио да Краљевска палата у Стокхолму „личи на Алстер банку у Слајгу“. Преко реке је Јеатсова меморијална зграда, дом Слајговског Јејтсовог друштва.[7] Стојећа фигура: Оштрица ножа Хенрија Мура приказана је у Меморијалној башти у Даблину.[8][9]

Posveta i potpis autora! Autor - osoba Žuborski, Miljenko, 1938-2020 = Žuborski, Miljenko, 1938-2020 Naslov Zezopis od zverinjaka / Miljenko Žuborski Vrsta građe poezija Jezik srpski Godina [b. g.] 1991 Izdavanje i proizvodnja [B. m.] : [b. i.], [b. g.] ([b. m.] : [b. i.]) Fizički opis 46 str. ; 16 cm (Broš.) Napomene Pravo ime autora: Miljenko Popović. Miljenko Popović – Žuborski (Beograd, 1938 – Beograd, 19. mart 2020) bio je srpski književnik. Diplomirao je na Filozofskom fakultetu u Beogradu, na odseku za psihologiju. Radio je deset godina kao profesor psihologije u Hemijskoj školi u Beogradu. Bio je član je Udruženja književnika Srbije od 1966. godine, a pisanjem se bavio još od studentskih dana. Objavio je brojne knjige poezije i proze za koje je nebrojeno puta nagrađivan. Za prvu zbirku pesama „Knjiga žalbe“ koju je objavio 1970. godine dobio je Srebrnu sirenu u Budvi na Jugoslovenskom festivalu satire i humora. Ljuba Moljac je zasmejavao tekstovima koje je napisao Miljenko Žuborski. Poznat je po tome što je pisao za humorističko-satirični časopis „Jež“. Danas periodično objavljuje tekstove u raznim listovima i časopisima. Od 2003. u dnevnim novinama Blic svake subote objavljivao je po 2 pesme i 10 aforizama. Pored pisanja bavio se i kabaretskim nastupima, komponovanjem muzike za svoje stihove, te bio autor i izvođač svojih pesama na raznim medijima. Dela Knjiga žalbe (1970) Ole, vole (1977) Cirkus zvani cirkus (1978) Ooo ruk srce (1981) Ugovor sa đavolom (1983) Devojka koja mrda ušima (1986) Zezopis od zverinjaka (1991) Svatovi (1995) Životopis (1996) Povest o caru pernatom (1996) Žubor (1996) Rečnik (2000) Spomenik od zaborava (2004) Na pogrešnoj strani motke (2006) Mastilo od kiše (2006) Na pogrešnoj strani motke (2008) Živa bića u kući od pića (2009) Živa bića u kući od pića (2009) Rastanak sa praznom flašom (2010) MG18 (L)

Posveta i potpis autora! Autor - osoba Žuborski, Miljenko, 1938-2020 = Žuborski, Miljenko, 1938-2020 Naslov Zezopis od zverinjaka / Miljenko Žuborski Vrsta građe poezija Jezik srpski Godina [b. g.] 1991 Izdavanje i proizvodnja [B. m.] : [b. i.], [b. g.] ([b. m.] : [b. i.]) Fizički opis 46 str. ; 16 cm (Broš.) Napomene Pravo ime autora: Miljenko Popović. Miljenko Popović – Žuborski (Beograd, 1938 – Beograd, 19. mart 2020) bio je srpski književnik. Diplomirao je na Filozofskom fakultetu u Beogradu, na odseku za psihologiju. Radio je deset godina kao profesor psihologije u Hemijskoj školi u Beogradu. Bio je član je Udruženja književnika Srbije od 1966. godine, a pisanjem se bavio još od studentskih dana. Objavio je brojne knjige poezije i proze za koje je nebrojeno puta nagrađivan. Za prvu zbirku pesama „Knjiga žalbe“ koju je objavio 1970. godine dobio je Srebrnu sirenu u Budvi na Jugoslovenskom festivalu satire i humora. Ljuba Moljac je zasmejavao tekstovima koje je napisao Miljenko Žuborski. Poznat je po tome što je pisao za humorističko-satirični časopis „Jež“. Danas periodično objavljuje tekstove u raznim listovima i časopisima. Od 2003. u dnevnim novinama Blic svake subote objavljivao je po 2 pesme i 10 aforizama. Pored pisanja bavio se i kabaretskim nastupima, komponovanjem muzike za svoje stihove, te bio autor i izvođač svojih pesama na raznim medijima. Dela Knjiga žalbe (1970) Ole, vole (1977) Cirkus zvani cirkus (1978) Ooo ruk srce (1981) Ugovor sa đavolom (1983) Devojka koja mrda ušima (1986) Zezopis od zverinjaka (1991) Svatovi (1995) Životopis (1996) Povest o caru pernatom (1996) Žubor (1996) Rečnik (2000) Spomenik od zaborava (2004) Na pogrešnoj strani motke (2006) Mastilo od kiše (2006) Na pogrešnoj strani motke (2008) Živa bića u kući od pića (2009) Živa bića u kući od pića (2009) Rastanak sa praznom flašom (2010) MG18 (L)

Tvrd povez sa omotom - 124 strana RAD BEOGRAD Omot sa vidljivim znacima korišćenja Na predlistu posveta autorke Unutrašnjost dobro očuvana - bez pisanja i podvlačenja B 5

Tvrd povez - 250 strana MLADOST ZAGREB 1990 Korice sa vidljivim znacima korišćenja Na predlistu posveta autorke našoj poznatoj spisateljici i glumici Olgi Savić Unutrašnjost dobro očuvana - bez pisanja i podvlačenja B - 3

Mek povez Hronika flore - Vesna Bošnjak Iskazi - Sonja Šljivić Uvod u uvod - Seniha Pepić Župljanin Otvorena knjiga zatvorena - Biserna Džanković Vučija Lokva - Selma Hasanović Dnevnik pesama - Aleksandar B. Laković Nevidljiva ljubav - Vladimir Jankovski 24 - Dragan Marković Sent br. 32-33 Sent br. 58-59

prodaje se maska za nokiu 7280 nova jedan komad,klasa b bez tastature ,prodaje se u stanju sa slika ima ih u dve boje pre odluke da kupite ukoliko vam treba odgovarajuca boja pitajte da ne bi bilo problema zbog toga ukoliko bas ta boja koja vam odgovara nestane

blago savijena /vidi sliku/, može se ipresovati mada i ne mora B.Wongar (born in 1932 as Sreten Božić) is an Australian author who writes chiefly on the fate of tribal people in Australia, the wildlife and the environment. Naslov originala: B. Wongar BILMA S engleskog preveo: Moma Dimić Tiraž: 600

Nook b free regenerator za plavu kosu 250 ml je formulisan sa dijamantima, proteinima svile, organskog ulja semena grožđa i Uv filterom. Neguje i hidrira plavu, izblahjanu ili kosu sa pramenovima. Ublažava žuti odsjaj kose. Daje intenzivan sjaj i mekoću. Eliminiše neposlušnost, sprečave cvetanje krajeva i štiti od oštećenja i slobodnih radikala. Takođe je idealan za sedu ili belu kosu. Ne masti kosu. Način upotrebe: na opran i isfrotiranu kosu naneti regenerator , nežno umasirati i isprati . Ne sadrži SLS / SLES , PH 4

61977) KAFE OPERA 11 grčkih pesnika , Nolit Beograd 2010 , Ova zbirka pesama, pod naslovom Kafe Opera, najvećim delom prvo je predstavljanje čitaocima u Srbiji poznatih grčkih pesnika koji se svake subote okupljaju u lokalu „Kafe Opera` u centru Atine, sa željom da ga pretvore u svojevrsno kulturno stecište. Objavljivanje ove knjige plod je zajedničke namere u njoj zastupljenih autora. Ovu priliku koristimo da srpskom narodu uputimo najbolje želje, svesni istovetnih izazova pred kojima se nalaze naša dva naroda na kulturnom planu. autori : Jorgos Pan. Anagnostopulos ; Dimitris Bosinakis ; Janis B. Karicas ; Kefalas Moshos ; Dinos Kubatis ; Sokratis Melisaratos ; Evangelia Misrahi ; Jorgos Petropulos ; Dimitris Pistikos ; Serenis ; Takis Skanatovic ; mek povez, format 11,5 x 19 cm , ćirilica, 152 strane

U dorbom stanju! Zadnja korica pocela malo da se odvaja od tabaka, nista strasno, sve ostalo u dobrom i urednom stanju! Dušan Radović - Antologija srpske poezije za decu, Srpska književna zadruga,1984.god. Tvrd povez, 363.strane Dušan „Duško“ Radović (Niš, 29. novembar 1922 — Beograd, 16. avgust 1984) je bio srpski pesnik, pisac, novinar, aforističar i TV urednik. Rođen je u Nišu, otac Uglješa bio je mašinovođa poreklom iz Čačka, a majka Sofija rođena Stefanović bila je iz Niša.[1] Bio je glavni urednik „Pionirskih novina“, urednik Programa za decu Radio Beograda, urednik Programa za decu Televizije Beograd, urednik lista „Poletarac“, novinar „Borbe` i (od 1975. godine) urednik Studija B. Njegova emisija „Beograde dobro jutro” počela je da se emituje jula 1975. godine na Studiju B.[2] Bila je ukinuta 1982. godine, kada su određeni članovi vladajuće partije okarakterisali Duškove aforizme kao `političke poruke sa izraženom moralističkom i demagoškom pozadinom`. U Beogradu se dugi niz godina održava atletska trka `Sećanje na Duška Radovića“. Duškov brat je poznati atletski trener Branimir `Brana` Radović. Umro je 16. avgusta 1984. godine u Beogradu. Njegov sin je Miloš Radović. Najširoj publici je poznat po aforizmima kojima je budio Beograđane na talasima Radija „Studio B“, koji su kasnije objavljeni u tri knjige „Beograde dobro jutro“. Bio je veliki ljubitelj fudbala i navijač FK Partizan.[3] Neke od njegovih pesama su postale hitovi za decu u izvođenju Dečjeg hora `Kolibri“: Mrak Plavi zec Strašan lav Šta je na kraju Pesma o mleku Tatin muzičar Zdravica (Sve što raste htelo bi da raste...) Poznatija dela Kapetan Džon Piplfoks (1953), radio-drama Poštovana deco (1954), pesme Smešne reči (1961), pesme Pričam ti priču (1963), pesme i priče Na slovo, na slovo (1963—1965), televizijska serija Če, tragedija koja traje (1969. sa M. Bećkovićem), poema Vukova azbuka (1971), pesme Zoološki vrt (1972), pesme Beograde, dobro jutro 1 (1977), aforizmi Beograde, dobro jutro 2 (1981), aforizmi Ponedeljak, Utorak, Sreda, Četvrtak (1983), poezija i proza za decu u četiri knjige Dela ovog autora prevođena su na sve značajnije svetske jezike. Radović je dobitnik naših najuglednijih nagrada: Neven, Mlado pokolenje, Nagrade zmajevih dečjih igara, Nagrade sterijinog pozorja, Sedmojulske nagrade, kao i diplome Međunarodne organizacije za dečju književnost Hans Kristijan Andersen. Poznati aforizmi „Roditelji, tucite svoju decu čim vidite da liče na vas.“ „Teško je biti dete i biti dobar.“ „Ako rešite sve probleme svoje dece, oni neće imati drugih problema sem vas.“ „Imati prijatelje, to znači pristati na to da ima lepših, pametnijih i boljih od vas. Ko to ne može da prihvati, nema prijatelja.“ `Lopta je kao udavača. Ne muvaj se oko nje ako nemaš ozbiljne namere. Ako ne misliš da je uzmeš.` `Kad neko nema šta da kaže o tome šta jeste najčešće govori o tome što nije. Nije blesav, nije sisao vesla, nije mačiji kašalj, nije naivan, nije čuvao ovce...`

Meandar, 2013. Knjiga nova, sa blagim tragovima da li prašine, da li štampe drugih knjiga sa kojima je bila u dodiru na zadnjoj korici. Kao svaki dnevnik Mićanovićeva je knjiga prividno zaokružena razdobljem, središnjim mjestom i disperzijama: putovanjima, odlascima i vraćanjima, blizinom i udaljavanjem, daljinom i približavanjem. No kada se riječi u nužnoj rekapitulaciji zbroje, kada se film naprasno odvrti unatrag, jasno nam je da je pokušaj racionalizacije uzaludan: kao da je riječ o dnevniku iznad vremena i iznad mjesta, nesvodivom na dnevničke koordinate, bezvremenom jednako u prošlosti kao i u sadašnjosti, prostorno raspršenom od rodne Gunje kao stvarnog, ali i „mitskog“ ishodišta, do ne manje blizih obala Australije. Kao da se baš ovom knjigom nakanila ispuniti Calvinova najava iz Američkih predavanja: Svaki je život enciklopedija, knjižnica, inventar predmeta, uzorak stilova, gdje sve neprestano može biti iznova pomiješano i raspoređeno na sve moguće načine. Doista, pred nama se rasprostire galerija likova, živih i mrtvih, katalog predmeta i lokaliteta, stvarnih i imaginarnih, svakodnevnih situacija i neobičnih priča, u djetinjstvu uobličenih prostora, baš kao i njihovih globalnih refleksija, pri čemu širina projekcija i bljesak novih svjetova ni po koju cijenu ne pokušava poništiti granice inicijalnog svijeta koji je dječačka radoznalost odredila kao polazište i cilj svih vraćanja. Mićanovićev „svijet kao tekst“, kako ga je sam odredio još u vremenu prvih kucanja na vrata književnosti, govori o životu koji ne isključuje smrt, govori o smrti kao drugoj dimenziji, nipošto kao o konačnome, govori o mrtvima kao o živima koji ne napuštaju svoja mjesta, svoje prostore nakon „zemaljskih“ odlazaka, pri čemu taj odnos ne bi bilo lako svesti na, primjerice, religijske kategorije. Njegovi su „konačni“ pojmovi lišeni vremena, prostorno neukrotivi, determinirani tek autorovom osobnom hijerarhijom u strukturi snažnoga poetskog dnevnika, koji je, ako se zakratko prisjetimo H. D. Thoreaua, jedini posao pjesnika. Miroslav Mićanović (Brčko, 15. kolovoza 1960) živio je u Gunji. Diplomirao na Filozofskom fakultetu u Zagrebu. Objavljuje pjesme, priče i eseje. Tekstovi su mu uvrštavani u različite antologije, izbore, preglede i prevođeni na slovenski, makedonski, slovački, ukrajinski, litavski, mađarski, poljski, francuski, španjolski, njemački i engleski jezik. Sastavio s H. Pejakovićem izbor iz suvremenoga hrvatskog pjesništva Les jeunes Croate (Migrations, Pariz, 1989), s B. Čegecom pregled hrvatskoga pjesništva osamdesetih i devedesetih Strast razlike, tamni zvuk praznine (Quorum, Zagreb, 1995), uredio s R. Simićem izbor Mlada hrvatska poezija (Apokalipsa, Ljubljana, 2000), Čovjek koji je obitelji nosio kruh; sudionik projekta Posao dvanaestorice, romani u nestajanju (Quorum, Zagreb, 1998). Objavio pjesmu Job kao zaseban grafički list u dvojezičnom izdanju, u prijevodu D. Karamana na njemački i s grafikom M. Vejzovića. Od 2001. do 2003. godine objavljivao u kulturnom prilogu Jutarnjeg lista kolumnu Jednosmjerna ulica, kritike o suvremenoj hrvatskoj pjesničkoj produkciji pisao u Vjesniku od 2005. do 2006. godine u kolumni Utjeha kaosa. Surađuje i objavljuje poeziju, prozu i kritike na I. i III. programu Hrvatskoga radija (Kutija slova, Poezija naglas, Riječi). Dobitnik nagrada Duhovno hrašće (1998) za knjigu pjesama Zib i Fran Galović (2004) za knjigu priča Trajekt, nagrade Večernjeg lista na natječaju za kratku priču 2003. i 2007. godine. Autor antologije suvremenoga hrvatskog pjesništva Utjeha kaosa (Zagrebačka slavistička škola, Zagreb, 2006), koja je prevedena i objavljena na engleskom (Relations, Zagreb, 2007) i mađarskom jeziku (Jelenkor Kiadó, Pečuh, 2009). Dugogodišnji je urednik časopisa Quorum i biblioteka u izdavačkom poduzeću Naklada MD (1991–2005), a sada radi u Agenciji za odgoj i obrazovanje. Sudionik hrvatskih i europskih festivala poezije i kratke priče. Voditelj radionica Put u središte kratke priče, Hodanje uz prugu (poezija) za različite institucije, centre i polaznike. Živi u Zagrebu. Objavio: Grad dobrih ljudi (poezija, CDD, Zagreb, 1984, d:p:k:m: elektroničko izdanje, 2005); J.Matanović, V. Bogišić, K. Bagić, M. Mićanović Četiri dimenzije sumnje (knjiga kritičkih tekstova, CCD, Zagreb, 1988); Zid i fotografije kraja (poezija, ICR, Rijeka, 1989, d:p:k:m: elektroničko izdanje, 2008); More i prašina (grafičko-pjesnička mapa (s V. Zelenko) Zbirka Biškupić, Zagreb, 1991); Zib (poezija, Meandar, Zagreb, 1998, 2001); B. Čegec, I. Prtenjača, M. Mićanović Nitko ne govori hrvatski / Personne ne parle croate (izbor iz poezije, Meandar, Zagreb, 2002, 2003); Trajekt (proza, Meandar, Zagreb, 2004); Prom (Wydawnictwo Uniwersytetu Śląskiego, Katowice, 2011); s B. Čegecom, S. Karuzom Tri krokodila (proza, Meandar, Zagreb, 2005); Zapadni kolodvor (proza, Meandar, Zagreb, 2006); Jednosmjerna ulica (proza, Meandar, Zagreb, 2010), Tisoč majhnih sonc na razbitem steklu (izbor iz poezije, KUD Apokalipsa, Ljubljana, 2011); Dani (proza, MeandarMedia, Zagreb, 2011).

58445) MK4 MANSARDA I SNOVI , Elisaveta Bagrjana , Bagdala Kruševac 1965 , Jelisaveta Bagrjana, poznata među prijateljima kao Lisa Bagrjana je bugarska pesnikinja, autorka dečijih knjiga i prevodilac. Jelisaveta Bagrjana rođen je 29. aprila 1893. godine u činovničkoj porodici u Sofiji. Jednu godinu živi sa svojom porodicom u Trnovu, gde piše svoje prve pesme (1907–1908). Završila je srednju školu u Sofiji 1910. godine, a godinu dana je bila nastavnica u selu Aftane (danas Nedjalsko), gde je dobila neposredne utiske iz života bugarskog sela. U periodu 1911−1915. Jelisaveta Bagrjana studirala je slovenačku filologiju na Sofijskom univerzitetu. Godine 1919. udaje se za kapetana Ivana Šapkarevim i rađa sina Ljubomira Šapkareva. Godine 1925. upoznala je Bojana Peneva. On se bavi pitanjima poezije i vodi seminar o ovom pitanju. Bagrjana pod njegovim uticajem počinje da piše sa slobodnim stihom i ritmom. Bagrjana napušta svoj dom, živi u privatnim prostorima, a 1926. godine razvodi se. Bagrjana je umrla 23. marta 1991. u Sofiji, mesec pre nego što je imala 98 godina. Stvaralaštvo Dugi stvaralački put Jelisavete Bagrjane prolazi kroz različite ideološke i umetničke zadatke i opisuje neke od svojih transformacija. Ovo je očigledno u njenim pesmama „Zvezda mornara“ i „Ljudsko srce“ pesnika iz 1930-ih godina, gde je nekad vedra lirska opijenost, koja je izražena u karakterističnoj širokoj i glatkoj melodiji stiha, zamenjena glasinama i tugom intelektualnosti, koja počinje da slomi klasične pesme. Stil Jelisaveta Bagrjane je kombinacija popularnog narodnog vokalnog rečnika i modernih pesničkih sredstava – kombinacija tradicije i modernosti. Objavljuje pod pseudonimom Elizabeth B., Elisaveta Blenova, Nikia Dolce, Mikaela i Bagriana. Tekstovi Elisavete Bagriana prevedeni su na 30 jezika. mek povez, format 11,5 x 16,5 cm , ćirilica, 62 strane

Branislav Babić Kebra : RECI PRAVO / [crteži Kebra ; autor fotografija Jovan Milinov Toba] poezija Novi Sad : Prometej, tvrdi povez, Fizički opis 97 str. : ilustr. ; 19 cm S a d r ž a j: Siguran čovek (5); Neobavezna dešavanja (6); Izgubljen (7); Ogledala (8); Susret (9); The fall (10); Tvoj kurs za mene (11); El test (12); Vi ste ljudi (13); Wild America (14); Kuda li me voziš (15); Naše kiše (16); Džepovi su jako bitni (17); Festival in Deptford (18); Pametni i lepi (19); Razmišljalac (20); Zaboravili ste kutiju cigareta i upaljač (22); U - mor (23); Razum na vetru (24); Torbe (25); Dimitrije dobar drug (26); Zloduh (27); Margate (28); Kočnice 2 (29); Rođen - dan (30); To je kao put (31); Molim se za tvoje zdravlje (32); Spavač (34); Umnožavanje prosta reprodukcija (35); Štaje za tebe sreća (36); Ukrštanja (37); Šta to osvaja moj pogled (38); Svako ima svoje stilove (40); Ispiranje (41); Colour, line and silhouette (42); A + B + C + D - avioni (43); Prazan predmet odvažnog nestajanja (44); Pokušaj i ti (45); Srđan Valjarević Moguće da ja u stvari tražim ženu (46-49); Nikola (50); Čelične lokomotive (51); Bunar želja (52); Pa da (53); Disanje (54); Halo - Lulu (56); Ljubomorno čuvam bol (57); Mlaka voda i cvekla (58); Reforma u vašoj glavi (59); Sigurnost (60); Šta ja očekujem od ptice (62); Čokolada (63); 8024 (64); Jako ste bolesni (65); To niko ne želi (66); Razgovor (67); Pra - istorija (68); Kadilak (69); We shall have to work hard (70); Gde si sada (71); Film (72); Tebe tražim (73); Klikeranje (74); Mirno more more (75); R + R (76); Prstaranje (78); Eliot je sreda (79); Samo vi letite i odletite (80); Jednakost u nizu (81); Obraz i odraz (82); Težine jutra (83); Dr (84); Alo - alo (85); Smeh (86); Dvorište ispred zgrade (88); Svetske nesreće (89); Voda (90); Gde ti je kapa (92); Čarobna su osećanja (93); Suze potočare (94); Opasan (95); Snaga sna (96); Vibra (97). Rock poezija -- Obojeni program -- Očuvanost 4- ; ima autorovu posvetu. Novosadski bend `Obojeni program` je novim albumom obeležio 41. rođendan. Branislav Babić Kebra je jedini nepromenjeni član i frontmen grupe od početka. Osim što peva i piše pesme, piše i romane i stvara digitalnu likovnu umetnost.

Prva knjiga aktuelne dobitnice Ninove nagrade Danice Vukićević!!! Izuzetno retko u ponudi!!! * * * Napustio me bog Tonem kroz ćutljivu vodu Sve što je dole – svet bez opreznosti Prečišćen tugom Čisto očajanje Svet bez opreznosti Rastrgli su kraljicu Samoljubivi robovi Ona je bela kao slonovača Ona je igračka u rukama oca i majke Njeno lice je ogledalo Kruna je od mesa i krvi Danica Vukićević (1959) Iz knjige Kao hotel na vetru, Književna omladina Srbije, 1992. Danica Vukićević (Valjevo, 1959) srpski je pisac. Piše poeziju i prozu. Biografija Osnovnu školu, IX gimnaziju i Filološki fakultet završila je u Beogradu (odsek Opšta književnost i teorija književnosti).[1] Član je Srpskog književnog društva.[2] Radi kao lektor-redaktor, bavi se književnom kritikom i esejistikom. Živi u Beogradu. Nagrade Nagrada „Pro-Femina”, za zbirku Kada sam čula glasove, 1995. Nagrada „Biljana Jovanović”, za knjigu poezije Luk i strela, 2007. Nagrada „Milica Stojadinović Srpkinja“, za knjigu poezije Visoki fabrički dimnjaci, 2013.[3] Nagrada „Kondir Kosovke devojke”, 2022. Ninova nagrada, za roman Unutrašnje more, 2023.[4] Dela Poezija Kao hotel na vetru (KOS, Pegaz, knjiga 106, Beograd, 1992, zbirka - poezija) Kada sam čula glasove ( Matica srpska, Novi Sad, 1995, zbirka - poezija) Šamanka ( Centar za stvaralaštvo mladih, Beograd, 2001, zbirka - poezija) Luk i strela ( Povelja, Biblioteka Stefan Prvovenčani, Kraljevo, 2006, zbirka - poezija ) Prelazak u jednu drugu vrstu ( Prosveta, Beograd, 2007, zbirka - poezija) Visoki fabrički dimnjaci (Povelja, Kraljevo, 2012)[5] Proza Na plažama ( Rad, biblioteka Ključevi, Beograd, 1998, zbirka kratke proze), Život je gorila ( KOV, Vršac, 2000, zbirka-proza), Unutrašnje more, roman (Nojzac, Beograd, 2022), Zastupljenost u časopisima i antologijama ProFemina special issue 1997, contemporary women`s literature in Serbia. pp. 142-145, Mačke ne idu u raj, Radmila Lazić, antologija savremene ženske poezije, samizdat FREE B-92, 2000. pp. 157-167, Anfora Nova - revista literaria, Mujer y poesia, prevela Silvija Monros-Stojaković. pp. 119, rute 2000, br. 43-44, Cordoba Espana, Priča za kraj veka, priredio Srđan V. Tešin, Kikindske novine, manufaktura za popravku, Kikinda, 2000. pp. 41-45, Mala kutija, Mihajlo Pantić, najkraće srpske priče XX veka, Jugoslovenska knjiga, Beograd, 2001. pp. 208, Srpske prozaide, Bojana Stojanović-Pantović, antologija pesama u prozi, Nolit, Beograd, 2004. pp. 239-257, Antologija novije srpske poezije, devedesete godine, dvadeseti vek, Gojko Božović, Gramatik, 2005, Pobocza, kwartalnik literacko-atrystyczny, 225/2005-2006, prevela Agnieszka Lasek. pp. 132-135.

Autor - osoba Bagrяna, Elisaveta, 1893-1991 = Bagrjana, Elisaveta, 1893-1991 Naslov Mansarda i snovi / Elisaveta Bagrjana ; prevela Vjera Balentović Vrsta građe poezija URL medijskog objekta odrasli, opšte (lepa književnost) Jezik srpski Godina 1965 Izdavanje i proizvodnja Kruševac : Bagdala, 1965 (Kruševac : Bagdala) Fizički opis 63 str. ; 17 cm Drugi autori - osoba Balentović, Vjera Mladenov, Marin, 1928-2012 = Mladenov, Marin, 1928-2012 Zbirka Savremena poezija u prevodu ISBN (Broš.) Napomene Str. 56-63: Elisaveta Bagrjana / Marin Mladenov. Predmetne odrednice Bagrjana, Elisaveta, 1893-1973 Jelisaveta Bagrjana, poznata među prijateljima kao Lisa Bagrjana je bugarska pesnikinja, autorka dečijih knjiga i prevodilac. Jelisaveta Bagrjana rođen je 29. aprila 1893. godine u činovničkoj porodici u Sofiji. Jednu godinu živi sa svojom porodicom u Trnovu, gde piše svoje prve pesme (1907–1908). Završila je srednju školu u Sofiji 1910. godine, a godinu dana je bila nastavnica u selu Aftane (danas Nedjalsko), gde je dobila neposredne utiske iz života bugarskog sela. U periodu 1911−1915. Jelisaveta Bagrjana studirala je slovenačku filologiju na Sofijskom univerzitetu. Godine 1919. udaje se za kapetana Ivana Šapkarevim i rađa sina Ljubomira Šapkareva. Godine 1925. upoznala je Bojana Peneva. On se bavi pitanjima poezije i vodi seminar o ovom pitanju. Bagrjana pod njegovim uticajem počinje da piše sa slobodnim stihom i ritmom. Bagrjana napušta svoj dom, živi u privatnim prostorima, a 1926. godine razvodi se. Bagrjana je umrla 23. marta 1991. u Sofiji, mesec pre nego što je imala 98 godina. Stvaralaštvo Dugi stvaralački put Jelisavete Bagrjane prolazi kroz različite ideološke i umetničke zadatke i opisuje neke od svojih transformacija. Ovo je očigledno u njenim pesmama „Zvezda mornara“ i „Ljudsko srce“ pesnika iz 1930-ih godina, gde je nekad vedra lirska opijenost, koja je izražena u karakterističnoj širokoj i glatkoj melodiji stiha, zamenjena glasinama i tugom intelektualnosti, koja počinje da slomi klasične pesme. Stil Jelisaveta Bagrjane je kombinacija popularnog narodnog vokalnog rečnika i modernih pesničkih sredstava – kombinacija tradicije i modernosti. Objavljuje pod pseudonimom Elizabeth B., Elisaveta Blenova, Nikia Dolce, Mikaela i Bagriana. Tekstovi Elisavete Bagriana prevedeni su na 30 jezika. Knjige pesama: Večni i Sveti, 1927. Prava godina, 1931. Zvezda mornara, 1931. Ljudsko srce, 1936. Pet zvezda, 1953. Od plaže do obale, 1963. Falsifikati, 1972. Svetle senke, 1977. Na obali vremena, 1983. Počasti Dobitnica je Zlatne medalje Međunarodne asocijacije pesnika u Rimu (1969). Dobitnica je titula „Heroj Narodne Republike Bugarske“ 1983. Godine 1943, 1944. i 1945. nominovana je od strane Stefana Mladena za Nobelovu nagradu za književnost. MG74

Autor - osoba Karanović, Zvonko, 1959- = Karanović, Zvonko, 1959- Naslov Mama melanholija / Zvonko Karanović Vrsta građe poezija URL medijskog objekta odrasli, opšte (lepa književnost) Jezik srpski Godina 1996 Izdavanje i proizvodnja Beograd : Prosveta, 1996 (Niš : Grafika galeb) Fizički opis 78 str. ; 20 cm Zbirka Savremena poezija `96. (broš.) Napomene Autorova slika na koricama Tiraž 500 Beleška o autoru: str. 76. Predmetne odrednice Karanović, Zvonko, 1959- -- Poezija Zvonko Karanović Rođen je 1959. u Nišu. Piše poeziju i prozu. Objavljivao je u svim najznačajnijim književnim časopisima stare i nove zemlje. Pesme su mu prevođene na engleski, francuski, nemački, španski, italijanski, grčki, poljski, ukrajinski, slovački, češki, albanski, bugarski, makedonski, slovenački i mađarski jezik. Živi u Beogradu. Knjige pesama Srebrni Surfer, SKC, Niš, 1991. Mama melanholija, Prosveta, Beograd, 1996. Extravaganza, Gradina, Niš, 1997. Tamna magistrala, Narodna knjiga, Beograd, 2001. Svlačenje, Povelja, Kraljevo, 2004. Blitzkrieg (rane pesme 1980 – 1985), LOM, Beograd, 2009. Mesečari na izletu, LOM, Beograd, 2012. Kavezi, LOM, Beograd, 2013. Zlatno doba, LOM, Beograd, 2015. Izabrane pesme Neonski psi – izabrane pesme, Home Books, Beograd, 2001. Box set – sabrane pesme, LOM, Beograd, 2009. Najbolje godine naših života – izabrane pesme 1991-2004, LOM, Beograd, 2014. Knjige pesama u inostranstvu Tamna magistrala – izabrane pesme, Fraktura, Zagreb, Hrvatska, 2008. Barabanы i strunы, magistralь i nočь – izabrane pesme, Piramida, Lavov, Ukrajina , 2011. Burn, baby, burn – izabrane pesme, Drava Verlag, Klagenfurt, Austrija, 2013. Pepelaška vo hromiran kovčeg – izabrane pesme, Blesok, Skopje, Makedonija, 2014. It Was Easy to Set the Snow On Fire: The Selected Poems, Phoneme Media, Los Angeles, USA, 2016. Najboljša leta najinih življenj – izabrane pesme, LUD Literatura, Ljubljana, Slovenija, 2017. Antologije – domaće Antologija niških pesnika (priredio Milentije Đorđević), Prosveta, Niš, 2003. Zvezde su lepe, ali nemam kad da ih gledam – antologija srpske urbane poezije (priredila Radmila Lazić), Samizdat B92, Beograd, 2009. Iz muzeja šumova – antologija srpske poezije 1988 – 2008 (priredio Nenad Milošević), VBZ, Beograd – Zagreb, 2009. Antologije – strane New European Poets , Graywolf Press (Wayne Miller, Kevin Prufer), Saint Paul, Minnesota, USA, 2008. Ulaznica · eintrittskarte, Panorama srpskog pesništva 21. veka, Panorama der serbischen Lyrik im 21. Jahrhundert, (priredio Dragoslav Dedović), Drava Verlag, Austrija, 2011. Cat Painters – An Anthology of Conteporary Serbian Poetry (Edited and Introduced by Biljana B. Obradović and Dubravka Đurić), Dialogos Books, New Orleans, USA, 2016. Romani Više od nule, Zograf, Niš, 2004. Četiri zida i grad, Laguna, Beograd, 2006. Tri slike pobede, Laguna, Beograd, 2009. Prevodi Čotiri stіni і mіsto, FAKT, Kijev, Ukrajina, 2009. Tri kartini peremogi, Komora, Kijev, Ukrajina, 2016. Nagrade i priznanja Nagrada Laza Kostić za zbirku pesama Mesečari na izletu, 2013. Nagrada Biljana Jovanović za zbirku pesama Kavezi, 2014. Nagrada Kočićevo pero i Kočićeva knjiga za zbirku pesama Najbolje godine naših života, 2014. Nagrada Dušan Vasiljev za zbirku pesama Zlatno doba, 2016. Članstvo Srpsko književno društvo Srpski PEN centar MG12 (N)

Knjiga iznutra odlično očuvana G2 Grafika: Edo Murtic Juraj „Jure“ Kaštelan (Zakučac, 18. decembar 1919 — Zagreb, 24. februar 1990) bio je hrvatski pesnik. Ratnih godina 1941 — 1945. bio je pripadnik Narodnooslobodilačkog pokreta. Do 1980. godine je bio predavač Katedre za teoriju književnosti na Filozofskom fakultetu u Zagrebu, a neko vreme i lektor na Sorboni. U početku nastavlja tradicionalni izraz hrvatske poezije koji zatim proširuje evropskim vidicima (najveći uticaj na njegovo stvaralaštvo je izvršio Federiko Garsija Lorka). Jedan je od utemeljivača modernog hrvatskog pesničkog izraza. Objavljivao je i članke, prozu, eseje i drame u kojima je prisutna mitska koncepcija. Prevodio je sa ruskog i italijanskog jezika. Zbirke „Crveni konj“, „Pijetao na krovu“, „Biti ili ne“, „Malo kamena i puno snova“, „Divlje oko“, „Čudo i smrt“. Kaštelan, Jure, hrvatski književnik (Zakučac kraj Omiša, 18. XII. 1919 – Zagreb, 24. II. 1990). Na Filozofskome fakultetu u Zagrebu slavistiku diplomirao 1949., a 1956. doktorirao tezom o pjesništvu A. G. Matoša. Od 1942. bio je u partizanima, a nakon rata radio u novinskim i izdavačkim redakcijama. Godine 1950–80. bio je profesor teorije književnosti na Filozofskome fakultetu u Zagrebu. Redoviti član JAZU bio je od 1979., a od 1985. do kraja života bio je voditelj njezina Zavoda za književnost i teatrologiju. Dobitnik je Nagrade »Vladimir Nazor« za životno djelo (1984). Prvom zbirkom pjesama Crveni konj (1940) iskazao je svoj ideološki angažman i zacrtao većinu pjesničkih preokupacija i osobina svojega pjesništva. To je lirika grada u ozračju predratnoga vremena i sa slutnjom rata. Baštineći stih hrvatske usmene književnosti i dotadašnjega pjesništva, stvorio je pjesme moderne, nadrealističke strukture s neobičnom metaforikom i neočekivanim značenjima, često povezanima s mitološkim i magijskim simbolima, a isprepletanjem različitih tipova govora, ritmički je dinamizirao stih. U zbirci Pijetao na krovu (1950) evocirao je ratno iskustvo te je među prvima u poraću unio apstraktna ontološka pitanja u pjesništvo. U njoj se nalazi i poema Tifusari, s fabularnom kompozicijskom okosnicom hodanja umirućega tifusara u koloni po snijegu, a sastavnice njegova somnambulnoga monologa bitne su egzistencijalne odrednice: užas postojanja, smrt, sloboda i duhovni život. Podudarno s promjenama sadržaja tifusarove svijesti izmjenjuju se različite vrste iskaza s različitim ritmovima i različitom slikovnošću. Biti ili ne (1955) i Malo kamena i puno snova (1957) zbirke su pune stvaralačke zrelosti, u kojima je spoj stvarnosti, metafizike i sna pjesnički ostvaren isprepletanjem nekoliko stilova. Zbirku Divlje oko (1978) zasniva na pjevanju o vječnim suprotnostima te unosi mitsku i mitološku transcendenciju. Kaštelanovo je pjesništvo od početka usmjereno ostvarivanju sklada sadržaja i izraza, objedinjujući u sebi ukupnost pjesničkih postupaka suvremene hrvatske poezije te dosežući njezine vrhunce. U zbirku proza Čudo i smrt (1961) unio je obilježja antiproze, s prevladavajućim postupcima oneobičavanja običnoga, a u dramske tekstove Pijesak i pjena (1958) i Prazor (1972) obilježja antidrame. Napisao je studije o Matošu i A. B. Šimiću, više eseja, članaka, recenzija, predgovora, osvrta na kazališne predstave i izložbe te uredio više izdanja hrvatskih pjesnika. Prevodio je s talijanskoga, francuskoga, španjolskog i češkog jezika.

Treća pesnička knjiga jednog od najboljih savremenih srpskih pisaca. Izuzetno retko u ponudi! Vladan Matijević (Čačak, 16. novembar 1962) srpski je književnik. Dobitnik je Andrićeve nagrade za najbolju knjigu priča 2000. i Ninove nagrade kritike za najbolji roman 2003. godine.[1] Biografija Osamnaest godina je radio u fabrici bazne hemije, od 2005. zaposlen je u galeriji Nadežda Petrović u Čačku. Počeo je sa pisanjem poezije, njegove pesme štampane su u časopisima već početkom osamdesetih. Godine 1991. objavljuje zbirku pesama Ne remeteći rasulo, koja, po Matijeviću, predstavlja prelomni trenutak u njegovom životu. Ubrzo počinje da piše i prozu. Kratki roman Van kontrole je njegovo prvo prozno delo. Do danas je objavio trinaest knjiga, većina je imala više izdanja. Romani su mu prevođeni na francuski, nemački, španski, italijanski, bugarski i makedonski jezik. Dobitnik je više značajnih nagrada i priznanja u Srbiji, između ostalih i Andrićeve nagrade za najbolju knjigu priča 2000. godine i Ninove nagrade kritike za najbolji roman 2003. godine. O stvaralaštvu Vladana Matijevića napisano je više od sto kritičkih tekstova, o njemu su snimljena dva dokumentarna televizijska filma autora Josipa Babela (2004) i Olgice Rakić (2010). Bio je gost u emisijama Velje Pavlovića `Nivo 23` (2014) na Studiju B i Rade Đurić `Da sam ja neko` (2023) na N1 televiziji. Pisac i urednik Aleksandar Gatalica snimio je 2016. za RTS polučasovnu emisiju Književni dijalog sa Vladanom Matijevićem. U jednom intervjuu izjavio je: Umetničko stvaranje, pisanje posebno, nije sportsko takmičenje koje čoveka obavezuje na sve bolje rezultate. Da bi se od njega živelo mora se misliti na tiraže i objavljivati bar jednom godišnje. Ja to ne mogu. Živeo sam za pisanje, ali ne i od njega, i ne vidim kako bi se to moglo promeniti?! To je moja sudbina. Živi u Čačku. Nagrade Nagrada „Milutin Uskoković”, za pripovetku „Proleće Filipa Kukavice”, 1999.[2] Andrićeva nagrada, za knjigu priča Prilično mrtvi, 2000. Nagrada „Jovan Dučić” (2), za pripovetku „Zamagljeni krug”, Književna zajednica „Jovan Dučić”, Trebinje, 2002. Ninova nagrada, za roman Pisac izdaleka, 2004. Nagrada „Zlatni hit liber”, za roman Pisac izdaleka, 2004. Nagrada „Zlatni bestseler”, za roman Pisac izdaleka, 2004. Nagrada „Meša Selimović”, za roman Vrlo malo svetlosti, 2011. Nagrada „Borisav Stanković”, za roman Vrlo malo svetlosti, 2011. Nagrada „Isidora Sekulić”, za roman Vrlo malo svetlosti, 2011. Nagrada „Kočićevo pero”, za knjigu eseja Memoari, amnezije, 2012. Nagrada „Kočićeva knjiga”, za knjigu eseja Memoari, amnezije, 2012. Nagrada „Stevan Sremac”, za knjigu priča Pristaništa, 2015. Nagrada „Danko Popović”, za knjigu priča Pristaništa, 2015. Nagrada „Ramonda serbika”,za celokupno književno delo i značajan doprinos književnosti i kulturi, 2019. Nagrada „Zlatni krst kneza Lazara”, za celokupno književno delo, 2023. Književna nagrada „Beogradski pobednik”, za roman Pakrac, 2024.[3] Dela Romani Van kontrole (1995) R. C. Neminovno (1997) Pisac izdaleka (2003) Časovi radosti (2006) Vrlo malo svetlosti (2010) Susret pod neobičnim okolnostima (2016) Sloboda govora (2020) Pakrac (2023) Knjige priča Prilično mrtvi (2000) Pristaništa (2014) Drugo Ne remeteći rasulo (pesme, 1991) Samosvođenje (pesme, 1999) Žilavi komadi (drame, 2009) Memoari, amnezije (eseji, 2012)

Lepo očuvano kao na slikama HALL, Donald (Editor): Contemporary American Poetry. New York, Penguin, 1986. Stated Second Edition. Paperback, 280 pp. Poetry / Literature / Poetry Anthologies. A rich and comprehensive anthology of poetry by American literary luminaries such as Robert Lowell, Allen Ginsberg and Sylvia Plath. Highly recommended. Our Youth by John Ashbery The Picture Of Little J.a. In A Prospect Of Flowers by John Ashbery Some Trees by John Ashbery Thoughts Of A Young Girl by John Ashbery A Vase Of Flowers by John Ashbery The Young Prince And The Young Princess by John Ashbery After The Industrial Revolution, All Things Happen At Once by Robert Bly Andrew Jackson`s Speech by Robert Bly Awakening by Robert Bly The Busy Man Speaks by Robert Bly Driving Toward The Lac Qui Parle River by Robert Bly Hunting Pheasants In A Cornfield by Robert Bly Poem Against The British by Robert Bly Poems In Three Parts: 1 by Robert Bly Poems In Three Parts: 2 by Robert Bly Poems In Three Parts: 3 by Robert Bly The Possibility Of New Poetry by Robert Bly Sleet Storm On The Merritt Parkway by Robert Bly Where We Must Look For Help by Robert Bly Adam`s Song To Heaven by Edgar Bowers The Centaur Overhead by Edgar Bowers Le Reve by Edgar Bowers The Mountain Cemetery by Edgar Bowers The Prince by Edgar Bowers Sonnet To George Sand: 1. A Recognition by Elizabeth Barrett Browning Sonnet To George Sand: 2. A Desire by Elizabeth Barrett Browning After Lorca by Robert Creeley The Cracks by Robert Creeley For Love by Robert Creeley The Hill by Robert Creeley I Know A Man by Robert Creeley Kore by Robert Creeley The Rain by Robert Creeley The Signboard by Robert Creeley The Performance by James Dickey A Poem Beginning With A Line By Pindar by Robert Duncan She by Jorge Guillen Alceste In The Wilderness by Anthony Hecht The End Of The Weekend by Anthony Hecht Samuel Sewall by Anthony Hecht The Vow by Anthony Hecht Another Song by Donald Justice Beyond The Hunting Woods by Donald Justice Counting The Mad by Donald Justice Here In Katmandu by Donald Justice On A Painting By Patient B Of Independence State Hospital by Donald Justice On The Death Of Friends In Childhood by Donald Justice B Negative by X. J. Kennedy First Confession by X. J. Kennedy In A Prominent Bar In Secaucus One Day by X. J. Kennedy Little Elegy; For A Child Who Skipped Rope by X. J. Kennedy Nude Descending A Staircase by X. J. Kennedy The Avenue Bearing The Initial Of Christ In The New World:11 by Galway Kinnell Flower Herding On Mount Monadnock by Galway Kinnell The Grace-note by Denise Levertov A Map Of The Western Part Of The County Of Essex In England by Denise Levertov Overland To The Isalnds by Denise Levertov Six Variations by Denise Levertov The Springtime by Denise Levertov Sunday Afternoon by Denise Levertov The World Outside by Denise Levertov The Picnic by John (1923-1987) Logan A Trip To Four Of Five Towns by John (1923-1987) Logan After The Surprising Conversions by Robert Lowell Between The Porch And The Altar: 3. Katherine`s Dream by Robert Lowell Christmas Eve Under Hooker`s Statue by Robert Lowell For Sale by Robert Lowell The Holy Innocents by Robert Lowell Man And Wife by Robert Lowell Memories Of West Street And Lepke by Robert Lowell New Year`s Day by Robert Lowell Skunk Hour; For Elizabeth Bishop by Robert Lowell After Greece by James Ingram Merrill Angel by James Ingram Merrill Childlessness by James Ingram Merrill The Power Station by James Ingram Merrill The Bones by William Stanley Merwin Departure`s Girlfriend by William Stanley Merwin Grandfather In The Old Men`s Home by William Stanley Merwin Leviathan by William Stanley Merwin Low Fields And Light by William Stanley Merwin Small Woman On Swallow Street by William Stanley Merwin Views From The High Camp by William Stanley Merwin Dark Head by Robert Mezey Epitaph Of A Faithful Man by Robert Mezey The Funeral Home by Robert Mezey Late Winter Birthday by Robert Mezey The Lovemaker by Robert Mezey To Philip Levine, On The Day Of Atonement by Robert Mezey The Fall Again by Howard Nemerov The Statues In The Public Gardens by Howard Nemerov Storm Windows by Howard Nemerov The View From An Attic Window by Howard Nemerov 1. The Evil Eye by Adrienne Cecile Rich 2. The Confrontation by Adrienne Cecile Rich 3. Memorabilia by Adrienne Cecile Rich 4. Consanguinity by Adrienne Cecile Rich 5. The Mirror by Adrienne Cecile Rich 6. The Covenant by Adrienne Cecile Rich The Insusceptibles by Adrienne Cecile Rich The Ash And The Oak by Louis Simpson Early In The Morning by Louis Simpson My Father In The Night Commanding No by Louis Simpson The Riders Held Back by Louis Simpson There Is by Louis Simpson To The Western World by Louis Simpson Walt Whitman At Bear Mountain by Louis Simpson 1 by William Dewitt Snodgrass 4 by William Dewitt Snodgrass 6 by William Dewitt Snodgrass The Examination by William Dewitt Snodgrass Monet: `les Nympheas` by William Dewitt Snodgrass Above Pate Valley by Gary Snyder All Through The Rains by Gary Snyder Hay For The Horses by Gary Snyder Milton By Firelight by Gary Snyder Piute Creek by Gary Snyder At Cove On The Crooked River by William Edgar Stafford Near by William Edgar Stafford Returned To Say by William Edgar Stafford Strokes by William Edgar Stafford Traveling Through The Dark by William Edgar Stafford With My Crowbar Key by William Edgar Stafford A Day With The Foreign Legion by Reed Whittemore On The Suicide Of A Friend by Reed Whittemore The Party by Reed Whittemore Still Life by Reed Whittemore The Walk Home by Reed Whittemore After The Last Bulletins by Richard Wilbur In The Smoking-car by Richard Wilbur Museum Piece by Richard Wilbur Shame by Richard Wilbur Tywater by Richard Wilbur The Undead by Richard Wilbur A World Without Objects Is A Sensible Emptiness by Richard Wilbur At Thomas Hardy`s Birthplace, 1953 by James Wright The Blessing by James Wright Confession To J. Edgar Hoover by James Wright Depressed By A Book Of Bad Poetry, I Walk ... by James Wright A Gesture By A Lady With An Assumed Name by James Wright Lying In A Hammock At William Duffy`s Farm In Pine Island, Minnesota by James Wright Miners by James Wright Saint Judas by James Wright alen ginzberg bitnici bitnička poezija savremena američka antologija savremene američke poezije SAD USA književnost xx veka avangarda neoavangarda postmoderna lirika silvija plat

JAŠA M. PRODANOVIĆ ANTOLOGIJA NARODNE POEZIJE Izdavač - Geca Kon, Beograd Godina - 1938 464 strana 20 cm Povez - Tvrd Stanje - Kao na slici, IMA POSVETU AUTORA, tekst bez podvlačenja SADRŽAJ: O narodnoj poeziji LIRSKE (ŽENSKE) PESME 1 Obredne pesme Kraljičke pesme Momcima Baku Popu Starcu Pripjev uza zdravicu Domaćinu Detetu Uspavanka Slava krsnog imena Božićna pesma Kad prose devojku Kad se vraćaju s proševine Pjesma djeveru Snaha i djever Kad se mlada penje na konja Svatovi u putu 1 Svatovi u putu, II Svatovi u putu, III Kad se ukažu svatovi 1. Kad se ukažu svatovi, II. Tužbalice, I—II || Ljubavne pesme Lepota mladoženjina Košuta i djevojka Zavičaj Latka Janka Majka ćerku čuva Srpska djevojka Rastanak 3 ljubim me hočejo razločiti Nesrećna devojka Nesrećna devojka Vezak vezla Paun pase Ljubezni slana Žalost za dragim Od sevdaha goreg jada nema Eleno, dušo galeno Teška je devojačka kletva Kako kune djevojka Devojka kune dragog Oj djevojko Jovo i Ana Stojan i Ljiljana Vjerna djevojka Kad je draga na daleko Otkrivena tajna Omiljela mu djevojka Star i mlad Dragi i nedragi Rajše ljubljenega siromaka ko neljubljenega bogatca Biljana i vinari Konjic Marka ostavio Srećan verenik Nema straže nad očima Smrt Omera i Merime III Porodične pesme Sirotna majka Hasanaginica Sestra izbavlja brata Sestre i brat Dobra snaha, I Dobra snaha, II Jetrvica adamsko koleno IV Pobožne i moralne pesme Šta da čini ko misli Božji biti Pred Bogom ćemo biti svi jednaki Človek zvene kako svetlica Od raja djevojka Venčanje u neznanju Vila sve zna Sjajna košulja Opklada vile i djevojke Žena lepša od vile Lepa vida Junak i njegova sreća Prepiranje neba sa zemljom Udarila kiša Pobratim i posestrima Samoubistvo je greh Putovanje sunca Slepačka pesma Kad ko što udijeli V Pesme o radu Nadžnjevanje momka i devojke Moba u nedelju Zadružna kuća Vino vozi Zao gospodar Tri ptičice VI Šaljive pesme Prelja i kujundžija Lažna hvala Zajedljiva šala, I i II Malen vojno Sve zlo pa zlo Beskućnikova ženidba Na Sitnici Jadikovanje za teletom Imam kuću Čudna raja Kotarac i njegov magarac Silan lovac Laž nad lažima Vil Razne pesme Boj na Ravnju Devojke i junaci Prirodna sloboda Uzaludna služba Sačuvaj nas, Bože Ko šta nema EPSKE (JUNAČKE) PESME A. VERSKE I NEISTORISKE PESME Đakon Stevan i dva anđela Ko krsno ime slavi onom i pomaže Predrag i Nenad Sveti Sava i Hasan paša B. ISTORISKE PESME I Nemanjići i Mrnjavčevići Sveti Sava Ženidba Dušanova Uroš i Mrnjavčevići II Knez Lazar i Kosovske pesme Banović Strahinja Miloš u Latinima Čuvari Lazareva blaga Car Lazar i carica Milica Propast carstva srpskoga Kako Miloš Dragilović ili Obilović ranjen na Kosovu na 15 lipnja g(odišta) g(ospodinova) 1389 priminu i šta naredi na koncu od života, i poruči Vukosavi, ljubi svojoj, po svojoj punici Milici, ljubi Lazara kneza od Srblji a kćeri Uglješe Mrnavčića Vasojević Stevo Kosovka devojka Smrt majke Jugovića III Kraljević Marko Prvo junaštvo Marko Kraljević na pričešću Marko Kraljević i beg Kostadin Marko Kraljević i orao Marko Kraljević i Alil-aga Kako je Marko Kraljević izbavio tri vile Kraljević Marko i Ljutica Bogdan Ženidba Popović Stojana Ženidba kralja Mirčete IV Brankovići i njihovo doba Grijesi Smederevac-Đura Ženidba Zmaj-Despota Vuka Dioba Jakšića Smrt vojvode Prijezde Margita djevojka i Rajko vojvoda Banović Sekula i Jovan Kosovac Ženidba Vlašića Radula V Crnojevići Ženidba Maksima Crnojevića VI Hajduci Starina Novak i deli Radivoje Đerzelez Alija Vide Daničić Stari Vujadin Kostreš harambaša Mali Radojica Mali Marijan Čovjek paša i Mihat čobanin VII Uskoci Lov na Božić Ženidba Senjanina Iva Senjanin Tadija Ženidba od zadra Todora Ženidba Janković Stojana VIII Iz Hercogovine i Crne Gore Ženidba bega Ljubovića Tri sužnja Panto Cemović i iguman Nikodim IX Prvi i drugi ustanak Početak bune protiv dahija Knez Ivan Knežević Boj na Čokešini Boj na Čačku Tumačenje nekih nejasnijih stihova Rečnik nepoznatijih stranih, starinskih pokrajinskih reči Rečnik istoriskih i geografskih imena Pogovor Skraćenice Ako Vas nešto zanima, slobodno pošaljite poruku.

UKCG 1986 NOVA BABIĆ, Goran, pjesnik, prozaik i dramski pisac (Vis, 18. X 1944). Djetinjstvo i mladost proveo je u raznim mjestima (Split, Makarska, Opuzen, Zagreb, Metković, Mostar, Podhum). Gimnaziju je polazio i završio (1963) u Mostaru. Studirao je na Ekonomskom fakultetu u Zagrebu i diplomirao 1968. God. 1969. osniva Centar za društvene djelatnosti omladine RK SOH (bio je tajnik ustanove, a poslije glavni urednik biblioteke). Od 1973. je glavni urednik Oka. — Javio se pjesmom Za prvu zbirku (Sloboda, 1958, 28. XI). Pjesme, prozne i dramske tekstove, književne prikaze te polemike objavljuje u publikacijama: Mlada Hercegovina (1959, 1960), Sloboda (1959, 1962–1964, 1966), Mladost (1964, 1968, 1970), Republika (između 1966. i 1980), Telegram (1966, 1968, 1969, 1972), Encyclopaedia moderna (1967, 1971/1972), Polja (između 1967. i 1980), Vidik (1967, 1968, 1970, 1972), Kolo (1969), Forum (između 1970. i 1979), Umjetnost i dijete (1970, 1979), Hrvatski tjednik (1971), Mogućnosti (1971, 1973), Odjek (1971, 1973–1975), Zadarska revija (1971, 1972), Modra lasta (1972–1974), Književna reč (1973, 1977, 1979), Oko (1975–1980), Književne novine (1979), Revija (1980) i dr. Pseudonim mu je G. B. Matin. Piše i poeziju za djecu. Sklon je pjesničkom eksperimentiranju, rušenju tradicije na tematskoj i formalnoj razini te se okušao u grafičkoj i vizualnoj poeziji. U kazalištu su mu izvedene drame Čaj s mrljom (1972); Baš-Čelik (1977); autor je TV drama Kratka noć (s K. Klarićem, 1971), Naša stvar (1975), Blesan i Tulipan (s K. Babić, 1976) te radio-dramâ Devet, devet, devet (1973), Dan kad je poludio telefon u Jugoslaviji (1974), Autostoper (1976) i dr. Za roman Smrt u snu, koji je počeo izlaziti u Forumu (1977), dobio je nagradu Željezare Sisak (1980). Pjesme su mu uvrštene u više antologija, a prevođene su na albanski, engleski, makedonski, rumunjski i slovenski. DJELA: Ptico jedna glupa u smrt zaljubljena. Zagreb 1966. — Lapot i druge listine iz ljetopisa. Zagreb 1969. — Ostale otvorene igre. Zagreb 1969. — Krabulja. Zagreb 1970. — Strašna djeca. Zagreb 1973. — Tri poeme. Beograd 1974. — Vjetrenjače trulo srce. Cetinje 1974. — Nova djeca. Dubrovnik 1975, Gornji Milanovac 1978. — Mjesečina, noćni lijes. Čakovec 1975. — Naša stvar. Rijeka 1975. — Blesan i Tulipan. Novi Sad 1977. — Dim i zima. Zagreb 1977. — Bića vatre, svjetlosti. Beograd 1978. — Dramski tekstovi, 1. Osijek 1979. — Kako se uči ljubav. Beograd 1979. — Noćna rasa. Zagreb 1979. — Smrt u snu. Zagreb 1979. LIT.: Jakša Fiamengo: Strasti avanture. Vidik, 17(1970) 21, str. 98–100. — Vjeran Zuppa: Goran Babić: Lapot i druge listine iz ljetopisa. Telegram, 11(1970) br. 508. — Branko Bošnjak: Geografija sile. Pitanja, 4(1972) 35, str. 1365–1369. — Stanka Bručić-Dvoržak: Goran Babić: Strašna djeca. Knjiga i čitaoci, 7(1973) 7/10 str. 202–203. — Jakov Jurišić: Svježina poetskog izričaja. Odjek, 27(1974) 13, str. 20–21. — Srba Ignjatović: Pesništvo Gorana Babića od Lapota do Tri poeme. Književna reč, 4(1975) br. 33. — Zvonimir Kostić: Tri poeme Gorana Babića. Letopis Matice srpske, 151(1975) CDXVI/4, str. 401–403. — Rade Prelević: Poezija kao kritika poezije. Život, 24(1975) XLVII/2, str. 220–222. — Lidija Švagel: Vjetrenjače trulo srce. Zadarska revija, 24(1975) 5/6, str. 527–528. — Marijan Tomislav Bilosnić: Čitljiva i jasna zbirka. Rukovet, 22(1976) XLIII/5–6, str. 288–289. — Ljubomir Cvijetić: Goran Babić: Mjesečina noćni lijes. Odjek, 29(1976) 10, str. 18–19. — Zvonko Kovač: Nova podloga angažmana. Stih, 1(1976) 2, str. 166–168. — Sreten Perović: Ironija kao samoodbrana. Stvaranje, 31(1976) 1, str. 135–137. — Draško Ređep: Srce domaje. Detinjstvo, 1976, 1, str. 55–60. — Lukša Fiamengo: Goran Babić: Bića vatre. OFF, 1978, 1, str. 91–93. — Ivan Božičević: Goran Babić: Noćna rasa. Republika, 36(1980) 6, str. 823–824. — Srbo Ignjatović: Noćna rasa. Književnost, 35(1980) LXX/9, str. 1534–1538. — Draško Ređep: Goran Babić: Noćna rasa. Književnost, 35(1980) LXX/8, str. 1331–1335. — Ranko Risojević: Smrt u snu. Odjek, 33(1980) 4, str. 17. — Ljiljana Šop: Goran Babić: Smrt u snu. Književne novine, 32(1980) br. 601. — Velimir Visković: Goran Babić: Smrt u snu. Književna reč, 9(1980) br. 139. Goran Babić je studirao i diplomirao na Ekonomskom fakultetu u Zagrebu. Od 1969. godine vodio je Centar za društvene djelatnosti omladine u sklopu kojega je objavljen niz knjiga mladih hrvatskih pisaca. Od 1973. godine glavni je urednik časopisa Oko, gdje dolazi do izražaja njegova kontroverzna polemičarska strast; zastupajući dogmatske stavove vladajuće stranke (SKJ) izaziva svojim polemikama žestok prezir i odbojnost većeg dijela hrvatske javnosti. Godine 1991. napušta Hrvatsku.[1] Babić polemičar[uredi VE | uredi] Spomenuti je esej... svojevremeno prozvao onaj brkati i bradati zlohudi patuljak iz šume Striborove hrvatske književnosti. Naime drug Goran Babić je na moju tvrdnju da u određenom razdoblju* nije bilo pravih književnih časopisa, odnosno realne mogućnosti da se oni pojave a pogotovo prežive, rekao i napisao,... da sam mimoišao Krležine časopise, valjda misleći da sam vesla sisao, te da uistinu vjerujem da su Krležini časopisi u poslijeratnom razdoblju bili sinonim književne živosti u nas.... takav časopis kome bi urednik bio Miroslav Krleža nije naprosto izlazio, a to što je on bio urednik, i to urednik u sjeni, prvih brojeva Foruma, ne predstavlja neko osobito sretno razdoblje hrvatske književnosti.[2] hrvatskoj književnosti neposredno poslije 1945. godine Nepotpun popis djela[uredi VE | uredi] Pjesme[uredi VE | uredi] Ostale otvorene igre, Mladost, Zagreb, 1969. Mjesečina, noćni lijes, `Zrinski`, Čakovec, 1975. Noćna rasa, Nolit, beograd, 1979. Duša, `Zrinski`, Čakovec, 1987.

Spoljašnjost kao na fotografijama, unutrašnjost u dobrom i urednom stanju! 1966. godina Prvo izdanje! Milovan Danojlić (Ivanovci, 3. jul 1937) je srpski pisac koji živi i radi od 1984. godine u Francuskoj. Veliku maturu položio je 1957. u Beogradu, gde je 1973. na Filološkom fakultetu diplomirao Odsek za romanistiku. Sarađivao je kao stalni i spoljni saradnik u dnevnim listovima Borba, Politika, u NIN-u i brojnim književnim časopisima. U dva navrata je radio kao lektor za srpskohrvatski jezik na Univerzitetu u Poatjeu, a nekoliko godina je obavljao poslove spoljnog saradnika pariskog radija. Član je SANU od 2000. godine. Jedan je od 13 intelektualaca koji su obnovili rad predratne Demokratske stranke 1989. Objavio je više od 70 knjiga beletristike i poezije na srpskom jeziku. Piše poeziju, prozu, esejistiku i književnu kritiku. Priredio je i preveo veliki broj knjiga iz književnosti za decu; preveo je i prepevao dela poznatih pisaca (V. Šekspir, Š. Bodler, J. Brodski, E. Sioran, L. Aragon, E. Paund, V. B. Jejts, E. Jonesko, P. Klodel), pisana na francuskom i engleskom jeziku. Najpoznatije Danojlićeve knjige su „Neka vrsta cirkusa“, „Lične stvari - ogledi o sebi i o drugima“ i „Balada o siromaštvu“. Nagrade Dobitnik je više književnih nagrada od kojih su najpoznatije: NIN-ova nagrada za delo „Oslobodioci i izdajnici“ 1997. Oktobarska nagrada Beograda, Zmajeva nagrada, Nagrada Branko Ćopić, Nagrada Isidora Sekulić, Nagrada Desanka Maksimović, Mladost, Mlado pokoljenje, Neven, Vitalova nagrada `Zlatni suncokret`, Žička hrisovulja, Nagrada Miloš Đurić za prevodilaštvo, Nagrada Pečat vremena za književnost. Dela Urođenički psalmi, Nolit, Beograd, 1957. Nedelja, Lykos, Zagreb, 1959. Kako spavaju tramvaji Arhivirano 2014-12-08 na Wayback Machine-u, Lykos, Zagreb, 1959. Noćno proleće, Progres, Novi Sad, 1960. Balade, Nolit, Beograd, 1966. Lirske rasprave, Matica srpska, Novi Sad, 1967. Furunica-jogunica, Kulturni centar, Novi Sad, 1969. Glasovi, nezavisno izdanje, Beograd, 1970. Čudnovat dan, Mlado pokolenje, Beograd, 1971. O ranom ustajanju, Matica srpska, Novi Sad, 1972. Rodna godina, BIGZ, Beograd, 1972. Onde potok, onde cvet, Zmajeve dečje igre/Radnički univerzitet, Novi Sad, 1973. Čistine, Matica srpska, Novi Sad, 1973. Grk u zatvoru, August Cesarec, Zagreb, 1975. Naivna pesma, Nolit, Beograd, 1976. Put i sjaj, Matica srpska, Novi Sad, 1976. Kako je Dobrislav protrčao kroz Jugoslaviju Arhivirano 2014-12-15 na Wayback Machine-u, BIGZ, Beograd, 1977. Muka s rečima, Slobodan Mašić, Beograd, 1977. Pesme, Nolit, Beograd, 1978. Tačka otpora, Liber, Zagreb, 1978. Zimovnik, Zbirka Biškupić, Zagreb, 1979. Zmijin svlak, Nolit, Beograd, 1979. Rane i nove pesme, Prosveta, Beograd, 1979. Kako živi poljski miš, Narodna knjiga, Beograd, 1980. Senke oko kuće, Znanje, Zagreb, 1980. To : vežbe iz upornog posmatranja, Prosveta, Beograd, 1980. Srećan život, Mladost, Zagreb, 1981. Mišja rupa, M. Danojlić/M. Josić, Beograd, 1982. Sunce je počelo da se zlati, Zavod za izdavanje udžbenika, Novi Sad, 1982. Čišćenje alata, M. Danojlić/S. Mašić, Beograd, 1982. Brisani prostor, Srpska književna zadruga, Beograd, 1984. Podguznica, M.Josić/M. Danojlić, Beograd, 1984. Šta sunce večera, Rad, Beograd, 1984. Kao divlja zver : teškoće s ljudima i sa stvarima, Filip Višnjić, Beograd, 1985. Večiti nailazak : stihovi, Jugoslavika, Toronto, 1986. Dragi moj Petroviću, Znanje, Zagreb, 1986. Čekajući da stane pljusak, [s.n.], Pariz, 1986. Pisati pod nadzorom, Nova Jugoslavija, Vranje, 1987. Neka vrsta cirkusa, Književna omladina Srbije, Beograd, 1989. Tačka otpora : izabrane pesme, Srpska književna zadruga, Beograd, 1990. Zlo i naopako, BIGZ, Beograd, 1991. Godina prolazi kroz avliju, Srpska književna zadruga, Beograd, 1992. Pesme za vrlo pametnu decu, Prosveta, Beograd, 1994. Da mi je znati : izbor iz poezije za decu, Zmaj, Novi Sad, 1995. Na obali, Gradska biblioteka, Čačak, 1995. Martovsko sunce : izbor iz poezije za decu, ING Komerc, Novi Sad, 1996. Mesto rođenja, Filip Višnjić, Beograd, 1996. Muka duhu, Draganić, Beograd, 1996. Teško buđenje, Plato, Beograd, 1996. Šta čovek da radi, Obrazovanje, Novi Sad, 1996. Jesen na pijaci, Školska knjiga, Novi Sad, 1997. Nedelja u našoj ulici, Todor, Novi Sad, 1997. Oslobodioci i izdajnici, Filip Višnjić, Beograd, 1997. Balada o siromaštvu, Filip Višnjić, Beograd, 1999. Veliki ispit, Verzal Press, Beograd, 1999. Kako spavaju tramvaji i druge pesme, Jefimija, Kragujevac, 1999. Kako je kralj Koba Jagi napustio presto, Intelekta, Valjevo, 2000. Pevanija za decu, Dečje novine, Gornji Milanovac, 2000. Razgorevanje vatre : izabrane pesme, Zadužbina Desanke Maksimović, Beograd, 2000. Lične stvari : ogledi o sebi i drugima, Plato, Beograd, 2001. Mesec je pun kao kljun : izbor iz poezije za decu, Agencija za otkrivanje i razvoj talenata `Nikola Tesla`, Novi Sad, 2001. Ograda na kraju Beograda, Bookland, Beograd, 2001. Pustolovina ili Ispovest u dva glasa, Filip Višnjić, Beograd, 2002. Zečji tragovi, Filip Višnjić, Beograd, 2004. Srbija na zapadu, NB `Stefan Prvovenčani`, Kraljevo, 2005. Čovek čoveku, Književna zajednica `Borisav Stanković`, Vranje, 2006. Pešački monolog, Plato, Beograd, 2007. Učenje jezika, Srpska književna zadruga, Beograd, 2008. Priča o pripovedaču, IP Matica srpska, Novi Sad, 2009. Crno ispod noktiju, Plato, Beograd, 2010. Dobro jeste živeti, Albatros Plus, Beograd, 2010. Iznuđene ispovesti, Plato, Beograd, 2010. Pisma bez adrese Arhivirano 2015-04-18 na Wayback Machine-u, Službeni glasnik, Beograd, 2012. Hrana za ptice, Albatros Plus, Beograd, 2014. Milovan Danojlić: Položaj pesnika `Pesnik se može umoriti, može zapasti u očajanje i beznađe, i pevajući o svom klonuću, donekle ga rečju prevazilaziti, ali on ne može preći u neprijateljski tabor, onaj u kome su porobljivači i silnici. On je nepobedivi borac i kad goloruk izlazi u arenu.[1] . . . Poezija je so zemlje, i pesnici su osetljive antene narodnih zajednica. Oni primaju i registruju drhtaje i treptaje, uzlete i težnje, nade i klonuća svog plemena. Pesnici nisu predvoditelji ni presuditelji, a ipak, dobro je oslušnuti ono što govore. I onda, kad se čine čudni i nastrani, možda su tada jedini na dobrom, ispravnom putu. Njihova se ludost, tako često, potvrdila kao najviši oblik pameti`.

Nick Cave Pesme Izdavač: Prostor, Beograd, 1997. Broj strana: 184 Pismo: latinica Povez: meki Nikolas Edvard Kejv (engl. Nicholas Edward Cave; 22. septembar 1957) australijski je muzičar, kompozitor, književnik, scenarista i glumac. Mladost Nik Kejv je rođen u gradiću Varaknabil u Viktoriji, Australija, kao dete Daun i Kolina Kejva. Ima dva brata, Tima rođenog 1952. i Pitera rođenog 1954. i sestru Džuli rođenu 1959. Kao dete preselio se sa porodicom u mesto Vangarati u ruralnoj Viktoriji. Otac Kolin po zanimanju je bio učitelj, zaljubljen u književnost a njegova majka bila je bibliotekarka. Još kao dete je pevao u crkvenom horu. Roditelji ga 1970. šalju u internat u Melburn zbog lošeg ponašanja u školi. Bilo mu je 19 godina kada mu je otac poginuo u saobraćajnoj nesreći. Nakon srednje škole, 1976. počinje studije slikarstva ali odustaje 1977. da bi se posvetio muzici. U to vreme, počeo je uzimati heroin. Muzička karijera Rad sa bendom The Birthday Party (1973–1984) Dok se školovao, Kejv je upoznao Majka Harvija, Trejsi Pju i Fila Kalverta s kojima je osnovao bend po imenu The Boys Next Door. U njihov repertoar su svrstali muziku izvođača: Dejvid Boui, Lu Rid, Alis Kuper i Roksi Mjuzik. Nedugo posle im se pridružuje Roland Hauard 1978. godine. Godine 1980. menjaju ime benda u the Birthday Party. Bend je bio jako poznat po provokativnim izvedbama i po Kejvu koji se bacao za vreme koncerata, vrištao, skidao i skakao na publiku. Tadašnja Kejvova devojka, Anita Lejn ga prati svuda. Bend se nedugo zatim seli u London a potom u Zapadni Berlin. Zbog nesuglasica i svađa između Kejva i Hauarda, koji su neprestano uzimali heroin i alkohol, bend se raspada 1984. godine. Bend Nick Cave and the Bad Seeds Bend sa Nikom kao njihovim liderom i frontmenom izdao je šesnaest studijskih albuma. Pičfork naziva grupu jedan od najsnažnijih bendova, sa potpuno postignutom diskografijom. Iako je njihov zvuk znatno promenljiv sa jednog albuma na drugi, jedna konstanta benda je mešanje različitih žanrova i struktura pesama. Kritičari Stefan Tomas Erlevin i Stiv Hjui napisali su: `Sa bendom Bad Seeds, Kejv je nastavio da istražuje svoje opsesije sa religijom, smrću, ljubavlju, Amerikom i nasiljem sa bizarnim, ponekad samosvesno eklektičnim hibridom bluza, jevanđelja, roka i art post-punka`. Nik Kejv sarađuje i nastupa sa ovim bendom i dan danas. Grinderman U 2006. Kejv je formirao bend Grinderman. Nik je izjavio da je oformio bend kako bi `pobegao od težine rada` sa bendom Bad Seeds. Prvi album pod nazivom Grinderman je izdat 2007. a samo tri godine kasnije su izdali album Grinderman 2. Bend se raspao 2011. godine. Muzika u filmovima Njegov rad je prikazan na sceni u filmu `Psi u svemiru` iz 1986. Dve njegove pesme su prikazane u filmu Wings of desire iz 1987. Sa grupom Bad Seeds radi muziku za filmove: Faraway, So Close!, Until the End of the World, Palermo Shooting, The Soul of a Man. Neke od pesama su bile deo holivudskih blokbastera. `There is a Light` se pojavila u filmu Batman Forever 1995. godine dok je pesma `Red Right Hand` bila deo filmova kao što su: The X-Files, Dumb & Dumber, Scream, Scream 2 i 3, kao i film Hellboy. `People Ain`t No Good` se pojavila u filmu Shrek 2 a pesma `O Children` je 2010. bila deo filma Harry Potter and the Deathly Hallows - Part 1. Književnost Kejv je izdao svoju prvu knjigu, 1988. godine pod nazivom King Ink. To je zbirka tekstova koju je pisao zajedno sa Lidijom Linč. Godine 1997, je izdao King Ink II, koji sadrži tekstove, pesme i transkript radio eseja koji je radio za Bi-Bi-Si u julu 1996. godine. Dok je bio u Berlinu, Kejv je počeo da radi na tome šta će postati kasnije njegov debitantski roman, And the Ass Saw the Angel (1989). Drugi roman The Death of Bunny Munro objavljen je 8. septembra 2009. Privatni život Anita Lejn bila mu je devojka od kraja 70-ih do sredine 80-ih. Nesumnjivo je imala jak uticaj na njega i njegov rad i često je spominje kao njegovu `muzu`, iako je s njim snimila vrlo malo pesama. Odnos su prekinuli sredinom osamdesetih nakon čega Kejv počinje vezu s Elizabet Reker. Nakon završetka debitantskog romana `And the Ass Saw the Angel`, Kejv se seli iz Zapadnog Berlina, kratko pre rušenja zida, u Sao Paulo u Brazil, gde upoznaju Brazilku Vivian Karneiro. Sa njom ima sina Luka. Kej ima još jednog sina imena Džetro, koji živi s majkom Beom Lazenbi u Australiji. Godine 1993. se seli u London. Tokom 1998. i 1999., Kejv se posvećuje rehabilitaciji od dvadeset godina zavisnosti od heroina i alkohola. Tokom devedesetih je imao kratrajnu vezu sa pevačicom P.Dž. Harvi. Tada upoznaje i današnju suprugu, britansku manekenku Suzi Bik. U brak ulaze 1999. i ubrzo nakon toga rađaju im se blizanci Artur i Erl. 2015. godine njegov sin Artur pada sa litice i umire. Ubrzo posle tragedije, Kejv snima dokumentarac `One More Time With Feeling`. Godine 2014. snima film o svom životu 20 000 dana na Zemlji. Diskografija Godina Podaci o albumu 1984. From Her to Eternity Producentska kuća: Mute Records Datum izlaska: 18. juna 1984. CD/DVD reizdanje: 27. april 2009. 1985. The Firstborn Is Dead Producentska kuća: Mute Records Datum izlaska: 3. juna 1985. CD/DVD reizdanje: 27. april 2009. 1986. Kicking Against the Pricks Producentska kuća: Mute Records Datum izlaska: 18. avgusta 1986. CD/DVD reizdanje: 27. aprila 2009. 1986. Your Funeral... My Trial Producentska kuća: Mute Records Datum izlaska: 3. novembra 1986. Format: CD, vinyl CD/DVD reizdanje: 27. aprila 2009. 1988. Tender Prey Producentska kuća: Mute Records Datum izlaska: 19. juna 1988. 1990. The Good Son Producentska kuća: Mute Records Datum izlaska: 17. aprila 1990. 1992. Henry`s Dream Producentska kuća: Mute Records Datum izlaska: 27. aprila 1992. 1994. Let Love In Producentska kuća: Mute Records Datum izlaska: 18. aprila 1994. 1996. Murder Ballads Producentska kuća: Mute Records Datum izlaska: 5. februara 1996. 1997. The Boatman`s Call Producentska kuća: Mute Records Datum izlaska: 3. marta 1997. 2001. No More Shall We Part Producentska kuća: Mute Records Datum izlaska: 2. aprila 2001. 2003. Nocturama Producentska kuća: Mute Records Datum izlaska: 3. februara 2003. 2004. Abattoir Blues/The Lyre of Orpheus Producentska kuća: Mute Records Datum izlaska: 20. juna 2004. 2008. Dig, Lazarus, Dig!!! Producentska kuća: Mute Records Datum izlaska: 3. marta 2008. 2013. Push the Sky Away Producentska kuća: Bad Seed Ltd Datum izlaska: 18. februara 2013. 2016. Skeleton Tree Producentska kuća: Bad Seed Ltd Datum izlaska: 9. septembra 2016. 2019. Ghosteen Producentska kuća: Bad Seed Ltd Datum izlaska: 4 oktobra 2019. Albumi sa koncerata i kompilacije Live Seeds (1993) The Best of Nick Cave and the Bad Seeds (1998) B-Sides & Rarities (3CD) (2005)