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Tomas Tranströmer’s touching memoir. Written a few years after Transtromer suffered a stroke that left him unable to speak, Memories Look at Me is Tomas Tranströmer’s lyrical autobiography about growing up in Sweden. His story opens with a streak of light, a comet that becomes a brilliant metaphor for “my life” as he tries to penetrate the earliest, formative memories of his past. This childhood life unfolds itself slowly in eight glistening chapters that gradually reveal the most secret of treasures: how Tranströmer discovered poetry.
The collected poems of one of the world's greatest living writers, Tomas Transtromer, available in this comprehensive edition. In day's first hours consciousness can grasp the world as the hand grips a sun-warmed stone. Translated into fifty languages, the poetry of Tomas Transtromer has had a profound influence around the world, an influence that has steadily grown and has now attained a prominence comparable to that of Pablo Neruda's during his lifetime. But if Neruda is blazing fire, Transtromer is expanding ice. The Great Enigma: New Collected Poems gathers all the poems Tomas Transtromer has published, from his distinctive first collection in 1954, 17 Poems, through his epic poem Baltics ("my most consistent attempt to write music"), and The Sad Gondola, published six years after he suffered a debilitating stroke in 1990 ("I am carried in my shadow / like a violin / in its black case."), to his most recent slim book, The Great Enigma, published in Sweden in 2004. Also included is his prose-memoir Memories Look at Me, containing keys into his intensely spiritual, metaphysical poetry (like the brief passage of insect collecting on Runmaro Island when he was a teenager). Firmly rooted in the natural world, his work falls between dream and dream; it probes "the great unsolved love" with the opening up, through subtle modulations, of "concrete words."
A creepy, compelling thriller, SOMEONE TO WATCH OVER ME is the fifth Thora Gudmundsdottir novel from Yrsa, 'Iceland's answer to Stieg Larsson' (Daily Telegraph). A young man with Down's Syndrome has been convicted of burning down his care home and killing five people, but a fellow inmate at his secure psychiatric unit has hired Thora to prove that Jakob is innocent. If he didn't do it, who did? And how is the multiple murder connected to the death of Magga, killed in a hit and run on her way to babysit?
In a rush to do as much as possible in a day, a mother fails to see her child's wants and needs.
The Swedish poet's works reflect the technological nature of his homeland, including poems in Swedish and English which tell of man's alienation, bleak landscapes, and confrontations which yield connections
Transnational cinemas are eclipsing national cinemas in the contemporary world, and Sino-French films exemplify this phenomenon through the cinematic coupling of the Sinophone and the Francophone, linking France not just with the Chinese mainland but also with the rest of the Chinese-speaking world. Sinophone directors most often reach out to French cinema by referencing and adapting it. They set their films in Paris and metropolitan France, cast French actors, and sometimes use French dialogue, even when the directors themselves don't understand it. They tend to view France as mysterious, sexy, and sophisticated, just as the French see China and Taiwan as exotic. As Michelle E. Bloom makes clear, many films move past a simplistic opposition between East and West and beyond Orientalist and Occidentalist cross-cultural interplay. Bloom focuses on films that have appeared since 2000 such as Tsai Ming-liang's What Time Is It There? , Hou Hsiao-hsien's Flight of the Red Balloon, and Dai Sijie's Balzac and the Little Chinese Seamstress. She views the work of these well-known directors through a Sino-French optic, applying the tropes of métissage (or biraciality), intertextuality, adaptation and remake, translation, and imitation to shed new light on their work. She also calls attention to important, lesser studied films: Taiwanese director Cheng Yu-chieh's Yang Yang, which depicts the up-and-coming Taiwanese star Sandrine Pinna as a mixed race beauty; and Emily Tang Xiaobai's debut film Conjugation, which contrasts Paris and post-Tiananmen Square Beijing, the one an incarnation of liberty, the other a place of entrapment. Bloom's insightful analysis also probes what such films reveal about their Taiwanese and Chinese creators. Scholars have long studied Sino-French literature, but this inaugural full-length work on Sino-French cinema maps uncharted territory, offering a paradigm for understanding other cross-cultural interminglings and tools to study transnational cinema and world cinema. The Sino-French, rich and multifaceted, linguistically, culturally, and ethnically, constitutes an important part of film studies, Francophone studies, Sinophone studies and myriad other fields. This is a must-read for students, scholars, and lovers of film.
This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. This innovative collection of essays on twenty-first century Chinese cinema and moving image culture features contributions from an international community of scholars, critics, and practitioners. Taken together, their perspectives make a compelling case that the past decade has witnessed a radical transformation of conventional notions of cinema. Following China's accession to the WTO in 2001, personal and collective experiences of changing social conditions have added new dimensions to the increasingly diverse Sinophone media landscape, and provided a novel complement to the existing edifice of blockbusters, documentaries, and auteur culture. The numerous 'iGeneration' productions and practices examined in this volume include 3D and IMAX films, experimental documentaries, animation, visual aides-mémoires, and works of pirated pastiche. Together, they bear witness to the emergence of a new Chinese cinema characterized by digital and, trans-media representational strategies, the blurring of private/public distinctions, and dynamic reinterpretations of the very notion of 'cinema' itself.

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