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by Fleda Brown Jackson

ePub The Devil's Child (Carnegie Mellon Poetry Series) download
Fleda Brown Jackson
Carnegie Mellon University Press; 1 edition (March 1, 1999)
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The Devil's Child book. Devil's Child (Carnegie Mellon Poetry Series). 0887482880 (ISBN13: 9780887482885).

The Devil's Child book. The collection of poetry by Fleda Brown Jackson.

Series: Carnegie Mellon Poetry Series. ISBN-13: 978-0887483011. Product Dimensions: . x . inches. Back to top. Get to Know Us. Careers.

American poetry - 20th century, American poetry. Carnegie Mellon University Press.

by. Jackson, Fleda Brown, 1944-. American poetry - 20th century, American poetry. inlibrary; printdisabled; ; china.

University of Arkansas. She is also known as Fleda Brown Jackson. Devil's Child (Carnegie-Mellon University Press, 1998). Two. Fleda Brown (born 1944 in Columbia, Missouri) is an American poet and author. ISBN 9780887482885, OCLC 41226060. The Earliest House (chapbook, Kutztown University, 1994). Do Not Peel the Birches (Purdue University Press, 1993). Fishing with Blood (Purdue University Press, 1988).

Fleda Brown is the author of ten poetry collections, including The Woods Are on Fire: New and Selected Poems (University of Nebraska Press, 2017) and The Devil's Child (Carnegie Mellon, 1999). Brown served as poet laureate of Delaware from 2001 to 2007. A professor emerita at the University of Delaware, she teaches in the Rainier Writing Workshop, a low-residency MFA program at Pacific Lutheran University in Tacoma, Washington. She lives in Traverse City, Michigan.

Fleda Brown (born 1944) is an American poet, academic, and prose author. The Devil's Child (foreword by . Pittsburgh, PA: Carnegie Mellon University Press, 1998. Brown was born in Columbia, Missouri, and raised in Fayetteville, Arkansas. Breathing In Breathing Out. Talahasee, FL: Anhinga Press, 2002. The Women Who Loved Elvis All Their Lives. Pittsburgh, PA: Carnegie Mellon University Press, 2004. Madison, WI: University of Wisconsin Press, 2007.

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The collection of poetry by Fleda Brown Jackson.
  • Most of the time, most people don't think of poetry as the proper/normal vehicle for subjects like torture or monstrous child abuse, but one of the lessons of the last hundred years has been that poetry is not only a valid, but necessary medium in which to discuss and process catastrophic human behavior. Madness, evil, degradation, and desperation all require acts of courage, mercy, healing, strength, and redemption. The poetry in this book enacts both the evil done to a particular child and the remarkable journey she makes toward redeeming her own life. Out of this very extreme and painful narrative, Jackson makes poetry that is graceful, frightening, courteous to both its subject and its audience, and deeply honorable. This kind of writing operates at the far reaches of what we can bear to hear and offers the highest hopes we can have both for poetry and for our own redemption.

  • In her most ambitious and challenging work to date, Fleda Brown Jackson brings her trademark compassion and sublime lyrical gifts to bear on the subject of evil and its manifestations in the lives of three characters whose voices alternate--with the clarity of characterization one finds in the operas of Mozart--throughout the narrative. The central character, Barbara, has been raised by Satan worshippers, and her story is riveting indeed. But what is most remarkable here is Jackson's skill in balancing a macabre parade of gruesome, horrific images with the intelligence and reflective economy for which she is best known. With such a subject, the potential for melodrama looms large; Jackson avoids this with subtlety and poignancy, continually readjusting the focus of her probing psychoanalytic lens, roving elegantly from reference to reference (Picasso leads to Melville, which leads to The Fly, which leads to a host of Biblical sources) until a swirling carousel of these images rises up around us, and we find ourselves dizzily spinning amongst disparate evocations of our darkest and most profound fears. As always with Jackson's work, it is the enchanting lyricism of the poetry itself which resonates first and last: "Every night I opened my heart to God as quietly as a fern," says Barbara. The childlike simplicity of this voice (what is aptly described as "a fascinating subliterate command" by W. D. Snodgrass in his Foreword) bears striking contrast to the other voices in the narrative, and the cyclic alteration from voice to voice is exhilarating.
    The Devil's Child is not a pleasant sequence to read, by any means. It contains some of the most revolting images any of us is likely to read, and in doing so casts an unwavering light into the corners of our humanity we are most afraid to explore. It is also the work of one of our most skilled, inspired, and innately musical poets at her best, and it cannot be ignored.

  • It had good title, and it drew me in. However, the book was hard to keep up with. All in all, it was boring and dull.

  • This poem is powerful - the words, the images, the conflict between the physical and the spiritual, between good and evil. With her art, Jackson has transformed a woman's experience into poetry which stirs the deepest recesses of the human psyche.