Bøger af Margaret Randall

The legendary Margaret Randall's latest work shines as some of her finest poetry yet, with explorations of the many senses of home. As Sandra Cisneros says of this book: "Home is not something inherited, but an act as creative as writing a poem. This book is a homecoming. I celebrate with you."

Margaret Randall's latest poetry collection is perhaps her finest work yet. Vertigo of Risk is, as Denise Chávez calls it, Randall's Master Opus-a "Testimonio to a life lived in the blessed search of Truth." The series of poems called "Dearest," which read as letters to friends and inspirations, leads into a sharpened assembly of pieces that both celebrates and champions life and art, all with Randall's rich candor and ear for language throughout.

The legendary feminist and revolutionary Margaret Randall once again turns her eye to keen, insightful poetry. Stormclouds Like Unkept Promises is both political and personal as one, with turns into mythology and language. For the first time, this book publishes Randall alongside her longtime partner (now wife), the visual artist Barbara Byers, whose boldly textured black-and-white photography accompanies the written work. Their brilliance, put together, results in a collection with all the power and beauty of a looming storm.

Margaret Randall reveals personal stories and profound insights about the artists who most influenced her life.Artists in My Life is a collection of intimate and conversational accounts of the visual artists that have impacted the renowned poet activist Margaret Randall on her own journey as an artist. Randall writes of each relationship through multiple lenses: as makers of art, social commentators, women in a world dominated by male values, and in solitude or collaboration with communities and the larger artistic arena. Each story offers insight into the artist¿s life and work, and analyses the impact it had on Randall¿s own work and its impact on the larger art community. The work strives to answer bigger questions about visual art as a whole and its lasting political influence on the world stage. Randalls describes her motivations: ¿I go beneath the surface, asking questions and telling stories. I have wanted to answer questions such as: Why is it that visual art¿drawing, painting, sculpture, photography, architecture¿grabs me and, in particular instances, feels as if it changes me at the molecular level? How do art and memory interact? How do reason and intuition come together in art? Do women and men make art differently? Does great art change the viewer? Does it change the artist? How does art travel through time?¿

Margaret Randall's most recent collection of poems, Out of Violence Into Poetry, was written over these past few years when language itself was violated by a president who lied until each lie, repeated often enough, resembled a terrible truth in the public discourse. Reality, sanity, beauty: all bend and run the risk of breaking when distorted beyond recognition. These poems consciously restore language to its natural habitat. They deal with history, memory, loss, life, death and promise. They address love and aging. They become a welcome refuge at a time of uncertainty and take us on disparate journeys that often have surprising twists. There is humor as well as rage. We cannot leave it to the politicians alone to give words their meaning back. That is the job of poets, and this book does that job well. Randall is the author of nearly 200 books, spanning more than six decades. Out of Violence into Poetry may well be her finest collection of poetry to date.

This collection of poetry grew out of the first months of the 2020 COVID-19 pandemic. The poems reflect the fear, isolation, and horror we felt as society - as we watched public life close down, people were urged to stay distant from one another, wear face masks, and wash our hands frequently.

In I Never Left Home, poet and revolutionary Margaret Randall tells the moving, captivating, and astonishing story of her life, from her childhood in New York to joining the Sandanista movement in Nicaragua, from escaping political repression in Mexico to raising a family and teaching college.

Margaret Randall's first large book of poems since Time's Language: Selected Poems 1959-2018. This new book shows that this poet continues to be a relevant and inspiring voice in American letters. It is also a stellar example of contemporary, intelligent protest poetry by a significant writer.

In the early 1980s, in the midst of Central America's decades of dirty wars, Nora Miselem of Honduras and Maria Suarez Toro of Costa Rica were kidnapped and subjected to rape and other tortures. Here, Margaret Randall recounts the terror, resistance and remarkable survival of the two women.

Margaret Randall's new collection, She Becomes Time, continues her legacy of poetry that combines the intimate with the global, history with feeling, memory with the world we touch and see, showing - always in surprising ways - how these impact and intersect each other.

Presents a collection of essays on a variety of political, cultural, and literary issues, all linked by Margaret Randall's attention to power: its use, misuse, and impact on how we live our lives. There are texts on sex, fashion, food, LGBT rights, automobiles, forgiving, women's self-image, writing, books, and more.

In this intimate portrait, Margaret Randall tells the story of Haydee Santamaria, the only woman to participate in every phase of the Cuban Revolution. Although unknown outside Cuba, Santamaria was part of Fidel Castro's inner circle and played a key role in post-revolutionary Cuba's political and artistic development.

An impressionistic look at the life, death, and legacy of Che Guevera by the renowned feminist poet and activist Margaret Randall.

Sandino's Daughters, Margaret Randall's conversations with Nicaraguan women in their struggle against the dictator Somoza in 1979, brought the lives of a group of extraordinary female revolutionaries to the American and world public. The book remains a landmark. Now, a decade later, Randall returns to interview many of the same women and others.

A collection of poems by Margaret Randall which she describes as her "impossible poems" - the ones which speak of things that can't be said.

Chronicles the author's decade in Cuba from 1969 to 1980. This work gives readers an inside look at her children's education, the process through which new law was enacted, the ins and outs of healthcare, employment, internationalism, culture, and ordinary people's lives.

Margaret Randall explores the Cuban Revolution's impact on the outside world, tracing Cuba's international outreach in healthcare, disaster relief, education, literature, art, liberation struggles, and sports to show how this outreach is a fundamental characteristic of the Revolution and of Cuban society.

Margaret Randall describes her long love affair with the Grand Canyon as dating to the summer of 1947 when her father took her down its trails by mule. Since then, she has returned more than a hundred times. The poems that make up Into Another Time draw on these experiences as well as on additional research and countless conversations with other canyon lovers.

In this poetry collection, Margaret Randall uses the metaphor of ruins to meditate on time's movement - through memory, through cities, through the leavings of history, and through the bodies of people who have experienced time's transformations and traumas.

Concerns about power, its use and abuse, have been at the centre of Margaret Randall's work for more than fifty years. And over time Randall has acquired a power all her own, as her unique ability to observe, consider, and distil experience has drawn read

Combining anecdotes with analysis, Margaret Randall describes how, in 20th century revolutionary societies, women's issues were gradually pushed aside. Randall shows how distorted visions of liberation and shortcomings in practice left a legacy that not only shortchanged women but undermined the revolutionary project itself. Finally, she grapples with the ways in which women themselves often retreated into more traditional roles and the rage that this engenders.