Product Description
It can be hard to share your pain with others when the words for such raw emotions seem impossible to express. When you’re deep into the blues, and your world feels dark, find a quiet place, open the pages of this beautiful book, and let the healing power of poetry pour into your soul.What you will discover in this wonderful collection are 100 poems that will take your blues away. They have been chosen with care and thought from the abundant resources of American and international writing. Favorite poets of the past such as Walt Whitman, Emily Dickinson, and Wallace Stevens stand alongside the newer voices of Robert Bly, Louise Glück, W.S. Merwin, Pablo Neruda, Galway Kinnell, Jane Kenyon, Donald Hall, Marilyn Hacker, Dorianne Laux, James Wright, and others. Though they all speak with different voices, these poets find their own, miraculous words to expose pain and through this exposure, heal it. ... Read more

Product Description
One of our strongest poets of conscience confronts the dangerous new century with intelligence, urbanity, and elegiac humor.

Marilyn Hacker's voice is unique in its intelligence, urbanity, its deployment of an elegiac humor, its weaving of literary sources into the fabric and vocabulary of ordinary life, its archaeology of memory. Desesperanto refines the themes of loss, exile, and return that have consistently informed her work. The title itself is a wordplay combining the Spanish word esperanto, signifying "hope," and the French desespoir, meaning "to lose heart." Des-esperanto, then, is a universal language of despair&#151despair of the possibility of a universal language. As always in Hacker's poetry, prosodic measure is a catalyst for profound feeling and accurate thought, and she employs it with a wit and brio that at once stem from and counteract despair. Guillaume Apollinaire, June Jordan, and Joseph Roth are among this book's tutelary spirits, to whom the poet pays homage as she confronts a new, dangerous century. ... Read more

Customer Reviews (12)

Read the Book
I'm glad there are some blank pages in the back of this book because it gives me a place to jot notes. What's happened around this book since it's publication-silence-(i.e. so few reviews) is part and partial/symptomatic of what the poet decries in her first poem-a prologue to the rest of the book-as the "abandoned dissident discourse" brought on by "leaden words like `Homeland.'"

Are reviewers too lazy, too busy, too afraid to take on the challenges a book like this puts forth? This book asks that we do our homework or that we be as well read, as engaged in the real world of current and past politics and policies as the author is. The book calls for each reader to write his/her own reader's guide (much as Hacker's earlier poem "Ballad of Ladies Lost and Found" demanded: "Make your own footnotes; it will do you good.")

Hacker's aim, in part, is to make us aware of the people, the public people, who populate her text, people such as June Jordon, Muriel Rukeyser, Audre Lorde, Neruda, Venus Khoury-Ghata, Hayden Carruth, all of them politically engaged poets who considered themselves charged, as poets, with the duty to speak out against the ills of the world around them. As Hacker does.

Poetry is for an elite few! Poof! This poetry is available to anyone who takes the time to read it-to shut off CNN, "Friends" and FOX News and delight in the sounds that cascade and roll over us and give us what the best poetry has forever: delight to the ear because of its musical/verbal genius, its use of assonance, consonance, rhyme of every kind, alliteration. The poems deliver the kind of pleasure successfully completing a jigsaw puzzle does and at the same time hit home with their portrayal of human experiences that most of us have lived through: the loss of a loved one to cancer, the experience of being jilted by a lover, the fear of death, the fear of life as we know it today in the "homeland."

Read it and think. Read it and look up the proper names. Read it and weep. Read it and carry on.

Study your French
Marilyn Hacker's collection of poems, Desesperanto, is a blend of American subjects and French flair.The poetry collection is a look into the woman herself.Her thoughts, concerns in the world, and her sorrow of the friends that she has lost in the recent years.The poems here are very thought provoking and insightful. They are designed to challenge the reader to go a step beyond the passive reading most are accustomed to.Hacker's use of the French language is designed to add melody and rhythm to the poems, while forcing the reader to run and find a French-to-English dictionary.I'm not sure if this is a book I would choose for beginning poetry classes. It is a work that I would recommend for advance poetry fans and perhaps a women's literature course.
My personal favorite out of the collection is "English 182." The poem explores the emotions of an English professor (Hacker) attempting to gain some sense of her students.The speaker singles out a young African-American student that never participates in class discussions and eventually plagiarizes a paper.The speaker responds by reaching out to the student, by attempting to teach on African-American female poets.
The poem reaches out to me as a Black student because I have often felt isolated in all White classes, learning about figures that I cannot relate to.Despite the fact that the speaker does teach about Black women, it can be very difficult to speak up in a class where you are the only minority.It is my experience that many professors often feel that Black Students should feel obligated to speak out in class.They feel that if there is little representation of the Black race in the class, those few students should feel compelled to speak up for the entire population.Rather than feeling obligated to speak, my of these students retreat into their own shell when faced with the task of being the only Black in class.Hacker does a great job exploring the issues of failure with the poem.I would love to see her tap into theme of insufficient minority representation in the university setting.

Got Time?
If you don't have a lot of time on your hands, or have difficulty getting through poetry, then this book is not for you. This is definitely an advanced read, it's not just a curl up by the fire type book, it's an intense work of art. Her vast knowledge of two different worlds (Paris and America) have been brought together here in this book. She does a great job of relating extraordinary things, to your ordinary person. Hacker is lyrical, and have a magnificent way with words. There are many poems in this book that stand out. She is a very literal writer, it is very evident that her whole heart is put into her work. When you read this, you have a sense of her, what she is about. I enjoyed this book, it is a great way to get your mind jumping, and thinking, and working. If that's what you are looking for, then this is it. If you are looking for an easy read, then stick with nursery rhymes.

Desesperanto: Poems 1999-2002
Ashley Braswell

If you don't have a lot of time on your hands, or have difficulty getting through poetry, then this book is not for you. This is definitely an advanced read, it's not just a curl up by the fire type book, it's an intense work of art. Her vast knowledge of two different worlds (Paris and America) have been brought together here in this book. She does a great job of relating extraordinary things, to your ordinary person. Hacker is lyrical, and have a magnificent way with words. There are many poems in this book that stand out. She is a very literal writer, it is very evident that her whole heart is put into her work. When you read this, you have a sense of her, what she is about. I enjoyed this book, it is a great way to get your mind jumping, and thinking, and working. If that's what you are looking for, then this is it. If you are looking for an easy read, then stick with nursery rhymes.

Hacker's review
After reading Hacker's book Desesperanto I felt like I knew her with out knowing her. She writes beautifully about her life, friends, where she grew up, her get-away place(Paris), and her strong opinions about politics. Through imagery and word usage she gives the reader the setting, the time, and the emotional state she was in. You can hear the train in New York, see the cafes in Paris, and smell the Lapsang Souchong. The use of French gives you a better sense of what she was trying to capture in this collection and a good explanation of her life in New York and in Paris. ... Read more

Product Description
Award-winning American poet Marilyn Hacker offers the brilliance of Lebanese poet Vénus Khoury-Ghata in an exquisite translation

She says
the earth is so vast one can’t help but be lost like water from a broken jug
There is no fortress against the wind
the winter wanderer must count on the compassion of walls
—from “She Says”

Translated by celebrated American poet Marilyn Hacker, Vénus Khoury-Ghata’s She Says explores the mythic and confessional attractions and repulsions of the French and Arabic imaginations with poems that open like “a suitcase filled with alphabets.” Sex, barrenness, grief, and death—the backdrop of a war-ravaged country—are always at the edges, made increasingly urgent by lines often jagged and spare, their music unhaltered. Khoury-Ghata is a vital voice in both her native and adopted languages and we are pleased to present this important collection in English.
... Read more

Customer Reviews (9)

Sensational Collection
She is a master. Her poetry is so beautiful. As a bilingual reader I had a great time reading this book. Her poetry is so elegant that it can survive being translated to any language.

De(con)struction & (re)construction of words
On first reading of Vénus Khoury-Ghata's She Says I feared that I must somehow be intellectually stunted.I didn't get it and I mean that in the worse sense of the phrase. I found myself reading page after page wondering when I would get it.I then became angry at her for writing an entire collection of poems that I, an MFA student, did not get.I thought perhaps something crucial had been lost in the in the transition between Khoury-Ghata's maternal Arabic thoughts, her school-bred French écriture and Hacker's English.So I read the poems backwards, read the original French texts (I'm mostly bilingual) and still I was lost.So I had an herbal remedy. and a bubble bath.My mind began following the archipelago of bubbles floating in my tub water and I had an epiphany.I grabbed the book again.My mind had been tight, constricted and rigid, a state not conducive to playfulness.My very being had worked against the poet. This time I let her words play with me, rearrange me.And I got it.
Her poetry rests in a sacred place where words do not wish to be disturbed into order, where chaos reigns.And yet each poem resonates with a concreteness, a sadness.a stream draws a closed circle around her house/once stepped across the water turns like bad milk.(p. 73) I feel a sense of regret and mortality in her final lines. It's as if she knows the potentialities in our self-expression. The sadness I feel is our knowing that it can only exist here, confined within these pages.
At times I considered that English is too limiting a language to ever convey Khoury-Ghata's thoughts.This seams certainly true with the poem that begins "Les morts dit-elle/sont clos sur eux-mêmes comme le sang." (p. 64) "Morts" could easily be read as "mots" the French word for "Word," so that the English translation would read, " The words she says/are closed in upon themselves like blood," instead of "The dead she says." And yet there are places where the English translations resonate more strongly.On pgs 16-17, the sounds in "letters buried in their silicate vestments/become silenced sounds in the silenced silt" reveals more than in "des lettres enfouies dans leur vêtement de silice/devenues sons éteints dans la vase éteinte."
I envy Khoury-Ghata.Living in the space between two languages is in many ways a literary blessing.Her natural detachment from the French language allows her to play with words in a way that most of never could.I am reminded of Natalie Goldberg's thoughts on writing in her book Writing Down the Bones.She says that if we think "cut the daisy from my throat," then that is precisely what we should write down.But we censor ourselves, and in doing so we limit ourselves.Khoury-Ghata is consciously fighting against our urge to order and make sense of our words.She writes "One marries the words of one's own language/to settle down/ traveling is for the others/who borrow lines the way they take the train."It is this traveling that I envy, her ability to stay "single" when we are pressured to settle down with our language. Only through de(con)struction of our own language can we rebuild it in our own image, which might be feminine, androgynous, hyper-sexualized, depending on the creator. The idea is that it becomes our own and frees us.I realize now my anger was envy...of her ability and willingness to (re)construct herself.

Surrealist Poet With A Heart
I thought this book was fabulous! It is not often that we encounter, either in literature or in art, a marriage of surrealistic imagery with sincere emotion. Frequently, it seems that when surrealism becomes a major component in a literary work, the result is a barrage of strange and disconnected images holding little meaning beyond the apparent. few writers are able to instill such works with true heart and soul as does Venus-Khoury-Gata. The fantastic images that fill the pages of her book are rich in layers of metaphorical meaning, vibrant with the feeling she attaches to each. She thereby miraculously transforms these unexpected and dislocted objects--a "drainpipe" connecting the mouth of the petitioner to the ear of God, the "toe's" of apple trees--into vehicles of the soul which she definitely bares here. Much is to be said, as well, for the undoubtedly challenging job of translation completed here by poet Marilyn Hacker. The effort involved in such a feat, not to mention the result, dazzles the mind.

Reviewing what She Said
Venus Khoury-Ghata is a master of words.She swims in language, dives in her alphabet soup, and splashes us until we drip.She Says is a compilation of poems that converse with each other, wink at each other.Each poem bursts as you read it, like bubble wrap, when you squeeze one of its tight bulbs.

Before I started reading She Says, I skimmed the book, and was struck by the fact that the poems do not have titles.Well, the first line of each poem serves as a title.In the table of contents, these lines stand under each other, and read as a poem:

Words
-In those days I know nowwords declaimed the wind
-Words
-Where do words come from?
-How to find the name of the fisherman who hooked the first word
-The prudent man looped his family to his belt
-Language at that time opened fire on every noise
-What do we know about the alphabets which didn't survive the rising of waters
-The words which spring up on the borders of lips retain their terrors
-Words, she says, used to be wolves
-Words, she says, are like the rain everyone knows how to make them
-It was there and nowhere else
-The rain had few followers at that time
-Guilty of repeated forgetfulness
-There are words from poor peoples' gardens that crossbreed iron and thorns

Before I actually started reading the book, I was reading it.

Though some have mentioned that She Says lacks punctuation, or that Khoury-Ghata's use of negative space is her only punctuation, I noticed the use of question marks.This fact begs the question-why question marks, and not periods?Perhaps because periods seal declarative sentences, and Khoury-Ghata does not want to seal the issue of language--its potential and transcendence; she wants to unfold it.She is not declaring, she is asking.

Why not use commas (they do not seal)? Commas make a reader pause, and Khoury-Ghata is working with impulse.She Says cannot have commas, like a rollercoaster cannot have commas.The lack of punctuation also makes words, thoughts, and ideas bleed into each other, much like our thinking process.Khoury-Ghata is thinking on paper.

She Says is a book you have to read and reread.The images are exquisitely chosen and precisely placed, yet it appears effortless.These poems feed you.After reading them, you are full, satisfied, like a three year old after eating a bowl of alphabet soup the size of its head.

Review "She Says"
In Hacker's introduction, she states that Khoury-Ghata has said, (in reference to her own writing) "the rhythms and tropes of her poetic line are as much influenced by the sound of spoken Arabic and Arabic poetry as they are by the comparative austerity of French verse". (x) The catch is that the poems are translated into English, so in my reading of the book, I can almost guarantee that certain rhythms were lost that may have contributed to certain emphasis that I missed. However, that being said, the poetry was well written and made wonderful points about people's speech in general and then specifically for and about women. The first section's translation was probably the most on target in the translation, given that the focus was on words and could be applied to all languages. However, the poetry has now been, in a sense, through two translations, one direct and one indirect. My small amount of knowledge about the French language compared to English is the consonant values, so, as I said before, the emphasis was probably lost. The second section, "she says" is more focused on women with references to "sex, grief and death." One intriguing repetition is that of "she says", "she understands", because regardless of a language barrier, or things lost in translation, or any other barrier, many women and even men can play the role of the aforementioned "she", so the book opens itself to a larger audience, even to men. One of the best sets of lines is on page 89: "She taught it the twenty-one ways to walk against the wind / and how to get up before the lamp without offending it // It kept a sorrowful silence confronted by the first snow/ and the woman's first white hairs / convinced that God was wasting his stock of chalk"."It" being a traveler and painting a picture of saving a woman, which "it" may not even be. She presents the grief of aging, of fear, of waste, of worth. Lastly, the continuing words with absolutely no punctuation bring forth the common theme that the battles with sex grief love and hurt are interminable. ... Read more

Product Description
"One of the finest French poets of his generation, Emmanuel Moses presents here his first selection of poems in English translation. We see this protean writer equally at home in the aphorism and the lyric as in the narrative and the mixed sequence. We hear or overhear him in all his attitudes, from humor and irony to the most direct and disarming tenderness. This is a writer who leagues a metaphysical sensibility with a sharp awareness of singular historical moments, and who registers the undertow of mystery in each encounter with the things and people of the world."
- Kevin Hart, from Foreword

"There is life and alertness in Emmanuel Moses' work; between history and travel, between the silence of a garden and the movement of love, beauty is being born."
- Adam Zagajewski

The poems in this first English language collection by Emmanuel Moses draw their immediacy from the author's experiences in childhood, one that began in Paris and ended in Jerusalem, where he emigrated with his family in 1969. His poems trace the "gray hardness of pines," the pungent scent of sea water, mud underfoot on a forest path. They offer us incidents from everyday life alongside Biblical, mythological, and historical events. History, his own and that of the wider world, is alive for Emmanuel Moses, and the observations in his work are sharpened by an aching awareness of the passage of time. ... Read more

Customer Reviews (1)

Hotels and pink cities
A friend gave me this book last month, and I have been reading in it almost every day since. Emmanuel Moses is an extremely interesting and affecting poet. The poems are saturated with history, both personal and official, and there's a quiet, concentrated core of intelligence about this history underlying every poem, be it more conceptual, more experiential, funny, or sad, that I find thrilling. Emmanuel Moses is catholic in his tastes, and chameleonlike in his poems, which, like "Anat Taitelboim" in a section of the long poem "Year of the Dragon" are "up for anything." This is a poetry of movement -- from the lines themselves, which move with a mysterious joy across the page -- to the symbols, primary among which is the hotel, which becomes both a kind of ideal place, with its comforting promise of permanent impermanence, of borrowed warmth (which is perhaps the only kind one can hope for in this world), and a site of mystery and transformation, where one can leave one's burdensome identity behind. The poems operate more by subtlety than by dazzle -- though they can also dazzle -- and this subtlety is uncannily effective. I find myself thinking about the pink city and the discarded summer sandals long after I've read the poems. This is a must-have for any reader of world poetry and of poetry at all. Marilyn Hacker's translations are particularly good. ... Read more

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Customer Reviews (1)

Hauntingly Beautiful
"The same wind that comes from the sea has run down the same streets for forty years. The rain that used to drench the buildings crossed a field of ruins. At the two extremities of this field: a house where my father conducted a reign of terror and a grave where he found a place not meant for him. He was buried there by chance. War had scrambled the country's geography: the dead were given up to the closest cemetery. ...

... I exhume two of my dead and one living-dead: my brother who concentrated within himself all of his father's ambitions and fury; I want to question them, open their mouths sealed in silence, to rout out by force the cause of those rages, as brutal and brief as resin-fires.

In a northern village, the tomb of a Maronite saint has been sweating blood for a century. My father's grave oozes threats from its stony pores. My mother's, modest and moss-covered, seeps tears. My mother had only tears to defend her son. "God, let him be dead!" I would repeat until I was near fainting when my father was late coming home. I dreamed about being an orphan. Only his death would stop my mother's tears, my brother's cries of terror, and we three girls from trembling."

...So begins Venus Khoury-Ghata's book, A House at the Edge of Tears- published by Greywolf Press, 2005. After reading the first four pages, I was left feeling as if my very being had been churned, tossed, and spit out - not so much horrified by the brutality but disturbed but at the same time in awe of the immense effect mere words, conjoined into haunting sentences, had effected - bringing home images of a brutality and a grief that one couldn't imagine, let alone empathize with.

Joyce Carol Oates wrote in her introduction to The Best American Essays of the Century - "My belief is that art should not be comforting. For comfort, we have mass entertainment and one another. Art should provoke, disturb, arouse our emotions, expand our sympathies in directions we may not anticipate and may not even wish."

By that measure, Venus Khoury-Ghata has written a veritable piece of art. Most novels, in my opinion, lose a lot in translation but if that is the case here, the talent of Khoury-Ghata can only then amaze one even more. Marilyn Hacker, herself a poet and author of some repute, has brought us English readers a genuinely amazing read - so much so, I am tempted to go and immediately read Khoury-Ghata's award winning book of poems, She Says, also translated by Hacker.

Without giving away too much of the story here or having to reproduce the entire four pages or the entire book, for that matter, suffice it is to say that the book takes us along on a relentless, brutal, and hauntingly poignant journey, without ever stooping to self-pity or self-indulgent sensationalism.

The author, a Lebanese poet and novelist, resident in France since 1973, narrates the story of her childhood in Beirut forty years ago - throwing `sentences on the page in great shovelfuls, with a noise of falling earth,' digging into her `shame like a grave' - and takes us on a unsettling journey of her family's angst, set against the backdrop of the interminable descent of Lebanese society into the chaos of war.

Other than Without, a book of poems by Donald Hall, which I had read in one sitting deep into the night some years ago, and which had me bawling, commiserating with the loss felt by the poet over the loss of his wife, the poet, Jane Kenyon, I cannot remember any book that I have read - and there have been many over the years - which has evoked such a powerful emotional response from me. The story of this book, while sad and difficult, is not something which readers may never have encountered elsewhere. The grief and injustices suffered by the victims of war, the Holocaust, and other similar singular and not-so-uncommon travesties sometimes have a tendency to numb the spirit and have, in the past, prompted me to stay away from the mundane common fare of umpteen novels, fictional and memoirs, written each year about the tragedies that befall families and how they either fight through it or succumb to it. However, this is not one of those books... the reasons that make this book special and different is that the story was not what moved me but it was the words, the sentences, and the powerful images and their symbolism that conveyed...

Only in reading the Afterward at the end of the book, which the author signs off as herself and not as the narrator of the novel, did I realize that the power and potency of the words comes through a real familiar experience of the author. While the artistic liberties taken by the author in narrating the story of her brother are unclear, (the book not being indicated anywhere as being a memoir), clearly the novel is a journey of catharsis ('to each his own tomb: mine is in these pages'), guilt, fear, grief, shame (`shame nailed me to the ground', and finally, redemption (with the novel ending with `You (the brother) are the only survivor').

--
Personal Note: At 110 pages, the novel is a short read but for all the reasons outlined above, can be a moving and difficult one. In fact, I found it very difficult to go past the first four pages the first couple of times. Interjected by the mundane routine of life and work, I moved to some `lighter' reading, but came back to this book after a two-week hiatus on a flight from Boston to Cleveland. But re-reading the first few pages, I once again struggled to continue -not because the language is difficult, which has happened to me before with David Mitchell's Cloud Atlas and to a certain extent with Ian McEwan's Amsterdam), but because the words affronted me with their brutal honesty - like the pomegranate tree in the courtyard of the narrator's childhood home, `spattering the landing with bloody juice when its fruit burst open in the sun'. I stopped but restarted again at page 75 the next time and succeeded in reading the last 30 pages - and found that after that I was able to somehow making the necessary emotional leap to start again at the beginning. Reading the end prematurely may have taken away some of the `suspense' from the reading but the writing is what kept me hooked, not the story and so I finished reading the entire book in one sitting (being stuck on a plane for 2 hours helped!) - starting again at the beginning and re-reading the last 30 pages again for a final complete reading of the book.
... Read more

Product Description
Marilyn Hacker's sharp and haunting translations of He and I give us a poet both distant and intimate, cool and burning with urgency, alienated and tender, a poet of age and youth, of casual wealth and shabby poverty, of the exile's evanescent location and elusive emotion: "Sometimes he sees his despair / as a veil / and at others / as what raises the veil." A cousin to Zbigniew Herbert's Mr. Cogito, Moses' alter ego Mr. Nobody is a quintessential Wandering Jew, seeking "nothing less than the infinite," even among the cruelties of our age.
--Alicia Ostriker

Marilyn Hacker is truly one of this country's greatest translators; her work is distinguished by technical subtlety, deep knowledge of the French language, and the sensibility of a first-class poet. Her translation of Emmanuel Moses' He and I introduces a vital, ambitious new poet to American readers. Moses' poems are elegant and complex, evoking an array of historical settings and shifting personae (from Chopin to Breughel to the hapless Mr. Nobody), often returning directly or obliquely to the poet's affection for his father. By turns violent and witty, melancholy and thoughtful, He and I deserves a wide readership and high praise.
--Kevin Prufer

Emmanuel Moses' intriguing poems range from Christ to Napoleon, medieval Orleans to present-day Majorca and Istanbul. His emotional reach is equally wide, by turns witty, ironic, poignant and self-deprecating, as he "explore[s] psychic space in all its dimensions." Marilyn Hacker meets the challenge with her customary precision of diction, her acute sensitivity to nuance and tone. Her deft translations of this "poete sans frontieres" will expand the boundaries of English poetry.
--Chana Bloch ... Read more

Customer Reviews (1)

A fine addition to any poetry collection
Understanding history is understanding life. "He and I" is a collection of poetry from Emmanuel Moses, a French poet who discusses the figures of history through his verse and makes some fascinating deductions. "He and I" is a fine addition to any poetry collection. "Note from Burgundy": The bust burnt to ash/is more of a gossip than ever/all the neighborhood passes by/from canal-lock to bell-tower/diluting however slightly its blackness/in the season's illumination.
... Read more

Product Description
This digital document is an article from World Literature Today, published by University of Oklahoma on September 1, 2004. The length of the article is 659 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Marilyn Hacker. Desesperanto: Poems, 1999-2002.(Book Review)
Author: Leslie Schenk
Publication: World Literature Today (Refereed)
Date: September 1, 2004
Publisher: University of Oklahoma
Volume: 78Issue: 3-4Page: 99(2)

Article Type: Book Review

Distributed by Thomson Gale ... Read more

Product Description
This digital document, covering the life and work of Marilyn Hacker, is an entry from Contemporary Authors, a reference volume published by Thompson Gale. The length of the entry is 5106 words. The page length listed above is based on a typical 300-word page. Although the exact content of each entry from this volume can vary, typical entries include the following information:

• Place and date of birth and death (if deceased)
• Family members
• Education
• Professional associations and honors
• Employment
• Writings, including books and periodicals
• A description of the author's work
• References to further readings about the author