Ebook Lum: Urusei Yatsura- Perfect Collection, by Rumiko Takahashi

Ebook Lum: Urusei Yatsura- Perfect Collection, by Rumiko Takahashi

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Lum: Urusei Yatsura- Perfect Collection, by Rumiko Takahashi

Ebook Lum: Urusei Yatsura- Perfect Collection, by Rumiko Takahashi

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Rumiko Takahashi's first serialized manga series, Urusei Yatsura, was originally published in Weekly Shonen Sunday in 1978. This collectioin features the first 18 volumes of the original manga in a huge 400 page book.

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Product details

Paperback: 400 pages

Publisher: Viz Communications (January 1, 1994)

Language: English

ISBN-10: 1569310173

ISBN-13: 978-1569310175

Package Dimensions:

8.1 x 5.5 x 1.1 inches

Shipping Weight: 13.6 ounces

Average Customer Review:

5.0 out of 5 stars

4 customer reviews

Amazon Best Sellers Rank:

#1,852,684 in Books (See Top 100 in Books)

very entertaining

This Manga was a very entertaining read! Loved it

I don't think that you can stress the importance of Rumiko Takahashi's Urusei Yatsura (which translates to Those Obnoxious Aliens)manga and its anime TV and film adaptations enough when talking about the history of the medium. The number of major talents who had their careers spring boarded due to this series it astonishing really. An incredibly influential smash hit in Japan, Urusei Yatsura has mostly flown under the radar among the majority of US anime fans, and that is doubly true of the manga which was handled by Viz. The Urusei Yatsura manga was released in the very early 90's in two series, Lum and The Return of Lum, by Viz. The series didn't really take off, and Viz only translated a tiny fraction of the total Urusei Yatsura series, which originally ran in Japan for nearly a decade. Initially published in the US as comics with two chapters each, this edition collects the first 18 chapters of Urusei Yatsura, and is really a great way to jump into what is a dauntingly large universe.The story revolves around the incredibly lecherous Ataru Moroboshi, who after being selected to as the earth's champion against the invading Oni alien race, must engage the titular Lum Invader in a game of tag where Ataru has 10 days to tag Lum, during which time Ataru accidentally proposes marriage to Lum who eagerly accepts, thus creating a living hell for Ataru. That's just the first chapter and all of that sentence is basically one Japanese pun and cultural reference after Japanese pun and cultural reference. This book is dense with that sort of thing. Over the rest of this collection, we are introduced to a growing cast of aliens, Japanese folkloric creatures, miscreant teens, and other obnoxious situations. This is some of Takahashi's earliest work on a long series, and the stories presented are really not the best Urusei Yatsura would have to offer, but the writing improves quickly and even by the middle of this collection, there is marked improvement over the first few chapters.There are a few technical quibbles with this edition. Firstly, this edition predates the now standard non-reverse printing of manga in English, that is to say it reads left to right as opposed to right to left as the original. This means that every panel is mirrored from the way it was drawn originally-- a minor aesthetic gripe. What is more of an issue is poor image quality that crops up occasionally. But then again this collection was published over 20 years ago and is comprised of stories that were over 15 years old at the time of the collection's publication. These printing issues should not detract too much from the story, but are really not up to the standard of today's manga publications.The characters are easily recognized as Takahashi creations, from design to personalities. Those familiar with Ranma 1/2 will instantly recognize the writing style and tropes common to Takahashi's work. Here we see the younger Takahashi's some what simpler and more rounded character designs at work. Backgrounds often possess a minimalist feel, only conveying the details necessary to establish the scene. These are traits that would fade as the series progressed, but again, this small sample (less than 1/10th of the series) we do not see those changes play out much.

There are many reasons to love Urusei Yatsura. The art is fresh and engaging, the humor is accessible, and the characters are pure Takahashi. Though the manga series began in the late '70s, it is still an appealing read for fans of comic books and manga. Fans of Rumiko Takahashi's other titles will certainly see parallels between this and her later work; UY is a good introduction to Takahashi's manga in general and is a must-read for fans of her other series. Highly recommended!

Lum: Urusei Yatsura- Perfect Collection, by Rumiko Takahashi PDF
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Lum: Urusei Yatsura- Perfect Collection, by Rumiko Takahashi PDF

Lum: Urusei Yatsura- Perfect Collection, by Rumiko Takahashi PDF

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Lum: Urusei Yatsura- Perfect Collection, by Rumiko Takahashi PDF

Download PDF How to Love a Country: Poems, by Richard Blanco

Download PDF How to Love a Country: Poems, by Richard Blanco

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How to Love a Country: Poems, by Richard Blanco

Download PDF How to Love a Country: Poems, by Richard Blanco

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Review

“This clear-seeing and forthright volume marks Blanco as a major, deeply relevant poet.”—Booklist, Starred Review“Blanco’s contributions to the fields of poetry and the arts have already paved a path forward for future generations of writers . . . Our Nation was built on the freedom of expression, and poetry has long played an important role in telling the story of our Union and illuminating the experiences that unite all people.”—President Barack Obama“At a time when we are once again debating our identity as Americans, this splendid collection of poems from a great storytelling poet is an absolute treasure that speaks to the things that hold us together despite the things that split us apart.”—Doris Kearns Goodwin, author of Leadership in Turbulent Times“From a country courting implosion, a country at odds with its own brutal and breathless backstory, a country with a name that sparks both expletive and prayer, rises Richard Blanco’s muscular, resolute voice—sounding stanzas of the confounded heart and clenched fist, of indignation and insurrection. This is an urgent gathering of sweet, fractured, insistent American noise—the stories that feed us and the stories we’d rather forget—re-teaching us all the right ways there are to love a country that so often forgets how to love us back.”—Patricia Smith, author of Incendiary Art“This new collection is vibrant, tragic, exhilarating, deeply in love with people and their stories and heartbreakingly engaged with our struggling nation. These are poems for every season, for large and small moments and very much for our time.”—Amy Bloom, author of White Houses“A frank and wonderful collection that calls America a work in progress, that describes the poet himself as a grade school bully who loved the other boy he hit and one could readily cry with him now, everything is alive here in his book: the Rio Grande as sentient and knowing, all this with a jazz musician’s timing. Richard Blanco writes about the elusive poundingness of love.”—Eileen Myles, author of Evolution“In these times of hate, we need poets who speak of love. Richard Blanco’s new collection is a visionary hymn of love to the human beings who comprise what we call this country. Whether he speaks in the voice of an immigrant who came here long ago, or the very river an immigrant crosses to come here today, Blanco sings and sings. This, the song says, is the way out—for all of us.”—Martín Espada, author of Vivas to Those Who Have Failed“Richard Blanco has risen to the challenge of writing poetry that serves our nation. This is both a responsibility and an honor. I am moved, proud, overjoyed, and inspired.”—Sandra Cisneros, author of The House on Mango Street“Powerful, personal, and full of life, these poems delve into the complex intricacies of what it means to call the United States home. A masterful poet who is clear-eyed and full of heart, Blanco explores the country’s haunted past while offering a bright hope for the future.”—Ada Limón, author of Bright Dead Things“In this timely collection, Richard Blanco masterfully embraces his role as a civic poet, confronting our nation’s riddled history in the light of conscience. At once personal and political, these lyric narratives decry injustice and proclaim our hopes.”—Carolyn Forché, author of The Country Between Us“There is a uniting oneness to these passionate and remarkable poems, each finely wrought line a bridge from one heart to another, a love song of this burdened earth and all its flawed inhabitants. Richard Blanco is this century’s Walt Whitman.”—Andre Dubus III, author of Gone So Long

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About the Author

Selected by President Obama to be the fifth inaugural poet in history, Richard Blanco followed in the footsteps of Robert Frost and Maya Angelou. The youngest, first Latino, first immigrant, and first openly gay person to serve in the role, he read his inaugural poem, "One Today" on January 21, 2013. Blanco and his family arrived in Miami as exiles from Cuba through Madrid where he was born. The negotiation of cultural identity and universal themes of place and belonging, characterize his three collections of poetry. His poems have also appeared in The Best American Poetry and Great American Prose Poems. Blanco is a Fellow of the Bread Loaf Writers Conference, recipient of two Florida Artist Fellowships, and is a Woodrow Wilson Visiting Fellow. A builder of cities as well as poems, he is also a professional civil engineer currently living in Bethel, Maine, and Miami, Florida. He currently serves as the Education Ambassador for the American Academy of Poets.

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Product details

Hardcover: 112 pages

Publisher: Beacon Press (March 26, 2019)

Language: English

ISBN-10: 0807025917

ISBN-13: 978-0807025918

Product Dimensions:

5.7 x 0.6 x 8.8 inches

Shipping Weight: 9.6 ounces (View shipping rates and policies)

Average Customer Review:

4.5 out of 5 stars

4 customer reviews

Amazon Best Sellers Rank:

#16,653 in Books (See Top 100 in Books)

what’s attractive about blank verse is how those neat stanzas come close to a semblance of rhymed verse. richard blanco’s seductive poems are in the american tradition, in company of the first inaugural poet, robert frost. his most political poems are orderly, of a poet who loves his country but reserves the right to criticize his country’s flaws, whitmanesque without the wildness, while as an immigrant, nostalgic of the country where his parents were born and the culture they carried across borders here. his poems want us all to be better and more tolerant of each other. also, like whitman, blanco sings of nature.from Now Without Me … That this very poemfrom my hands owes itself to the hands that firstmixed soot and tallow with imagination to drawmyth across their cave walls, and to the throatsthat first tamed grunts into breaths of language,gave meaning to the toil of spear and slaughter.

In HOW TO LOVE A COUNTRY, poet Richard Blanco's latest collection, one finds many responses to current events. The occasional poems respond to such topics as the Boston Marathon terrorist bombing, the mass killings at the Pulse nightclub and the Marjory Stoneman Douglas High School, the reopening of the US Embassy in Cuba, and the 2016 Presidential Election. These poems, included with others that address Blanco's own family's heritage, the various means through which people define what it means to be American, and repeated concerns about what kind of unity our country can build from its stark divisions, express a sincere, thoughtful concern. "November Eyes," for example, explores how the speaker's sense of otherness expands in the wake of the Trump election, when an almost tribal division becomes apparent in newfound wariness between neighbors. This poem offers examples of what Blanco does best--offering concrete examples that permit readers to recognize analogous experiences. Unfortunately, he sometimes slips. In "Remembering Boston Strong," for example, he describes ordinary, specific daily routine and then inserts a comparison of a park filled with singing people to "a thousand songbirds at once," a vague comparison because, let's face it, this arbitrary number of songbirds likely would not sound all that different from a park full of them, a more natural comparison that fits with the rest of the peace. In another poem, "Dreaming a Wall," an overt Trump symbol despises the life-filled home of the "others" next door and dreams of the violence he would inflict on them, the building of his dream wall every bit as violent. Such ham-fisted symbolism seems small in comparison to the deft, expressive writing in much of the volume. I admire some sections of this collection a great deal, particularly the series of poems that represent different immigrant experiences. But when in "Election Year" Blanco refers to "something we call hope / pitted against despair," I wish he would tell us what he thinks that "something" is instead of relying on us readers to fill in the blank. In sum, when Blanco offers specific, concrete descriptions, he offers his best work in this collection, because he trusts his readers to recognize their analogous experiences or to feel empathy without being cued to do it.

There are moments of transcendent poignancy in some of these. Moments when tears have sprung to my eyes, or when I felt a wave of longing or sadness. Some poems feel so intimate, that even though my story is so different from the narrator's, that I feel closer to understanding, maybe, what it might be like to have that background. Maybe Latinx readers will find even more to love in these, but as a white reader whose immigrant ancestors are well in the past, I appreciate that Blanco is writing to me, too. His writing feels like he's trying to build bridges, to foster communication and understanding, while not minimizing his unique lived experience. This sense is furthered by those poems that take a narrative voice very different from his own experience (like the Chinese girl, or the Irish boy). This is not a "gay" collection or a "Latinx" collection; it's an American collection, with a smart and deep patriotism very different than the sound-byte-style jingoism spouted by some politicians. I love this collection, and having finished it (which took me a while), I immediately turned back to reread favorite poems. I recommend this collection to anyone who loves poetry, and especially anyone who identifies with the immigrant experience.

Richard Blanco is the son of Cuban immigrants. He writes of this heritage, of his life in United States and especially of feelings. His parents worked very hard, and he felt some distance from his father. He wondered about the land they came from, and eventually he made it to Cuba for a visit. I really enjoyed his poems, which are fairly short and not hard to understand. They are evocative and beautifully written. These are not sing-song poems, they are structured like flowing text. The words are carefully chosen and often beautiful, but sometimes very sad. Most people who love poetry will enjoy this book. However, persons who are deeply prejudiced against immigrants or gay men may be disturbed by this poet. Also be forewarned that some of the pieces are about true incidents that are horrifying, such as a lynching or school shootings. Life can be tragic, and as a contemporary writer, Blanco addresses these things with deep feelings and honesty.

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How to Love a Country: Poems, by Richard Blanco PDF

How to Love a Country: Poems, by Richard Blanco PDF

How to Love a Country: Poems, by Richard Blanco PDF

How to Love a Country: Poems, by Richard Blanco PDF