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Bel Ami

England 1868 - 1914

The Age of Urban Democracy

Eine explorative Studie zum familiären und schulischen Kontext

Schulschwierigkeiten aus systemischer Perspektive

Antibacterial Chemotherapeutic Agents

Erstes Buch: Bis zur Verlobung

Schiller und Lotte (1788 - 1805)

The Microbiology of the Atmosphere

Lifting the Gnostic Veil

Unmanned Aircraft Systems

Nur die Mohnblumen und die Liebe sind unsterblich

Die Berlin-Connection

Como Criar a Un Nino

Mein Erstkommunionalbum

Wie ein Fisch im Wasser

Naval Battles Of The First World War

Personalbeschaffung in der Hotellerie, Darstellung und Evaluation relevanter Akquisitions- und Auswahlverfahren

Tecnología de pilas de combustible microbianas

City of Steps

Haifa

Jenny Mosley's Top Tips for Midday Supervisors

Volume 1

The Sewer Rat Stink: A Graphic Novel (Geronimo Stilton #1)

Models and Approaches of Knowledge Management

Little Leaders: Bold Women in Black History

FABRICLIVE 89

Rôle de divers médicaments intracanalaires en dentisterie

Tracking Resources Through Space and Time

Insect Migration

Grow-To-Know: Mazes

Of Princes and Promises

“Caviare—the kind made from blackeyed peas, of course—to the general, these poems!”
—Richard Howard 

“[In these duets,] I feel a fearlessness, a nakedness, at once breathtaking and courageous. In that may lie the secret, should there be one: to discover, to pursue, that which compels us, galvanizes, obsesses.”
—Herbert Morris

“With the refreshing and uncanny empathy for which she is admired and respected as a critic and poet, Blakely offers a fresh attention to Johnson’s music (her poems take their titles from his extraordinary compositions), . . . allowing the various, often contradictory cries of mothers, fathers, sons, daughters—across time, race, art form, and culture—to erupt through her own.”
—Lisa Russ Spaar, “Arts & Academe,” Chronicle of Higher Education

“For years, Blakely has written what she calls ‘duets’ with Robert Johnson: her poems visiting his songs, his songs breathing in her poems. [In “Dead Shrimp Blues,” with comment by Spaar], she has Tennessee Williams and Maggie from Cat on a Hot Tin Roof cross paths with the blues singer in Clarksdale, Mississippi, so she can address him directly, circling around the imagery in one of at least two Johnson songs built around a metaphor for impotence. She writes like a window-peeper: ‘I’ll undress / Down to my humid white-girl slip.’ Spaar follows the way Blakely’s words curl around Johnson’s until it can seem as if Johnson’s are curling around hers; she rescues the phrase ‘posted out’ from the murk of Johnson’s song so you can hear it crack in Blakely’s.”
—Greil Marcus, “Real Life Rock Top Ten,” The Believer


"She believed in le mot juste, in measure and music, was a master of the sonnet and villanelle, but also experimented with a longer, wilder line and worked for many years on a still unpublished book, Rain in Our Door: Duets with Robert Johnson, which may well prove the ultimate white southerner’s poem that attempts to cross the great racial divide, join the chamber band to the blues ensemble, and, in a direct political sense, enact an aesthetic and cultural unity."
—Rodney Jones

Duets with Robert Johnson

Rain in Our Door

Discovering Luke

Modern Geometry with Applications

Essays In Honor Of John Pock

Social Differentiation And Social Inequality

Effects of Disorder and Heterogeneity

Statistical Physics of Fracture, Breakdown, and Earthquake

Cheating On My Husband With His Alpha Boss: Older Man Younger Woman Erotica Romance (Cheating Hotwife Romance, #5)

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