'And when the second and final colume of Williams' 'Collected Poems' is published, it should become even more apparent that he is this century's major American poet.' --Larry Kart, 'Chicago Tribune'

    From the publication of his first book in 1926, Langston Hughes was America's acknowledged poet of color, the first to commemorate the experience--and suffering--of African-Americans in a voice that no reader, black or white, could fail to hear.  In this, his last collection of verse, Hughes's voice is more pointed than ever before, as he explicitly addresses the racial politics of the sixties in such pieces as "Prime," "Motto," "Dream Deferred," "Frederick Douglas: 1817-1895," "Still Here," "Birmingham Sunday." " History," "Slave," "Warning," and "Daybreak in Alabama." Sometimes Ironic, sometimes bitter, always powerful, the poems in The Panther and the Lash are the last testament of a great American writer who grappled fearlessly and artfully with the most compelling issues of his time.

    Trout Fishing in America is by turns a hilarious, playful, and melancholy novel that wanders from San Francisco through America's rural waterways; In Watermelon Sugar expresses the mood of a new generation, revealing death as a place where people travel the length of their dreams, rejecting violence and hate; and The Pill Versus the Springhill Mine Disaster is a collection of nearly 100 poems, first published in 1968.

    Now, from the whole range of a lifetime's work, Ashbery has chosen his own selection of 138 poems, including short lyrics, haiku, prose poems, and many of his major long poems. Seeing these great works together in one volume, readers will be able to savor a distillation of John Ashbery's work and appreciate fully how remarkable is his achievement.

    

    Gary Snyder worked as a logger and forest ranger; "Far East"—poems written between 1956 and 1964 in Japan where he studied Zen at the monastery in Kyoto; "Kali"—poems inspired by a visit to India and his reading of Indian religious texts, particularly those of Shivaism and Tibetan Buddhism; and "Back"—poems done on his return to this country in 1964 which look again at our West with the eyes of India and Japan. The book concludes with a group of translations of the Japanese poet Miyazawa Kenji (1896-1933), with whose work Snyder feels a close affinity. The title, The Back Country, has three major associations; wilderness. the "backward" countries, and the “back country" of the mind with its levels of being in the unconscious.

    This bilingual edition translates Eluard's marvelous books of Last Love Poems composed during 1946-1951. Included is an enlightening introduction covering Eluard's later works.

    tr Rosmarie Waldrop, second of 2-vol set

    

    In addition to the contribution he made to American literature, O'Hara was a vital figure in the New York cultural scene and spent many years working at The Museum of Modern Art, where, having begun by taking a job selling postcards on the admissions desk, he ultimately became an associate curator in the Department of Painting and Sculpture. And when he unexpectedly died, in an accident on the beach at Fire Island, New York, he was deeply mourned by the Museum's staff and by the New York art world.In Memory of My Feelings was published by the Museum in 1967 to honor its late curator. The book was edited by the poet Bill Berkson, who had been a close friend of O'Hara's and was then a guest editor in the Museum's Department of Publications. Berkson invited 30 artists who had known O'Hara, ranging from Willem to Kooning to Claes Oldenburg, from Joan Mitchell to Jasper Johns, to produce works to accompany his poems. The book was issued in a limited edition as a set of folded sheets held loose in a cloth-and-board folio that was itself contained in a slipcase. Now, for the first time, it Museum has republished In Memory of My Feelings in a conventionally bound edition, and with a newly designed paper jacket instead of a slipcase. In every other way, however, this book is an exact facsimile of the edition of 1967.

    For this collection, James Dickey has selected from his four published books all those poems that reflect his truest interests and his growth as an artist. And thereto he has added more than a score of new poems-in effect, a new book in themselves-that have not been previously published in volume form. Specifically, Poems 1957-1967 contains 15 of the 24 poems that were included in his first book, Into the Stone (1960); 25 of the 36 that made up Drowning With Others (1962); 22 of the 24 in Helmets (1964); the entire 22 in the National Book Award winning Buckdancer's Choice (1965); and, under the titles Sermon and Falling, the exciting new poems mentioned above. Seldom can the word "great" be used of the work of a contemporary in any art. But surely it applies to the poems of James Dickey. To test that statement, read this book. "Dickey has defined the poet as an 'intensified man.' These collected poems of his 44th year are a record of a lot of valid and immediate experience-the testimony of a man intensifying himself honestly and skillfully."-William Meredith, New York Times Book Review "One of the things we should mean when we call a poet 'good' is that his work returns us to the world and not merely to the poet. Dickey gives the moment a natural energy, not the energy of the poet's insistence upon his own personality but the energy of a vast life outside the poet which moves all things through one another and through him."-Michael Goldman, The Nation

    As with several of his early works, the entire edition (of 1,500 copies) was distributed for free. The title poem envisions a world where cybernetics has advanced to a stage where it allows a return to the balance of nature and an elimination of the need for human labor.

    It tells about love desired, love lost, love enjoyed, love lost and love -- a different kind of love -- found again.

    This popular volume collects two of Lowell's finest books of poetry.

    The surprise is this: he presents an image of England, or, to be precise, of sundry English scenes, with a vividness and a strangeness beyond the reach of any English poet, and unknown, I venture to say, since the days of Blake, Calvert and Palmer. Ronald Johnson has unearthed an England which most people have forgotten… his observation is microscopic, but his sense of place drills through to the mythic substrata.”

    Rossetti, Eugene Field, and others are selected and illustrated in Tudor's matchless style. Full-color illustrations.

    

    Reissue in one volume of silver pennies (1925) and more silver pennies (1938).

    Not to consider it as anything more difficult, or effeminate, or praiseworthy.' Holub, an internationally distinguished scientist, is Czechoslovakia's most lively and experimental poet. The scientist in him is always creatively present in his poems, lurking behind his restless experiments in free verse and his constant probing below the obvious surface of things. Above all he shows an unwavering sense of the realities of life.(Taken from the back cover)

    Frame hastily submitted a sheaf of poems to her American publisher Braziller in the sixties, producing the only volume of poetry published in her lifetime, "The Pocket Mirror."

    It was an unusual choice—even an unpopular one—for a poet in a midcentury American literary scene that was less interested in forms. But it was the right choice, for Berryman found himself in a situation that called for the sonnet: after several years of a happy marriage, he had fallen helplessly, hopelessly in love with the young wife of a colleague.     “Passion sought; passion requited; passion delayed; and, finally, passion utterly thwarted”: this is how the poet April Bernard, in her vivid, intimate introduction, characterizes the sonnet cycle, and it is the cycle that Berryman found himself caught up in. Of course the affair was doomed to end, and end badly. But in the meantime, on the page Berryman performs a spectacular dance of tender, obsessive, impossible love in his “characteristic tonal mixture of bravado and lacerating shame-facedness.” Here is the poet as lover, genius, and also, in Bernard’s words, as nutcase.     In Berryman’s Sonnets, the poet draws on the models of Petrarch and Sidney to reanimate and reimagine the love-sonnet sequence. Complex, passionate, filled with verbal fireworks and the emotional strains of joy, terror, guilt, and longing, these poems are ripe for rediscovery by contemporary readers.

    

    A collection of poetic works from Lord Byron, Keats and Shelley.

    Up to now, only an occasional selection has appeared in an anthology, an he is still little known to American readers.

    Arnold's major poems, "Stanzas from the Grande Chartreuse," the love poems in the "Switzerland" and "Faded Leaves" sequences, several narrative poems, and his major elegies are found in part one of this volume. The prose selections in part two, arranged in chronological order of composition, span Arnold's entire writing career, beginning with several lively letters from his early correspondence with Arthur Hugh Clough, to his very last essay, "Civilization in the United States." Throughout both the poetry and prose is heard the unmistakable voice of a man whom E.M. Forster aptly described as "a great poet, a civilized citizen, and a prophet."

    

    

    

    The editor, Professor Edward Engelberg of Brandeis University, provides a comprehensive introduction that analyzes the meaning and significance of the Symbolist movement in English literature.