H. Mallock's A Human Document, and began cutting and pasting the extant text to create something new. The artist writes, 'I plundered, mined and undermined its text to make it yield the ghosts of other possible stories, scenes, poems, erotic incidents and surrealist catastrophes which seemed to lurk within its wall of words. As I worked on it, I replaced the text I'd stripped away with visual images of all kinds. I began to tell and depict, among other memories, dreams and reflections, the sad story of Bill Toge, one of love's casualties.' After its first publication in book form in 1980, A Humument rapidly became a cult classic. This new fourth edition follows its predecessors by incorporating revisions and re-workings -- over half the pages in the 1980 edition are replaced by new versions -- and celebrates an artistic enterprise that is nearly forty years old and still actively a work in progress.

     Bishop was unforgiving of fashion and limited ways of seeing and feeling, but cast an even more trenchant eye on her own work. One wishes this volume were thicker, though the perfections within mark the rightness of her approach. The poems are sublimely controlled, fraught with word play, fierce moral vision (see her caustic ballad on Ezra Pound, "Visits to St. Elizabeths"), and reticence. From the surreal sorrow of the early "Man-Moth" (leaping off from a typo she had come across for "mammoth"), about a lonely monster who rarely emerges from "the pale subways of cement he calls his home," to the beauty of her villanelle "One Art" (with its repeated "the art of losing isn't hard to master"), the poet wittily explores distance and desolation, separation and sorrow.

    Hand Games, poems of the first section, is the daily bread of my past two years or so. They are the artifacts of loving in a personal way, of struggles in a wide and a narrower frame, of planting and harvesting in the earth and on paper, of building new friendships and mourning the death of friends. They speak of zucchini and oaks and cats, of jogging and writing, of nuclear power plants and suicide, of fat and of street hassling. ”The Lunar Cycle forms the second part. I first heard of the lunar calendar in my childhood, when I asked why Passover falls on a different date every year and was answered that it falls on Nisan 14, the fourteenth day of the lunar month of Nisan. The next time I came across the moon-month was in reading Robert Graves in search of the old goddess religions. But the lunar calendar has really only been an intimate part of my life since I moved near the ocean and the bay and had to become conscious of the tides; for one thing, to get the sweet Wellfleet oysters. For more precise understanding I owe a lot to Nancy F. W.Passmore of the Luna Press, who every year produces The Lunar Calendar with thirteen months, their old Celtic names, associations from around the world, time of moon rise and set and all the phases. It tells me at a glance when my period will come and when I can expect to ovulate, and it is the most beautiful calendar I have ever seen, with the months in the form of spirals rather than grids.”Not being constrained by commerce to produce a calendar to sell by January first, Roman time, I begin when my year opens, in the spring; with Nisan, the first month of the Jewish religious year – although I have used the Celtic names, as does The Lunar Calendar, in homage to that labor of love. Rediscovering the lunar calendar has been a part of rediscovering women’s past, but it has also meant for me a series of doorways to some of the non-rational aspects of being a living woman: Thus The Lunar Cycle, explorations of my last two years.”

    This book, Olds's first, was published when she was 37, and it launched her Pulitzer-winning career.I am trying to write myway out of the closed boxredolent of cedar. Satancomes to me in the locked boxand says, I'll get you out. SayMy father is a shit. I saymy father is a shit and Satanlaughs and says, It's opening.

    Informed by his immersion in world literature, music, art, and history, and most of his own emotional geography, Cortázar’s poetry traces his paradoxical evolution from provincial Argentinean sophisticate to cosmopolitan Parisian Romantic, always maintaining the sense of astonishment of an artist surprised by life.

    Upon its first publication by Sun & Moon Press (the edition reprinted here) the publication Library Journal described the book as one that "is an intriguing journey that both illuminates and perplexes, teases and challenges, as it reveals an innovative artist at work."Lyn Hejinian is the author of The Cell, The Cold of Poetry, Writing Is an Aid to Memory and A Border Comedy. She lives in Berkeley and teaches at the University of California.

    Poet Laureate for 2004-2006, Ted Kooser is one of America's masters of the short metaphorical poem. Dana Gioia has remarked that Kooser has written more perfect poems than any poet of his generation. Long admired and praised by other poets, Kooser is also accesible to the reader not familiar with contemporary poetry.

    Here in one volume are the works of three hundred poets from six different continents and four millennia. This revised edition includes a newly expanded section of American poets from the colonial era to the present."[A] splendid collection of verse by women" (TIME) throughout the ages and around the world; now revised and expanded, with 38 American poets.

    They are the poems of a worker and fighter, filled with courage, who loved life and hated oppression.

    Even more, his culture and learning, worn so lightly as almost to pass unnoticed, link his verse to other and larger traditions, as in this reflection on Baudelaire - clearly intended as an artistic credo of sorts ... - Open Letters Monthly

    The book’s 150 poems come from around the world and many eras: from the ecstatic Sufi poet Rumi to contemporary voices like Kenneth Rexroth, Denise Levertov, Charles Simic, and Mary Oliver. Brilliant introductory essays trace our shifting attitudes toward the natural world, from the “old position” of dominating or denigrating nature, to the growing sympathy expressed by the Romantics and American poets like Whitman and Dickinson. Bly’s translations of Neruda, Rilke, and others, along with superb examples of non-Western verse such as Eskimo and Zuni songs, complete this important, provocative anthology.

    This volume gathers nearly all of the poems from Heaney's first four collections: Death of a Naturalist (1966), Door into the Dark (1969), Wintering Out (1972), and North (1975).

    In this startling new edition of his work, Whitman biographer Gary Schmidgall presents over two hundred poems in their original pristine form, in the chronological order in which they were written, with Whitman's original line breaks and punctuation. Included in this volume are facsimilies of Whitman's original manuscripts, contemporary-- and generally blistering-- reviews of Whitman's poetry (not surprisingly Henry James hated it), and early pre-Leaves of Grass poems that return us to the physical Whitman, rejoicing-- sometimes graphically-- in homoerotic love.Unlike the many other available editions, all drawn from the final authorized or "deathbed" Leaves of Grass, this collection focuses on the exuberant poems Whitman wrote during the creative and sexual prime of his life, roughly between 1853 and 1860. These poems are faithfully presented as Whitman first gave them to the world-- fearless, explicit, and uncompromised-- before he transformed himself into America's respectable, mainstream Good Gray Poet through thirty years of revision, self-censorship, and suppression.Whitman admitted that his later poetry lacked the "ecstasy of statement" of his early verse. Revealing that ecstasy for the first time, this edition makes possible a major reappraisal of our nation's first great poet.

    A new edition of this major collection of the poetry of Ted Berrigan, long unavailable.

    Book by Bottoms, David

    Subsequent essays include critical work on Gerard Manley Hopkins, William Wordsworth, John Keats, Robert Lowell, William Butler Yeats, John Montague, Patrick Kavanagh, Ted Hughes, Geoffrey Hill, and Philip Larkin.

    

    As both activist and contemplative, Cardenal maintained strong ties with the Sandinist guerillas while at the same time living a form of primitive Christianity at his religious settlement of Our Lady of Solentiname on an island in Lake Nicaragua. In late 1977, amid increasing civil violence, the Nicaraguan National Guard utterly destroyed the Solentiname community, and Cardenal fled to neighboring Costa Rica, where he continued his efforts on behalf of the revolutionary movement. With the final collapse of the Somoza dictatorship in 1979, he returned to Nicaragua as his country’s new Minister of Culture. Spanning a quarter century, the poems in Zero Hour constitute a vivid record of continuous struggle against flagrant exploitation and brutal indifference to common humanity.

    

    Poet Dick Davis explains why this book is so important: ‘Radnóti has emerged as the major poetic voice to record the civilian experience of World War II in occupied Europe. His poems are an extraordinary record of a mind determined to affirm its civilization in the face of overwhelming odds. He is one of the very greatest poets of the twentieth century, and Clive Wilmer’s and George Gömöri’s versions are by far the best that exist in English.’ By the time the Second World War broke out, Miklós Radnóti was already an established poet. When the Nazis took over his home-town of Budapest, Radnóti was sent to a labour camp at Bor in occupied Serbia. Then, in 1944, as the Germans retreated from the eastern front, Radnóti and his fellow labourers were force-marched back into Hungary. On 9 November, too weak to carry on, he and many comrades were executed by firing-squad. When the bodies were exhumed the following year, Radnóti was identified by a notebook of poems in his greatcoat pocket. These poems, published in 1946 as Foaming Sky, secured his position as one of the giants of modern Hungarian poetry.

    Middle Eastern studies. Translated from the French by the author. Reprinted with a new foreward by Jalal Toufic. This book, a masterwork of the dislocations and radiant outcries of the Arab world, reaffirms Etel Adnan, who authored the great poem, Jebu, as among the foremost poets of the French Language. THE ARAB APOCALYPSE is an immersion into a rapture of chaos clawing towards destiny, and nullified hope refusing its zero. Is is also the journey of soul through the cartography of a global immediacy rarely registered by maps, replete with signposts like hieroglyphs in a storm of shrapnel and broken glass. And above all it is a book that, though capable of being read in its orderly sequence, has so surrendered to 'being there, ' it can rivet the sensibility to the Middle Eastern condition at any point in the text--so rapid are its mutations, so becoming its becomingness--like a wisdom book or a book of Changes--Jack Hirschman.It has a power and intensity that few poets today can muster--only Allen Ginsberg's Howl comes to mind.--Alice MolloyThe power of Adnan's language and imagery reminds us that she is indeed one of the most significant post-modern poets in contemporary Arab culture.--Kamal BoullattaTHE ARAB APOCALYPSE is, to date, Adnan's most triumphant battle with the exactness of words.--Douglas PowellThe poem invokes a mythic past of Gilgamesh, Tammouz, and Ishtar to presage a present that resists narration, THE ARAB APOCALYPSE contests an uncritical reflection on the immediate historical past.--Barbara Harlow

    Mountains Have Come Closer is a collection of poems by Jim Wayne Miller which draw on his life experiences growing up and living in Appalachia.

    They offer pastors fresh worship and sermon material covering such specific events as Christmas, weddings, Pentecost, and Communion. Also included are seven complete services of worship plus a section of helpful hints for worship planning committees.

    And they are powerful".

    Lew Welch narrates the story of his life in these letters written to his mother and his friends and mentors, from his Reed College days, through the years of exile in New York and Chicago, to his return to his native California in 1957 and his active participation thereafter in the San Francisco scene. Gary Snyder and Philip Whalen are his chief correspondents and their letters to him are also included here, as well as letters to Kirby Doyle, Allen Ginsberg, David Haselwood, Jack Kerouac, Joanne Kyger, Charles Olson and William Carlos Williams, among others. This volume collects many of Welch's occasional poems together with his "Poems and Remarks," the early essay on his poetry and poetics he wrote for William Carlos Williams, and the draft of an essay on man's sexual nature.

    Translated from the Greek by Paul Merchant. Yannis Ritsos (1909-1990) is one Greece's most prolific, distinguished and celebrated poets. He is the author of some 50 volumes of poetry. His Selected Poems 1938-1988 (1989) reflect that abundance as it contains 440 poems gathered from some 43 volumes. His MONOCHORDS written at about ten during 1979, can be read as miniature encapsulations by a master of the art of brevity Or they can be read as keys to his whole work, his lexicon of images and ideas. Ritsos, though a world reknown poet, is, unfortunately hardly known in the United States. Hopefully this translation of MONOCHORDS by Paul Merchant will help in spreading Ritsos1 poetry by offering toAmerican readers a 3sampler of the Greek poet1s work. Paul Merchant's translations of Ritsos, in his Greek issue of Modern Poetry in Translation (1968) and read by Ted Hughes on BBC radio in 1970, were among the first published in England. Merchant recently collaborated with Doug Erickson and Jeremy Skinner on a bibliography of the Lewis and Clark Expedition, and on a reprint of a rare Expedition text. Since 1996 he has been Director of the William Stafford Archives.

    

    Allen Ginsberg was so moved by the poem that he convinced Lawrence Ferlinghetti to publish Antler's works.

    The collection, which treats of love in all its forms and manifestations, presents on intellectual and emotional portrait of a great poet’s beliefs and personality.

    Admirers of Vasko Popa’s poetry will find it rewarding for the insight it gives into his sources. Illustrated with traditional Serbian rug-motifs.

    

    This volume includes work beginning with bpNichol’s visual poetry (progressing from the use of individual letters, to words, to distinct shapes on the page), moving through his sound poetry (in its written form) for one voice only, to poems which combine visual and traditional lyric qualities (leading to an excerpt from The Martyrology), and concluding with a selection of prose writings, a short play, translations, found poems and collaborations.

    In this book of literary and philosophical conversations, France’s leading Jewish writer adds an intimate, personal dimension to his formidable 40-year career. Compelling in its inquiry into the fate of reading and writing in our time, it is also profoundly ambiguous, open to a multiplicity of possible readings. This work offers insight of a new kind into this major writer’s growing canon in English—thoughts on his own works combine with stories of his youth in Egypt, his exile in 1956, other writers and artists, the Kabbalah, and projections for a postmodern world.

    

    Book by

    The words within these pages are for music. They sing of love lost and found and lost again. They are hymns to the dying, sonnets to the summer and verses of the joy of being wanted--even for a night. Love words--gentle, direct, beautifully lasting.

    

    

    This volume includes work from each of Daphne Marlatt’s earlier books of poetry: Frames of a Story, leaf leaf/s, Rings, Vancouver Poems, Steveston and Our Lives; from the forthcoming What Matters; the prose work Zócalo; magazine selections from Imago and The Capilano Review and unpublished work.

    Represents the poet's own distillation of the two decades of her writing - the poems which established her as one of the passionate and precise of our writers, a woman of human values, religious vision and natural sympathy.

    

    And the Source of all love is God, who is Love. His love is available for all of us, but we need to learn to love each other. We are all lonely but we are never alone, for God is our Father and we are His own.'My verses come to me from the thoughts and feelings of people who write to me, or from conversations I have. They beat to the pulse of Love: theirs and His. I know I cannot make it on my own, so I ask God to take my hand and hold it tight, for I cannot walk alone.

    

    Book twenty-eight in Lyn Hejinian's Tuumba Press series.

    

    This is the definitive collection of Brown's poems, and the only edition available in the United States.

    Collects the best of Mary Sarton's novels, journals, and poetry offering an overview of her explorations of life and its joys.

    This volume represents the most definitive and comprehensive selection of bissett’s writing from the 1960s and 1970s, in voices “erotik, politikul, humorous, lyrikul, sound-vizual, narrative, meditative, konkreet, collage, nd song-chants."