Each of the 104 ghazals, 7 miscellaneous nazms, and 68 selected letters are presented in the original Urdu text, with a parallel translation in simple, lucid English, and a transliteration in Roman script for readers who are not familiar with Urdu in Persian script. A critical introduction to Ghalib's work, chronology of important events in his life, and bibliography are also provided.

    B. Yeats • Antonio Machado • Rainer Maria Rilke • Wallace Stevens • D.H. Lawrence • Robinson Jeffers •

    Poems: Rimbaud contains selections from Rimbaud's work, including over 100 poems, selected prose, "Letter to Paul Demeny, May 15, 1871," and an index of first lines.

    Poems deal with language, desire, suffering, art, human relationships, and mortality.

    This celebration of the wonder and variety of earth's animals is "joyous...a book to be shared" (Booklist, starred review).

    He in turn invited them to look for him in the sake parlors of the Pleasure Quarters. A Zen monk-poet-calligrapher-musician, he dared to write about the joys of erotic love, along with more traditional Zen themes. He was an eccentric and genius who dared to defy authority and despised corruption. Although he lived during times plagued by war, famine, rioting, and religious upheaval, his writing and music prevailed, influencing Japanese culture to this day.Stephen Berg is the Editor and founder of American Poetry Review.Also available by Stephen BergSteel CricketPB $16.00, 1-55659-075-X • CUSANew & Selected PoemsPB $12.00, 1-55659-043-1 • CUSA

    These poems bear witness to the extraordinary gifts that have won high praise for this truly original poet and novelist.

    A New Path to the Waterfall was Carver's last book, and shows a writer telling the truth as best as he knows how in the time left to him. The sixty-odd poems in this collection are linked by Carver with selections from other writers, most notably Chekhov, whose work was an inspiration and a guide, and by the cumulative force of the life and death questions he poses in them. As Rilke's Letters to a Young Poet guided countless readers discovering their true love and work, Carver's book will guide those in the process of celebrating a limited life and mourning the inescapable end of it. A New Path to the Waterfall is an essential book for those who admire Carver's work, and testament to the transcendent strength of the human spirit. In her introductory essay, Tess Gallagher, Carver's companion and fellow writer, lays out the circumstances of their last years together with matter-of-fact grace.

    These books, among them Notes of a Native Son, The Fire Next Time, Giovanni’s Room, and Go Tell It on the Mountain, brought him well-deserved acclaim as a public intellectual and admiration as a writer. However, Baldwin’s earliest writing was in poetic form, and Baldwin considered himself a poet throughout his lifetime. Nonetheless, his single book of poetry, Jimmy’s Blues, never achieved the popularity of his novels and nonfiction, and is the one and only book to fall out of print. This new collection presents James Baldwin the poet, including all nineteen poems from Jimmy’s Blues, as well as all the poems from a limited-edition volume called Gypsy, of which only 325 copies were ever printed and which was in production at the time of his death. Known for his relentless honesty and startlingly prophetic insights on issues of race, gender, class, and poverty, Baldwin is just as enlightening and bold in his poetry as in his famous novels and essays. The poems range from the extended dramatic narratives of “Staggerlee wonders” and “Gypsy” to the lyrical beauty of “Some days,” which has been set to music and interpreted by such acclaimed artists as Audra McDonald. Nikky Finney’s introductory essay reveals the importance, relevance, and rich rewards of these little-known works. Baldwin’s many devotees will find much to celebrate in these pages.

    He can be jazzy and streetwise. Or cloak himself in antiquity. Simic has new eyes, and in these wonderful poems and poems-in-prose he lets the reader see through them.

    A definitive edition of one of America’s most distinguished poets.

    Before the revolution, Akhmatova was a wildly popular young poet who lived a bohemian life. She was one of the leaders of a movement of poets whose ideal was “beautiful clarity”—in her deeply personal work, themes of love and mourning are conveyed with passionate intensity and economy, her voice by turns tender and fierce. A vocal critic of Stalinism, she saw her work banned for many years and was expelled from the Writers’ Union—condemned as “half nun, half harlot.” Despite this censorship, her reputation continued to flourish underground, and she is still among Russia’s most beloved poets. Here are poems from all her major works—including the magnificent “Requiem” commemorating the victims of Stalin’s terror—and some that have been newly translated for this edition About The Author: Anna Akhmatova was born Anna Gorenko in 1888 and died in 1966. A popular poet of the Acmeist school, she took a pseudonym when her upper-class father objected to her "decadent" choice of career. She was married to the Acmeist poet Gumilev from 1910 until 1918, and spent time in Paris, where she posed nude for Modigliani. After the Revolution, Akhmatova remained silent for two decades. Her ex-husband was executed in 1921, their son was imprisoned for sixteen years, and her third husband died in a Siberian prison camp. She began publishing again at the outbreak of World War II, and her writings regained popularity despite being harshly denounced by the Soviet regime in 1946 and 1957 for "bourgeois decadence." Ejected from the Writers' Union in 1946, she was made its president two years before her death in 1966.

    In addition to making formal innovations in language and structure, he extended the range of acceptable subject matter to include all aspects of public and private experience, thus becoming in the words of translator David Hinton, “the first complete poetic sensibility in Chinese literature.”This edition of The Selected Poems of Tu Fu is the only comprehensive selection of the poet's work currently available in English. While retaining a scholar's devotion to the text, Hinton has attempted “to recreate Tu Fu's poems as new systems of uncertainty." By reflecting all the ambiguity and density of the originals, he has created compelling English poems that significantly alter our conception of Chinese poetry. Included with the poems are the translator’s introduction and translation principles. as well as a biography of Tu Fu; together these provide a fascinating portrait of a uniquely sensitive spirit during one of the most tumultuous periods in Chinese history.

    It's a book of great breadth."--Gregory Djanikian, Philadelphia Inquirer

    Edited by Lee Ann Brown. SONNETS, first published in 1989 as Tender Buttons Number 1 is widely considered to be one of the most generative and innovative works of contemporary American poetry, radically rethinking the traditional sonnet form. This expanded 25th Anniversary edition includes a new preface by Bernadette Mayer, an editor's note by Tender Buttons Press publisher Lee Ann Brown, and a selection of previously unpublished archival material including the Skinny Sonnets, described as Hypnogogic Word Playing in Reporters' Notebooks which further expand our map of Bernadette Mayer's ground- breaking works of writing consciousness.

    NourbeSe Philip is an extended jazz riff running along the themes of language, racism, colonialism, and exile. In this groundbreaking collection, Philip defiantly challenges and resoundingly overthrows the silencing of black women through appropriation of language, offering no less than superb poetry resonant with beauty and strength. She Tries Her Tongue, Her Silence Softly Breaks was originally published in 1989 and won the Casa de Las Americas Prize. This new Wesleyan edition includes a foreword by Evie Shockley. An online reader s companion will be available at http: //nourbesephilip.site.wesleyan.edu."

    The complete poems of Charles Reznikoff in one volume, covering the years 1918-1975.

    "Stephen Strom's photographs lead you to that place," writes Joy Harjo. "The camera eye becomes a space you can move through into the powerful landscapes that he photographs. The horizon may shift and change all around you, but underneath it is the heart with which we move." Harjo's prose poems accompany these images, interpreting each photograph as a story that evokes the spirit of the Earth. Images and words harmonize to evoke the mysteries of what the Navajo call the center of the world.

    P. Cavafy and George Seferis in a dramatic and symbolic expression of a tragic sense of life. The shorter poems gathered in this volume present what Ritsos calls "simple things" that turn out not to be simple at all. Here we find a world of subtle nuances, in which everyday events hide much that is threatening, oppressive, and spiritually vacuous--but the poems also provide lyrical and idyllic interludes, along with cunning re-creations of Greek mythology and history. This collection of Ritsos's work--perhaps most of all those poems written while he was in forced exile under the dictatorship of the Colonels--testifies to his just place among the major European poets of this century. The distinguished translator of modern Greek poetry Edmund Keeley has chosen for this anthology selections from seven of Ritsos's volumes of shorter poems written between 1946 and 1975. Two of these volumes are represented here in English versions for the first time, two others have been translated only sporadically, and the remaining three were first published in a bilingual edition now out of print (Ritsos in Parentheses). The collection thus covers thirty years of a poetic career that is the most prolific, and among the most honored, in Greece's modern history.

    Throughout, Cardenal blends the visible and the invisible, science and poetry, religion and nature, in 43 autonomous yet integrated cantos.

    Poetry by noted author Jim Harrison.

    But what discoveries are made possible for the visitor! The new path permits him to see what no one other than himself could have perceived from that angle. All the more so because I am not sure that one can enter a written work without having forced one's own way in first." - from In Place of a Foreword

    They evoke the spaces of the New Mexican desert, the Alaskan tundra, her Chinese home, and the interior self in relationships, as the poet makes empathy a metaphor for the space of one person inside another. The lines of verse are long, sensuous, and prose-like, following the open horizons of the West. "Mei-mei Berssenbrugge's poetry moves from 'inner' phenomena to ones coming from the 'external' world and back again with breathtaking evenness. Calmly and convincingly she leads our attention from...confidence or passion or attention itself to ice crystals, gulls fireworks, or apple trees and to very specific qualities of perception, especially vision—most notably, those associated with the properties of light—fogginess, brightness, colors—(what a poet of light she is!)—in poetry that always speaks equally about 'the world' and 'herself.' She is neither 'objectivist' nor 'subjectivist' but a poet of the whole consciousness. A virtuoso of the long line, hers—unlike those of most other poets—are startlingly non-rhapsodic, although they are more truly emotional than those of most rhapsodists. I've known and loved Mei-mei Berssenbrugge's poetry for years. It gets better all the time"—Jackson Mac Low.

    Marginalia from Pausanias's description of Greece. A nineteenth century ledger. Postcards from China. What do these ostensibly unrelated things have in common? Little or nothing, except when transformed into verse by Robert Kroetsch, one of Canada's most accomplished writers. Completed Field Notes showcases 20 of Kroetsch's long poems, spanning some 15 years of creative activity.

    

    Jeff Moss, one of the original creators of the  award-winning Sesame Street, in collaboration with  illustrator Chris Demarest, has created this  "offering of upbeat poetry that includes the  serious and the silly." -- Booklist.

    THE POLITICS OF POETIC FORM: POETRY AND PUBLIC POLICY is a series of essays from a discussion that occurred at the New School for Social Research in New York. The discussion mines the relationship between poetic composition and political expression. Poetry's relationship to public policy typically has a questionable margin of relation. Not only does this volume posit that poetry is a dynamic medium for the consideration of political ideas, it focuses on the ideological weight specific formal innovations bring to poetry. Some of the writers include Jerome Rothenberg, Ron Silliman, Susan Howe, Nathaniel Mackey and Charles Bernstein.

    poetry, the only large-format Hanuman book

    

    His first book, mainly of love poems, was published in Gaelic in 1943. He combined traditional and modern elements and explored the conflict between public responsibility and private passions and needs. This book, and the figure of MacLean himself, are at the heart of the Gaelic Renaissance. His later work develops these themes in a specifically Gaelic setting. His most celebrated single poem, "Hallaig" is one of several major achievements to be found in the collections.Languages: Gaelic and English

    .1 have no love for life as such; for me it begins to have significance, i.e., to acquire meaning and weight, only when it is transformed, i.e., in art. If I were taken beyond the sea- into paradise-and forbidden to write, I would refuse the sea and paradise. I don't need life as a thing in itself." This, written by Tsvetayeva in a letter to her Czech friend, Teskova, in 1925, could stand as an inscription to her life. Marina Tsvetayeva was born in Moscow on September 26, 1892. Her fathel a well-known art historian and philolo- gist, founded the Moscow Museum of the Fine Arts, now known as the Pushkin Museum; her mother, a pianist, died young, in 1906. Marina began writing poetry at the age of six. Her first book, Evening Album, contained poems she had writ- ten before she turned seventeen, and enjoyed reviews by the poet, painter, and mentor of young writers, Max Voloshin, the poet Gumilyov, and the Symbolist critic and poet, Valerii Bryusov. Voloshin and Gumilyov welcomed the seventeen- year-old poet as their equal; Bryusov was more critical of her, though he too, in his own belligerent way, acknowledged her talent.

    This revised and expanded version contains twice the number of poems found in the original, many of them never before reprinted, and adds eighteen new voices to the collection to once again strike new ground in African American literary history. Also new to this edition are nine period illustrations and updated biographical introductions for each poet.Shadowed Dreams features new poems by Gwendolyn Bennett, Anita Scott Coleman, Mae Cowdery, Blanche Taylor Dickinson, Alice Dunbar-Nelson, Jessie Fauset, Angelina Weld Grimké, Gladys Casely Hayford (a k a Aquah Laluah), Virginia Houston, Georgia Douglas Johnson, Helene Johnson, Effie Lee Newsome, Esther Popel, and Anne Spencer, as well as writings from newly discovered poets Carrie Williams Clifford, Edythe Mae Gordon, Alvira Hazzard, Gertrude Parthenia McBrown, Beatrice Murphy, Lucia Mae Pitts, Grace Vera Postles, Ida Rowland, and Lucy Mae Turner, among others.Covering the years 1918 through 1939 and ranging across the period’s major and minor journals, as well as its anthologies and collections, Shadowed Dreams provides a treasure trove of poetry from which to mine deeply buried jewels of black female visions in the early twentieth century.

    In this unusual collection built on historical testimony, Kendrick ( Through the Ceiling ) allows her subjects the medium of poetry through which to speak about their loneliness, bondage and loved ones--mothers, children, men. Voices vary in tone and in diction--some are lyrical, others matter-of-fact; dialect alternates with standard speech--but vigorously announce human strength...---Publisher's Weekly

    A gorgeous introduction by co-translator W.S. Merwin sets the stage for 130 poems and six letters to the Emperor that combine delicacy and lightness with penetrating plainness. Essential for poets, gardeners, and students of Zen.Toki-no-Ge (Satori Poem)Year after yearI dug in the earthlooking for the blue of heavenonly to feelthe pile of dirtchoking meuntil once in the dead of nightI tripped on a broken brickand kicked it into the airand saw that without a thoughtI had smashed the bonesof the empty skyBorn ten years after Dante Alighieric, Muso Soseki was the most famous Zen monk of his time, and is considered the father of the rock garden. Muso spent much of his early life practicing Zen in remote temples and hermitages. In spite of this isolation, his reputation grew, and he served as an advisor and teacher to several emperors, as well as to more than thirteen thousand students.W.S. Merwin is one of the world's foremost translators of poetry.Co-translator Soiku Shigematsu is a Zen scholar, poet, and translator who serves as the abbot of Shogen-ji Temple in Shimizu, Japan.

    The book garnered a great deal of attention in the United States and led one critic, Marjorie Perloff, to ponder about the possibility of influence of contemporary Soviet poetry upon American writers. Perloff notes that Dragomoschenko's "is a poem of the body, of the 'skin of sun that turned into the reverse side of touch....' Parody, pastiche, even irony - these play a subordinate role to passion, and especially to vision." Writing in The Hungry Mind Review, American poet C. D. Wright concluded: "This is poetry. Immodest. Magisterial. More or less impenetrable. The relation of language is potential but not improvisational. The vocabulary for this is happily idiosyncratic.... Description is a radical exercise book for life." In his new collection, Xenia, Dragomoschenko continues to explore the world about him, a world in which the natural, in which nature is more radical than most psychologically motivated and realist-oriented poets have ever recognized it to be. "I spent a life / which no one here ever saw in dreams." As Dragomoschenko makes clear at the very beginning of this stunning and profound work: "We see only what / we see // only what / lets us be ourselves - / seen." Visionary that he is, Dragomoschenko allows the whole terrifying universe into his vision: "Yesterday there was still poplar down - but today / the children burned the ox."

    New & Expanded Edition. "In 'Eco-logic in Writing,' one of many brilliant essay-talks in this volume, Leslie Scalapino asks, 'Seeing the the moment of, or at the time of, writing, what difference does one's living make?' What more crucial question for those concered not only with writing but with poethics: composing words into a socially conscious wager. For Scalapino the essay is a poetic act; the poetic act, essay. It's in that combination that her textual eros—the lush beauty of it!—could reject aesthetic purity and risk the rawness of genuinely new thought, touching what she called 'the rim of occurring.' 'Writing on rim' is a celebration of the wondrous present, but requires agonistic struggle with the ugly—poverty, war, institutional brutality, racism, sexism, homophobia. Scalapino's Steinian strategy of recomposing the vision of one's times, 'altering oneself and altering negative social formation,' is her artfully problematized project of writing ourselves into a better future. With compassion and humor, Scalapino was indeed living on the rim of occurrence. That is the living in the writing that produced this work—its fundamental optimism and ebullient credo: 'The future creates the past'"—Joan Retallack.

    The essential companion volume to The Complete Verse contains all of Baudelaire's prose poems in facing-text form, together with the youthful "extravaganza" La Fanfarlo.

    "Equi is that rarity--someone with natural comic talent who is also capable of delicacy and lyricism."--David Lehman, Newsday

    Arranged in chronological order, and capturing the full range of his poetic interests at each stage of his life, the poems are complemented by selections from Hopkins' journals, sermons, and letters, which offer prose perspectives on the concerns which surface in the verse. Phillips has gone back to the original manuscripts, producing the most accurate text ever available, and revealing the poet's own taste more fully than has ever been possible.

    Poems address such topics as paintings, music, landscapes, and the terror in El Salvador.

    Service's evocative verses have thrilled generations of children and adults. They have become a legend in themselves, epitomizing the glory days of the Gold Rush when fortunes and legends were made and lost on the turn of a card.Celebrated Yukon artist Ted Harrison's exciting, full-color illustrations bring a classic poem vibrantly to life for new generations to enjoy.

    A remarkable anthology, including many largely unknown poems from the trenches, in which Martin Taylor illustrates the extraordinary range of emotions generated by the horror of the First World War and the experience of trench warfare.

    A READING (11-17). A READING manifests a generic singularity, an absolutely specific human presence which could at the same time be interchanged with anyone...Writing and reading are both acts of relation, problematically focused on the object that comes in between - an object made of words, which might be conduit or barrier or mute altar-Geoffrey O'Brien.

    Profoundly libertarian in outlook, Blake's engagement with the issues of his day is well known and this - along with his own idiosynratic concerns - flows through his poetry and art. Like Milton before him, the prodigality of his allusions and references is little short of astonishing. Consquently, his longer viosnary poems can challege the modern reader, who will find in this avowedly open edition all they might need to interpret the poetry.W. H. Stevenson's Blake is a masterpiece of scrupulous scholarship. It is, as the editor makes clear in his introduction, 'designed to be widely, and fluently, read' and this Third Edition incorporates many changes to further that aim. Many of the headnotes have been rewritten and the footnotes updated. The full texts of the early prose tracts, All Religions are One and There is no Natural Religion, are included for the first time. In many instances, Blake's capitalisation has been restored, better to convey the expressive individuality of his writing. In addition, a full colour plate section contains a representation of Blake's most significant paintings and designs. As the 250th anniversary of his birth approaches, Blake has perhaps more readers than ever before; Blake: The Complete Poems will stand those readers, new and old, in good stead for many years to come.

    

    Louis gives a deep yet hard-edged portrait of certain aspects of contemporary Amerindian life. It also delivers a powerful vision to transform the traps of that life. In "soft whiskey voices," he and a friend talk as they sit,"both of us forty with pony tails / grown down long to our Levi butts." Then casting a reflective eye on the past in the present, he declares: "Yes, there's something about being an Indian / we say as we exit into the warmth / of Hell's secondary nature, / a place we call the Fire Water World." ("Something About Being an Indiaif'). There are many sad drinking poems and much hurt and anger in these verses, yet a forceful directness compels our recognition. Some poems seem directed to his Amerindian brothers and sisters, some to all of us. In 'The First of the Month" he contemplates: "Against my dark void of memories of blood upon blood White Clay, Nebraska explodes with a thousand faces of my drunken race cashing their welfare checks." The language in this book is colloquial and blunt, yet inside a tradition where it cuts and turns on you like a knife in the sun. Sometimes it works for realism and irony: "We wait and wonder and didn't ask why / we sit in our cars drinking Pabst Blue Ribbon." Sometimes it delivers a mythic beauty as in this portrait of "South Dakota Woman": "In your flanks I saw the blood drive / of brood mares. / In your flanks I saw my warrior sons." In this fourth book of poems, Louis contemplates his university life, while now living and working with his brothers and sisters on the Pine Ridge Indian Reservation of South Dakota. his perspective is important, for while his language is often concrete and direct, it also moves with a magical energy through deep images. In "Sweets for Dancing Bears" he moves from the sharp realism of "Rolling down the sawdust aisles of switchblade tavems" into the "Visionary delights to my stranger's brain" where he asks, "Was it my false fur flaming or the milk tit of rain?" and concludes, "My engines were flooded, the windows were broken, and the bears / those darrin bears were dancing." The book closes on Louis leaving two wino brothers in the bush to face the hail, knowing, "Pain is easier to deal with than spirits." His is an original and needed voice-moving from the death inside the present toward a new day. -- From Independent Publisher

    Sometimes she simply takes notice of the world in all its beauty, oddity and humor, as in a scene from "Potts Farms, Summer 1955": "Aunt Floss is baking bread and laughing, / clacking her false teeth"; elsewhere her observations shed light on the observer. "Starlings in the walls at night" suggest the discord within the narrator ("my feet / chilling on the bare boards, birds in my blood, on my hair") while the speaker's nonchalant tone and the ordinary images depicted in "Pike County Breakdown" make the poem all the more frightening. Some readers may find the central sequence of poems spoken by Emily Dickinson less convincing, and McKinney's evenness of emotional pitch enervates and frustrates at times. But this collection contains writing that intrigues and disturbs.

    More than poetry of combat, this bilingual edition is a record of the struggles, hopes and dreams of a war-torn country, providing a vivid description of the recent struggles in El Salvador.

    An attractive six-pocket display pack is also available.

    . . she can also be funny, brave, and care very deeply about all our futures."--Village Voice Literary Supplement

    He is a warm, articulate, witty and engaging storyteller in live performance, and here he`s collected some of his own retellings of tales ancient, old, and not so old. The illustrations are evocative too, complementing the text beautifully. Robin has his own offbeat way with a tale or an anecdote, or a bit of shaggy dog whimsy, and some of these tales and poems have an open-ended quality - like life,like the man himself.my pleasure is to know him. This is a lovely book to own and to dip into, and I can`t help hearing Robin`s idiosyncratic Scottish burr in my mind as I read these pieces. I think, that not only his ebullience and madcap wit, but the fact that you can easily hear every word he speaks or sings. You can almost hear it in this book of wonders too. Listen,and listen closely for the tales and poems lose nothing in printing them but better still see Robin in live performance-joy that adds no sorrow with it.

    Poems deal with children, the past, parenthood, freedom, violence, poets, and travel.

    Poems deal with the Jewish Holocaust, ikons, nature, dreams, and religion.

    With its message of simple remembrance without regrets, and its reassurance that it is better to 'forget and smile' than to 'remember and be sad', it brings help and comfort at a time when feelings of guilt and even bitterness can cloud the thoughts of the person left behind.The delicate pen and ink drawings by Sam Denley perfectly highlight the reflective nature of this masterpiece of sonnet writing.

    Now in his mid-sixties, Amichai continues to write poems that have both extraordinary simplicity and subtlety, that bear both his common touch and his unique fingerprints, that manage to be both timely and timeless. At the same time, there is a deepening note in this selection made from his two most recent books in Hebrew, a more intense looking back and looking forward, a greater concentration on first things and last things. A man's soul is like/ a train schedule/ and a precise and detailed schedule/ of trains that will never run again. A man taking his children to the sites of battles he fought in, or seeing the expression of a former friend in the beautiful eyes of his daughter, or traveling through the changing landscapes and climates of Israel: these are the kinds of everyday experiences that Amichai transmutes into elegy and prophecy. Conversely, the complexities of his vision typically find precise expression in the homeliest of images, as when he associates his memory of a boyhood sweetheart who died in the camps with a lone, unclaimed suitcase on a conveyor belt at an airport that "returns and disappears again / and returns again, ever so slowly, in the empty hall..." Amichai's sensibility is like a great organ, enlarging whatever note or motif he strikes.

    It includes traditional as well as contemporary usage and examples, original classifications of terms and their uses, and has terms drawn from allied fields such as film, art, music and dance. There are 1,500 individual entries defining the techniques, devices, histories, theories and terminologies of poetry. Alphabetically arranged, entries include a headword; etymology or derivation, synonym and/or alternative spellings; definitions; example or illustration; historical, theoretical or technical considerations; germane authors; cross references. The terms drawn from other arts such as cinema, art, sculpture, music, dance and there are original mini-essays on all important terms.

    The poems are all in the uta form (the thirty-one syllable lyric) that was the major genre of court poetry throughout the classical period in Japan.

    as a scholar and critic, Tomas Venclova is a gifted poet whose work has remained largely unknown to an English-speaking audience. This collection of fifty-one poems is as distinctive as it is finely crafted. Also included is a foreword by Joseph Brodsky and an exchange between Venclova and Czeslaw Milosz.

    This selection, made by the author himself, draws upon the full arc of his career and offers an outstanding concentration of, and introduction to, the full range and powers of this distinguished poet.

    Over the next fifty years she enriched American literature in endless ways through her writings and, in 1993, she received the National Book Award for Lifetime Achievement.This Is My Century is Walker's own defining summation of her career. Selected by the author herself, the one hundred poems include thirty-seven previously uncollected pieces and the entire contents of three hard-to-find volumes: the award-winning For My People (1942), Prophets for a New Day (1970), and October Journey (1975).

    Beginning with death, they evolve into the immortality of transformation. A dead star becomes marsh, a disintegrated sun sings in the rubbings and gratings of the red-legged locust. The mind, ancestor of the sky, contemplates "the nature of itself/ In the motion of stars"; "the mind /Has been obligated from the beginning/ To create an ordered universe/ AS the only possible proof/ OF its own inheritance." Uniting and separating, splitting and binding." Pattiann Rogers see mythic patterns in the changing motions of the universe - "green grain of jelly-seed rotating slowly, / Turning by multiple yellow hairs to place/ Its cold side trapped in a cathedral, transfigured by light of the shinning dove;; a whale aligning "its narrow eye" to "the bright star - point of Polaris." Her poetry is metaphysical and physical, intellectual and sensuous, it has a controlled passion that joins body and spirit - "the soul believes of itself." It finds energy and healing in the dream of life.

    There are stories here of people in the "fortresses" of the self, the city, or the natural world.All these poems have in common a lyrical approach to solitude ("the only protection / against death/ was to love solitude") and an ironical vision for which love of beauty and the longing for the world are the cure. Hillman combines the imagistic with narrative; in her poems lyricism wars with irony; the solitary noticing consciousness is in control - because the observed world seems beautiful to the observer, great joy is possible despite the sense of difficulty or sorrow.The language here is rich and elegant. Truth is relentlessly addressed.

    a writer so well endowed with character, courage, stamina, honesty, and independence as to make whatever styles he has adopted or adapted peculiarly his own.' -R.W. Flint, Parnassus

    all rendered in the style of the 19th century steel engraving, much after the manner of a dated zoology text.

    poetry from Alaskan Native writer

    Dickinson writes as she does both because she is steeped in the great patriarchal texts of her culture, from the Bible and hymns to Herbert's poetry and Emerson's prose, and because she is conscious of writing as a woman in an age and culture that assume great and serious poets are male.Miller observes that Dickinson's language deviates from normal construction along definable and consistent lines; consequently it lends itself to the categorical analysis of an interpretive "grammar" such as the one she has constructed in this book. In order to facilitate the reading of Dickinson's poems and to reveal the values and assumptions behind the poet's manipulations of language, Miller examines in this grammar how specific elements of the poet's style tend to function in various contexts. Because many, especially modernist, poets use some of the same techniques, the grammar throws light on the poetic syntax of other writers as well.In the course of her analysis, Miller draws not only on traditional historical and linguistic sources but also on current sociolinguistic studies of gender and speech and on feminist descriptions of women's writing. Dickinson's language, she concludes, could almost have been designed as a model for twentieth-century theories of what a women's language might be. As a critical examination of the relationship between linguistic style and literary identity in America's greatest woman poet, Emily Dickinson: A Poet's Grammar provides a significant addition to feminist literary studies.

    It contains such classics as “Babbi Yar,” which forms the centrepiece of Shostakovich’s 13th Symphony, “The City of ‘Yes’ and the City of ‘No,’” and “The Heirs of Stalin.”

    Energetic, honest and compelling, these rants, confessions and misadventures are funny and touching, and flawlessly construct (and deconstruct) 1980s L.A. "I Received this Woman's Intimacies," wherein the poet visits her "ex-lover's mother's house/ three days after his father's passing" is the standout, with its primal themes of sex, death and human connection. Stunning.

    They investigate, for instance, the relation of cliche and place, of writing and biographical notation, of definition and the desire to define.Tina Darragh lives in Mt. Rainier, NM, where she works as a librarian for a computer system. Her books include the remarkable on the corner to off the corner (Sun & Moon) and a(gain)2st the odds (Potes & Poets)."I'm attracted to this work because of its openness, its unassuming voice that moves to shed light, to invite the reader into its process as into a home. Striking Resemblance deals primarily in the roots and history of language; it has, at times, the air of linguistic archaeology ... a quiet chagrin and 'linguo- mantic' cogency all its own."--Richard Silberg, Poetry Flash"Striking Resemblance goes the way between poetry and prose, a direction of new approaches to the human predicament."--Shelby Stephenson, The Pilot (Southern Pines,NC)"Darragh is investigating investigation. One isn't led to conclusions. The manner in which she constructs a context for the investigation is itself the investigation.... When we learn to inhabit [this process] we'll have learned a lot."--Rod Smith, Washington Review

    The 15 poems and one essay quietly and joyously celebrate the enduring satisfactions of good work and a happy home. 13 woodcuts.

    The distinction of his poetry, as Ted Hughes argues, is both spiritual and artistic: `the desolation of [his] vision is equalled by its radiance'. The depth and power of Pilinszky's poetry are forcefully recreated in these memorable versions by János Csokits and Ted Hughes. `The Desert of Love' is a revised edition of their earlier selection of his magnetic, intense and haunting poems. The added memoir by Pilinszky's close friend and associate Ágnes Nemes Nagy gives a major living Hungarian poet's view of his achievement.

    literature/Jewish Studies, tr Rosmarie Waldrop

    -- Atlanta Constitution

    Translated from the Polish by Regina Grol-Prokopczyk. Using words, expressions, images and sounds from a variety of sources; popular magic, songs heard in her childhood, music of Bach, everyday conversations and works of great philosophers, Uszula Koziol established herself as one of the most important voices in Polish poetry. In an idiom similar to Paul Celan, Koziol takes the reader into diverse and unique topics from the world of a snowflake to the life of Circe. She is a poet with the fine sensibility of our time who has embarked on the quest for the knowledge of reality, and comments on all aspects of that reality, including the precariousness of life, relationships and humankind's survival with intensity and intelligence. A bilingual collection every serious student of 20th century poetry should have on their shelf.

    

    Seldom has a woman's writing been at once more cerebral and more sensual.'

    In a single illustrated edition, the History of English Literature is enhanced by the revelation that a number of the world's greatest poets were in fact Australians."The names will be familiar: Herrick, Black, Burns, Leigh Hunt, Keats, Fifteen Bobsworth Longfellow, Ted Lear, william McGonigall, Emmy-Lou Dickinson, W.B. Yeats. Jems Choice, R.A.C.V. Milne, Kahlihliji Bran, Pinko Brooke, Marianne More, T.S. Eliot, b.b. hummings, Ogden Gnash, Sir Don Betjeman, Stewie Smith, W.H. Auding, Dylan Thompson, Sylvia Blath, and others. Original works have been located and biographical details recorded. The jigsaw is complete."Australia's rich poetic heritage is now available to the world in one elegant volume."

    A selection of letters helps to create a complete picture of Sidney the man, and a generous assemblage of supplementary texts illustrates his inventiveness as a royal entertainer and describes the literary cult that grew up around him after his sudden death in 1586.

    Poems, splendid works of art, and historical photographs are brought together in this beautiful volume for young readers.

    Live thinking--rather than 'theory'--about poetry & prose & living & dying, often starting from or turning into poetry as easily as rivers & puddles become clouds become rain. Short pieces full of unexpected sparks & takes. Essays, letters, reviews, apercus--starting from anywhere at hand (often with 'input' from 'media'), ending somewhere we're surprised to get to. Too much fun to call criticsm-or the best kind. A pleasure to live with--Jackson Mac Low.

    anthology of Jewish lit, tr Rothenberg/Lenowitz