Herter Norton offer Rilke's work to the English-speaking world in an accurate, sensitive, modern version.

    Their first encounter is in 1944 at theirworkplace, an office in Senate House, Bloomsbury, London, where Juneworks as a linguist doing “… translation work for a project involving theadaptation of treadle sewing machines to power generation” (p. 135)and Bernard, originally a Cambridge science graduate, has “… a deskjob peripherally connected with the intelligence services.” (p. 135).Two years later, the newly-weds sign up as members of the CommunistParty, leave their jobs and travel to the former battlefields of Europewith the intention of building a new Europe. During their honeymoonthey also spend some time in the south of France where June is(almost) attacked by two huge black dogs. She manages to drive themaway but is deeply frightened. She sees them as an encounter with evil.Nevertheless June really enjoys the countryside of this area and buys ahouse there. Unfortunately, hers andBernard's worldviews are too different to combine and they live moreand more often apart from each other. Their children grow up partly inEngland and partly in France. Whereas June leaves the CommunistParty after a few months, due to the difference between Communistideas and the way these ideas were put into practice, Bernard stays forapproximately 10 years. [...]

    And he also showed that within him beat the heart of an artist -- a major factor in his resilience and recovery.Now with Who Will Cry for the Little Boy?, his first collection of poetry, Antwone Fisher reveals the inner truths that took him from a tumultuous childhood to the man he is today. The powerful poems presented here range from impressions and expressions of Antwone's years growing up to the love that he has gained from the family he made for himself as an adult.From the title poem -- which is featured prominently in the movie Antwone Fisher -- a plaintive, haunting tribute to a childhood lost to abuse and neglect, to "Azure Indigo," the uplifting and touching poem about his daughters, many readers will find their own feelings and experiences reflected in this lyrical and passionate collection.

    The misunderstandings caused by language recur throughout the book: contemplating what "yes" means in different cultures; watching Nickelodeon's "Nick at Nite" with a husband who grew up in the Philippines and never saw The Patty Duke Show; misreading another poet's title "The Difference Between Pepsi and Coke" as "The Difference Between Pepsi and Pope" and concluding that "Pepsi is all for premarital sex. / The Pope won't stain your teeth." Misunderstandings also abound as characters mingle with others from different classes. In "Cockroaches," a father-in-law refers to budget-minded American college students backpacking in Europe as cockroaches, not realizing his daughter-in-law was once, not so long ago, such a student/roach herself.With welcome levity and refreshing irreverence, The Star-Spangled Banner addresses issues of ethnicity, class, and gender in America.

    Included here are many of Galway Kinnell’s best-loved and most anthologized poems. Kinnell has revised some of the poems for this new edition, and comments on his working method in a prefatory note.

    Charles Bernstein here proves them alive and well in poems elegiac, defiant, and resilient to the point of approaching song. Heir to the democratic and poetic sensibilities of Walt Whitman and Allen Ginsberg, Bernstein has always crafted verse that responds to its historical moment, but no previous collection of his poems so specifically addresses the events of its time as Girly Man, whichfeatures works written on the evening of September 11, 2001, and in response to the war in Iraq. Here, Bernstein speaks out, combining self-deprecating humor with incisive philosophical and political thinking. Composed of works of very different forms and moods—etchings from moments of acute crisis, comic excursions, formal excavations, confrontations with the cultural illogics of contemporary political consciousness—the poems work as an ensemble, each part contributing something necessary to an unrealizable and unrepresentable whole. Indeed, representation—and related claims to truth and moral certainty—is an active concern throughout the book. The poems of Girly Man may be oblique, satiric, or elusive, but their sense is emphatic. Indeed, Bernstein’s poetry performsits ideas so that they can be experienced as well as understood. A passionate defense of contingency, resistance, and multiplicity, Girly Man is a provocative and aesthetically challenging collection of radical verse from one of America’s most controversial poets.

    A potpourri of musings assembled with a hint of practical spirituality, to be savoured passably as an oracle of hearts to the many answers, whose questions our minds are yet to comprehend. Ivory Gleam is split into three chapters of learning, longing and loving. Each chapter is a journey traversing a different road to the ultimate destination of self-reflection.

    Doughty’s poems are at once absurdist and matter-of-fact; the images he conjures are thrown into high relief through cutting wordplay. In a series of prose poems about showbiz, he reimagines Cookie Monster as a burned-out suicide, and cheesy talk-show host Joe Franklin as a cross-dressing witness to the apocalypse. And in “For Charlotte, Unlisted,” he wrenchingly tracks the elusive memory of a faded romance.

    Rogue & Kat Savage.

    

    So great was his stature as an Urdu poet that he never had to mould his poetry to suit the demands of film songwriting; instead, producers and composers adapted their requirements to his poetry. His songs in films like Pyaasa, Naya Daur and Phir Subah Hogi have attained the status of classics. This exhaustive biography traces the poet’s rich life, from his troubled childhood and his equally troubled love relationships, to his rise as one of the pre-eminent personalities of the Progressive Writers Movement and his journey as lyricist through the golden era of Hindi film music, the 1950s and 1960s.

    Find yourself in the middle of torrid love affairs, undying devotion, and scandalous betrayal as you uncover long-lost correspondences between lovers.From great Kings to War Heroes to Philosophers, spanning a period of five centuries, this collection illustrates that the human desires of sex and love were as powerful then as they are now.

    "The Himalayas Within Him" finds Heart worrying about the sound of his own heartbeat, wondering why it doesn't "blare like a quartet of trombones" as it reflects his "ardent complexity." In "Goodbye to the Hands That Have Touched Him" Heart, after suffering many sleepless nights, decides "that love exists at the root of his problems. Without love his path would be as smooth as a plate of glass and he'd sleep like a kitten." Dividing the Heart poems is the long "Oh, Immobility, Death's Vast Associate, " a jazzy disquisition on human isolation and inaction in the midst of a planet full of people feeling similarly. Throughout Pallbearers Envying the One Who Rides Dobyns has painstakingly sculpted straight-forward language into a distinct sound, creating an unforgettable collection of poems that offers readers unexpected revelations about the complexities of the heart.

    He is probably best known for his poems The Rime of the Ancient Mariner and Kubla Khan, as well as his major prose work Biographia Literaria."

    Haunted by illness and obsessed with death, he moves to Mumbai from his village Udali, breaking away from his feudal roots. He encounters young men frustrated by the system but refuses to become one of them. Suddenly, he takes a fancy to education and pursues masters in Arts, without his family knowing about it.Bidhar is the story of a pessimist who struggles to move on in life.