Here parody does not exclude the cri de coeur any more than seriousness excludes the joke. With surrealist volatility, these poems are the result of experiments that continue for the reader during each reading. Young moves from reworkings of creation myths, the index of the Norton Anthology of Poetry, pseudo reports and memos, collaged biographies, talking clouds, and worms, to memory, mourning, sexual playfulness, and deep sadness in the course of this turbulent book.

    "They make us pay attention in new ways." In his second new and selected collection, Dunn subtly enlarges our sense of possibility. His new poems, suffused with affection and rue for our world, occasionally address the metaphysical, as in these lines—from “Talk to God”Ease into your misgivingsAsk him if in his weaknesshe was ever responsiblefor a pettiness—some weather, say,brought in to show who’s bosswhen no one seemed sufficiently movedby a sunset or the shape of an egg.Ask him if when he gave us desirehe had underestimated its power.

    Schmidt offers the first anthology to gather poems by the 43 poets laureate of the United States.

    In a series of secular prayers, Cynthia Cruz alludes to a girlhood colored by abuse and a brother’s death. A beautifully understated sense of menace and damage pervades this vivid, nonlinear tale.

    Featuring: Jack Kerouac, Allen Ginsberg, William Burroughs, Gary Snyder, Neal Cassady, Gregory Corso, Diane Di Prima, Bob Dylan, Ken Kesey, Charles Bukowski, Michael McClure, and more.

    This edition, which first appeared in 1977, was revised by the author: there are additions, deletions, and a change in sequence in the Dolphin section; the five poems in the title sequence from Near the Ocean are now uncut; and a new poem is added to the "Nineteen Thirties."

    Compulsively readable, full of fear and persistence, they resonate with the wildness and generosity of Ginsberg, Whitman, and Ted Berrigan, turning the everyday into an encompassing, harrowing, humorous, necessary vision. Beckman is, as Publishers Weekly notes, “the real thing.”Joshua Beckman is the author of numerous poetry collections, translations, and collaborative works. His awards include a NYFA Fellowship and a Pushcart Prize. He lives in Seattle and New York.

    Included are the leading Beat and New York School poets, the Projectivists, and "Deep Image" poets. Included, too, is the rich array of poetry written since 1975-language and performance poetry, the work of African American, Hispanic, Asian American, gay and lesbian, and women experimentalists. In addition, a final section of poetics-with writings by Frank O Hara, Denise Levertov, Jerome Rothenberg, Amiri Baraka, and Charles Bernstein, among others-provides valuable contexts for reading the poems.

    For the first time, the complete collection of Maya Angelou's published poems-including "On the Pulse of Morning"-in a permanent collectible, handsome hardcover edition.

    The Washington Post said of the 2017 edition, “The poems...have a wonderful cohesion and flow, as if each contributes to a larger narrative about life today…While readers may question some of the selections—an annual sport with this series—most will find much that resonates, including the insightful author notes at the back of the anthology.” The state of the world has inspired many to write poetry, and to read it—to share all the rage, beauty, and every other thing under the sun in the way that only poetry can. Now the foremost anthology of contemporary American poetry returns, guest edited by Major Jackson, the poet and editor who, “makes poems that rumble and rock” (poet Dorianne Laux). This brilliant 2019 edition includes some of the year’s most defining, striking, and innovative poems and poets.

    A collection of astonishing originality and intensity, it spoke of politics, sexual emancipation, and what it meant to be an American. From the joyful “Song of Myself” and “I Sing the Body Electric” to the elegiac “When Lilacs Last in the Dooryard Bloom’d,” Whitman’s art fuses oratory, journalism, and song in a vivid celebration of humanity. Containing all Whitman’s known poetic work, this edition reprints the final, or “deathbed,” edition of Leaves of Grass (1891–92). Earlier versions of many poems are also given, including the 1855 “Song of Myself.”Features a completely new—and fuller—introduction discussing the development of Whitman's poetic career, his influence on later American poets, and his impact on the American cultural sensibilityIncludes chronology, updated suggestions for further reading, and extensive notes

    Laux is "continually engaging and, at her best, luminous" (San Diego Union-Tribune).from "To Kiss Frank," make out with him a bit, this is what my friend would like to do oh these too many dead summers later, and as much as I want to stroll with her into the poet's hazy fancy all I can see is O'Hara's long gone lips fallen free of the bone, slumbering beneath the grainy soil.

    Edited by Cid Corman. The section headings in this book of poems are all vintage Niedecker, but they stake out the poems in three large masses. The earlier work-apprentice to Zukofsky but finding her voice; the central work--when she discovers her range and depth; the final work--much of it known posthumously--showing how she was probing other voices into a larger plenum. One's first impulse, after awe, on reading THE GRANITE PAIL is a double dose of shame: shame at not being more familiar with her work; shame at ever having complained of the narrowness of one's life--Carolyn Kizer.

    The volume is edited each year by an esteemed writer who brings a fresh eye to the selections. Previous editors have included Elizabeth Hardwick, Susan Sontag, Geoffrey C. Ward, Cynthia Ozick, and Stephen Jay Gould. This year’s volume is terrifically diverse, with subjects ranging from driving lessons to animal rights to citizenship in times of emergency.

    I forget things too. It makes me sad. Or it makes me the saddest. The sadness is not really about George W. or our American optimism; the sadness lives in the recognition that a life cannot matter.The award-winning poet Claudia Rankine, well known for her experimental multigenre writing, fuses the lyric, the essay, and the visual in this politically and morally fierce examination of solitude in the rapacious and media-driven assault on selfhood that is contemporary America. With wit and intelligence, Rankine strives toward an unprecedented clarity-of thought, imagination, and sentence-making-while arguing that recognition of others is the only salvation for ourselves, our art, and our government.Don't Let Me Be Lonely is an important new confrontation with our culture, with a voice at its heart bewildered by its inadequacy in the face of race riots, terrorist attacks, medicated depression, and the antagonism of the television that won't leave us alone.