Emerging out oa a life in shich, the poet's words, "each day was the only day", Menasches work has a mysterious simplicity, a religious intensity, and a lingering emotional force.

    What is form's time? Here the form of life called a poem speaks with the body's mortality, its thickness, its play. The 10 poem-sequences in 3 Summers inflect a history of textual voices — Lucretius, Marx, Aby Warburg, Deleuze, the Sogdian Sutras — in a lyricism that insists on analysis and revolt, as well as the pleasures of description. The poet explores the mysterious oddness of the body, its languor and persistence, to test how it shapes the materiality of thinking, which includes rivers and forests. But in these poems' landscapes, the time of nature is inherently political. Now only time is wild, and only time — embodied here in Lisa Robertson’s forceful cadences — can tell.‘Robertson proves hard to explain but easy to enjoy. . . . Dauntlessly and resourcefully intellectual, Robertson can also be playful or blunt. . . . She wields language expertly, even beautifully.’—The New York Times‘Robertson makes intellect seductive; only her poetry could turn swooning into a critical gesture.’— The Village VoiceLisa Robertson's books include Cinema of the Present, Debbie: An Epic, The Men, The Weather, R's Boat and Occasional Works and Seven Walks from the Office for Soft Architecture. Lisa Robertson's Magenta Soul Whip was named one of The New York Times' 100 Notable Books. She lives in France.

    With a large worldwide cult following, Brown has delivered ..".a heart crushing and brilliant work of modern American classics." NYLON magazine. It contains such hits as "The Victory Explosions" and "All distortion, All the time." This collection of 49 poems sings with sincere revelations and ecstatic lust for wild, honest living.

    Librarian's Note: this is an alternate edition to ISBN-10 0316184152Though generally overlooked during her lifetime, Emily Dickinson's poetry has achieved acclaim due to her experiments in prosody, her tragic vision and the range of her emotional and intellectual explorations.

    All the Fizzles are included in the collection The Complete Short Prose 1929-1989(description from Wikipedia)

    Beginning with a painting done in 2003, the poems move backwards in time to 1 BC, where an architectural fragment is painted on an architectural fragment, highlighting visual art’s strange relationship between the image and the thing itself. The total effect is exhilarating—a wholly original, personal take on art history coupled with Bang’s sly and elegant commentary on poetry’s enduring subjects: Love, Death, Time and Desire. The recipient of numerous prizes and awards, Bang stands at the front of American poetry with this new work, asking more of the English language, and enticing and challenging the reader.

    poet laureate, a National Humanities Medal, and a National Medal of Art. Gathering thirty years and seven books, this volume compiles Dove’s fresh reflections on adolescence in The Yellow House on the Corner and her irreverent musings in Museum. She sets the moving love story of Thomas and Beulah against the backdrop of war, industrialization, and the civil right struggles. The multifaceted gems of Grace Notes, the exquisite reinvention of Greek myth in the sonnets of Mother Love, the troubling rapids of recent history in On the Bus with Rosa Parks, and the homage to America’s kaleidoscopic cultural heritage in American Smooth all celebrate Dove’s mastery of narrative context with lyrical finesse. With the “precise, singing lines” for which the Washington Post praised her, Dove “has created fresh configurations of the traditional and the experimental” (Poetry magazine).

    Bringing the Shovel Down is a re-imagination of the violent mythologies of state and power.

    Miłosz provides a preface to each of these poems, divided into thematic (and often beguiling) sections, such as “Travel,” “History,” and “The Secret of a Thing,” that make the reading as instructional as it is inspirational and remind us how powerfully poetry can touch our minds and hearts. "

    S. Eliot, Marcel Proust, James Joyce, and Gertrude Stein. As Alfred Kazin later wrote, "Wilson was an original, an extraordinary literary artist . . . He could turn any literary subject back into the personal drama it had been for the writer."

    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.

    As Stephen Rojack, a decorated war hero and former congressman who murders his wife in a fashionable New York City high-rise, runs amok through the city in which he was once a privileged citizen, Mailer peels away the layers of our social norms to reveal a world of pure appetite and relentless cruelty. One part Nietzsche, one part de Sade, and one part Charlie Parker, An American Dream grabs the reader by the throat and refuses to let go.

    Notley's work has always been highly narrative, and her new book mixes short lyrics with long, expansive lines of poetry that often take the form of prose sentences, in an effort "to change writing completely." The title piece, a folksong-like lament, makes a unified tale out of many stories of many people; the middle section, "The Black Trailor," is a compilation of noir fictions and reflections; while the shorter poems of "Hemostatic" range from tough lyrics to sung dramas. Full of curative power, music, and the possibility of transformation, In the Pines is a genre- bending book from one of our most innovative writers.

    First published in 1927, this free verse poem has become an essential part of American literature.

    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.