Yeats.

    This selection offers a timely retrospective of the contemporary poetry of Simon Armitage, and is a perfect introduction to his work.

    Frost scholar Lathem, who was also a close friend of the four-time Pulitzer Prize-winner, scrupulously annotated the 350-plus poems in this collection, which has been the standard edition of Frost's work since it first appeared in 1969.

    For here, with the gemlike beauty and hardness that poetry alone can achieve, are his ideas about the nature of things that lay behind his writings."—Christianity TodayKnown worldwide for his fiction and philosophical essays, C.S. Lewis was just as much a poet as a polemicist. From the age of fourteen, he wrote poetry on just as many subjects as he covered in his prose, and in fact poetry is even present in his other writings, such as the short lyrics included in The Pilgrim’s Recess and Till We Have Faces, which began its life as a long poem. Whether writing prose or poetry, Lewis’s “wonderful imagination is the guiding thread.”That imagination is on display in Poems, with works covering the many varied subjects Lewis was interested in his whole life, everything from God to nature, love to reason, unicorns to spaceships."Take[s] an important place in the Lewis canon."—New York Times Book Review

    It tells the story of the Fall of Man, a tale of immense drama and excitement, of rebellion and treachery, of innocence pitted against corruption, in which God and Satan fight a bitter battle for control of mankind's destiny. The struggle rages across three worlds - heaven, hell, and earth - as Satan and his band of rebel angels plot their revenge against God. At the center of the conflict are Adam and Eve, who are motivated by all too human temptations but whose ultimate downfall is unyielding love.Marked by Milton's characteristic erudition, Paradise Lost is a work epic both in scale and, notoriously, in ambition. For nearly 350 years, it has held generation upon generation of audiences in rapt attention, and its profound influence can be seen in almost every corner of Western culture.

    However much the reader may sympathize with Hetty Sorrel and identify with Arthur Donnithorne, her seducer, and with Adam Bede, the man Hetty betrays,it is George Eliots's creation of the distant aesthetic whole - the complex, multifarious life of Hayslope - which so grips the reader's imagination. As Stephen Gill comments: 'Reading the novel is a process of learning simultaneously about the world of Adam Bede and the world of Adam Bede.'

    Published in 1854, the story concerns one Thomas Gradgrind, a "fanatic of the demonstrable fact," who raises his children, Tom and Louisa, in a stifling and arid atmosphere of grim practicality.Without a moral compass to guide them, the children sink into lives of desperation and despair, played out against the grim background of Coketown, a wretched community shadowed by an industrial behemoth. Louisa falls into a loveless marriage with Josiah Bouderby, a vulgar banker, while the unscrupulous Tom, totally lacking in principle, becomes a thief who frames an innocent man for his crime. Witnessing the degradation and downfall of his children, Gradgrind realizes that his own misguided principles have ruined their lives.Considered Dickens' harshest indictment of mid-19th-century industrial practices and their dehumanizing effects, this novel offers a fascinating tapestry of Victorian life, filled with the richness of detail, brilliant characterization, and passionate social concern that typify the novelist's finest creations.Of Dickens' work, the eminent Victorian critic John Ruskin had this to say: "He is entirely right in his main drift and purpose in every book he has written; and all of them, but especially Hard Times, should be studied with close and earnest care by persons interested in social questions."

    In his work he brought to life the personalities of a diverse range of characters, and introduced a new immediacy, colloquial energy and psychological complexity to the poetry of his day. This selection brings together verse ranging from early dramatic monologues such as the chilling 'My Last Duchess' and the ribald 'Fra Lippo Lippi', which show his gift for inhabiting the mind of another, to the popular children's poem 'The Pied Piper of Hamelin' and many lesser known works. All display his innovative techniques of diction, rhythm and symbol, which transformed Victorian poetry and influenced major poets of the twentieth century such as Ezra Pound, T. S. Eliot and Robert Frost.

     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.

    One hundred years after his release from Reading Gaol, the life and work of Oscar Wilde has lost none of its fascination. In his day, his wit and writings enchanted and scandalized society in equal measure; his downfall came at the height of his powers. Devastated by his notorious trial for indecency, imprisoned for ``homosexual offenses,'' he was to spend two ruinous years in solitary confinement. As he was later to tell Andre Gide, Reading Gaol ``was not fit for dogs. I thought I would go mad.'' The Ballad was written from personal experience, and there was to be no more writing after this. As Wilde observed: ``Something is killed in me.'' Bankrupt, disgraced, and in exile, Wilde was to die not long after his release at the age of 46. His final resting place is the cemetery of Pere Lachaise in Paris. His tomb bears an inscription from The Ballad of Reading Gaol: ``And alien tears will fill for him/Pity's long broken urn/For his mourners will be outcast men/And outcasts always mourn.'' This commemorative edition of the poem is illustrated with the powerfully moving wood engravings of Garrick Palmer. 48 pp 5 x 8 8 wood engravings

    A retelling of The Canterbury Tales

    She sees nothing reprehensible in Richard III, yet burns with contempt for Elizabeth I, and documents several reigns with breezy nonchalance.This volume also contains 'Lesley Castle', a delightful and often hilarious correspondence detailing the mishaps and misapprehensions that befall five young ladies.

    E. Cummings's biographer, include his most popular poems, spanning his earliest creations, his vivacious linguistic acrobatics, up to his last valedictory sonnets. Also featured are thirteen drawings, oils, and watercolors by Cummings, most of them never before published.The selection includes most of the favorites plus many fresh and surprising examples of Cummings's several poetic styles. The corrected texts established by George J. Firmage have been used throughout.

    Partial Contents: Beyond the moor and mountain crest; Her strong enchantments failing; In valleys green and still; Could man be drunk for ever; The night my father got me; The sigh that heaves the grasses; Onward led the road again; and When lads were home from labour.

    Understandable perhaps from the point of view of the poet: readers on the other hand might wish to demur. The poems gathered here and chronologically ordered, thereby tracing the course of the war, are an extraordinary testimony to the almost unimaginable experiences of a combatant in that bitter conflict. Moving from the patriotic optimism of the first few poems (" ... fighting for our freedom, we are free") to the anguish and anger of the later work (where "hope, with furtive eyes and grappling fists / Flounders in mud ... "), there comes a point when the reality of trench-warfare and its aftershocks move beyond comprehension: Sassoon knows this, and it becomes a powerful element in his art. As a book, the images have a cumulative relentlessness that make it almost impossible to read more than a few poems in one sitting. Unlike the avant-garde experiments developing in Europe in the first decades of this century, Sassoon's verse is formally conservative--but this was perhaps necessary, for as one reads the poems, one feels that the form, the classically inflected tropes, the metre and rhyme, apart from ironising the rhetoric of glory and battle were necessary techniques for containing the emotion (and indeed, a tone of barely controlled irony may have been the only means by which these angry observations would have been considered publishable at the time). When Sassoon's line begins to fragment, as it does in several of the later poems, it is under the extreme pressure to express the inexpressible. Compassion and sympathy are omnipresent here, in their full etymological sense of suffering with or alongside others--something the higher echelons of command (those " ... old men who died / Slow, natural deaths--old men with ugly souls") were never able or willing to contemplate. But Sassoon intuited the future of warfare, could sense that this was not "the war to end all wars": the mock-religious invocation of the final poem prefigures the vicious euphemisms of more recent conflicts: "Grant us the power to prove, by poison gases, / The needlessness of shedding human blood." Sassoon's bile-black irony signals a deep-felt pessimism: it was with good reason. --Burhan Tufail