And from the beginning, her practice placed her at the vanguard of American writing. Guest's poetry, saturated in the visual arts, extended the formal experiments of modernism, and played the abstract qualities of language against its sensuousness and materiality. Now, for the first time, all of her published poems have been brought together in one volume, offering readers and scholars unprecedented access to Guest's remarkable visionary work. This Collected Poems moves from her early New York School years through her more abstract later work, including some final poems never before published. Switching effortlessly from the real to the dreamlike, the observed to the imagined, this is poetry both gentle and piercing seemingly simple, but truly and beautifully dislocating.

    Collins’ emotional complexity and uncommon range make this debut both thrillingly imaginative and ethical in its uncompromising attention to detail. In her Foreword, contest judge Louise Glück observes, “I know no poet whose sense of fraud, the inflated emptiness that substitutes for feeling, is more acute.” Glück calls Collins’ volume “savage, desolate, brutally ironic . . . a book of astonishing originality and intensity, unprecedented, unrepeatable.”

    This new collection showcases Beckman’s ability, even within the confines of a few brief lines, to suggest and sustain emotions, landscapes, humor and desire.

    The voice is consistently spare, honest, understated, and eccentric.

    Any form of heartbreak is one of the worst things one can encounter. Some say heartbreak is inevitable whereas some may disagree. However, almost every individual will probably experience some sort of heartbreak throughout their lives.We all have our own ways of healing but throughout this book, I have written in such a way that hopefully, most people can relate; the pain is printed- in black and white (literally!)I hope you can relate to my words- I tried to keep the poetry as simplistic as possible- as described by some readers, 'the words speak for themselves.'I hope my words have a didactic element- which not only teach but remind you that you are not alone.I hope you enjoy 'Good morning to Goodnight.'Lots of love, Eleni S Kau

    At once witty and disconsolate -- formally inventive, acutely attentive, insistently alive -- this is a book of fierce vulnerability that explores the ways in which we are educated by the implacable powers of time and desire in a world that constantly renews itself.

    Both honors made specific notes of his experimental style, his long influence, and his ongoing importance. Creeley's 1998 collection, Life Death, now available as a New Direction paperback, is the capstone of a career that has poignantly combined "linguistic abstraction with specificity of time and place." (R.D. Pohl, Buffalo News)

    The Last American Valentine is a unique anthology of non-sappy love poetry and flash fiction. Poet Laureates, rock musicians, actors, famed prose writers and a few talented American barfly's have been handpicked, hunted down and crammed together with an artist the world has never met.

    Here Wright adds to his third trilogy (Chickamauga [1995], Black Zodiac [1997], and Appalachia [1998]) a section of new poems that suggest new directions in the work of this sensuous, spirit-haunted poet.

    We know much of poetry ever was and ever shall be elegiac. Jane Mead’s poem could be neither more literal nor nearer the verge of appearing a little too perfect for this world. As the laundry room floods and the grape harvest gets done; as Michoacan waits for another time, her beautiful, practical mother is dying. Ashes are scattered in the pecan groves of her own Rincon, her own corner of the world, and the poet, in elementary script, draws a sustaining record of the only feeling worth the struggle, and she cannot, will not, does not fuck it up." — C.D. WrightJane Mead's fifth collection candidly and openly explores the long process that is death. These resonant poems discover what it means to live, die, and come home again. We're drawn in by sorrow and grief, but also the joys of celebrating a long life and how simple it is to find laughter and light in the quietest and darkest of moments.…This year I have disappearedfrom the harvest routine—the pickers throwing their traysunder the vines, grape hooksflying, the heavy bunches flying—pickers running to the running tractorswith trays held high above their headsand the arc of dark fruit falling heavily into the half-ton bins.The hornets swarming in the diesel-filled air.Jane Mead is the author of four collections of poetry, most recently Money Money Money | Water Water Water (2014). Her poems appear regularly in journals and anthologies, and she's the recipient of a Guggenheim Foundation Fellowship, a Whiting Writers Award, and a Lannan Foundation Completion Grant. She teaches at the low-residency MFA program at Drew University and farms in Northern California.

    The poet has faith in economy and trusts in images to transfer knowledge that speech cannot. In Curses and Wishes the short, simple lines add up to a thoughtful book possessed with lyrical melancholy, a harmony of sadness and joy that sings: May happiness be a wheel, a lit throne, spinning / in the vast pinprick of darkness. By the close of this ambitious work the poet has inspired readers to see the multifaceted effects of our human connections.

    In acclaimed poet Suzanne Buffam's second collection, her unusual range, formal rigor, and imaginative force are on full display as we are introduced to the wry meditations of a literary "irrationalist" who pursues her own poetic logic beyond the bounds of reason. Throughout the collection, in resolutely modern, rueful and eccentric lyrics, Buffam investigates the shifting grounds of knowledge while refusing to take any philosophical authority too seriously. Together, these poems compose a swift, durable, protean argument for the necessity of interior maps in a world that may be on the eve of extinction, but whose darkness is continually illuminated by a pyrotechnics of curiosity, candor, and wit.

    Now in paperback, "Complete Short Poetry" gathers all of Zukofsky's poetry outside his 800-page magnum opus entitled" "A""--including work that appeared in "All: The Collected Short Poems, 1923-1964," the experimental transliteration (with Celia Zukofsky) of Catullus, the limited edition "80 Flowers," as well as several fugitive pieces never before collected."Zukofsky is the American Mallarm," writes Hugh Kenner, "and given the peculiar intentness of the American preoccupation with language--obsessive, despite what you may read in the newspapers--his work is more disorienting by far than his exemplar's ever was. Mallarm had a long poetic tradition from which to deviate into philology. Zukofsky received a philological tradition, which he raised to a higher power."

    It was an unusual choice—even an unpopular one—for a poet in a midcentury American literary scene that was less interested in forms. But it was the right choice, for Berryman found himself in a situation that called for the sonnet: after several years of a happy marriage, he had fallen helplessly, hopelessly in love with the young wife of a colleague.     “Passion sought; passion requited; passion delayed; and, finally, passion utterly thwarted”: this is how the poet April Bernard, in her vivid, intimate introduction, characterizes the sonnet cycle, and it is the cycle that Berryman found himself caught up in. Of course the affair was doomed to end, and end badly. But in the meantime, on the page Berryman performs a spectacular dance of tender, obsessive, impossible love in his “characteristic tonal mixture of bravado and lacerating shame-facedness.” Here is the poet as lover, genius, and also, in Bernard’s words, as nutcase.     In Berryman’s Sonnets, the poet draws on the models of Petrarch and Sidney to reanimate and reimagine the love-sonnet sequence. Complex, passionate, filled with verbal fireworks and the emotional strains of joy, terror, guilt, and longing, these poems are ripe for rediscovery by contemporary readers.