A comprehensive collection by one of the most intensely musical and visionary poets writing today.

    Wilde wrote the letter between January and March 1897; he was not allowed to send it, but took it with him upon release. In it he repudiates Lord Alfred for what Wilde finally sees as his arrogance and vanity; he had not forgotten Douglas's remark, when he was ill, "When you are not on your pedestal you are not interesting." He also felt redemption and fulfillment in his ordeal, realizing that his hardship had filled the soul with the fruit of experience, however bitter it tasted at the time.

    Welcome to Sheffield. Border-land,our town of miracles...' - 'Scab'From the clash between striking miners and police to the delicate conflicts in personal relationships, Helen Mort's stunning debut is marked by distance and division. Named for a street in Sheffield, this is a collection that cherishes specificity: the particularity of names; the reflections the world throws back at us; the precise moment of a realisation. Distinctive and assured, these poems show us how, at the site of conflict, a moment of reconciliation can be born.

    And then one day this closest of friendships grows into something more.But then we fast forward a decade or so, to find that Ellis is married to Annie, and Michael is nowhere in sight. Which leads to the question, what happened in the years between?This is almost a love story. But it's not as simple as that.

    They are offered here both in their original texts and in superb English translations by Louise Varèse. Mrs. Varèse first published her versions of Rimbaud’s Illuminations in 1946. Since then she has revised her work and has included two poems which in the interim have been reclassified as part of Illuminations. This edition also contains two other series of prose poems, which include two poems only recently discovered in France, together with an introduction in which Miss Varèse discusses the complicated ins and outs of Rimbaldien scholarship and the special qualities of Rimbaud’s writing. Rimbaud was indeed the most astonishing of French geniuses. Fired in childhood with an ambition to write, he gave up poetry before he was twenty-one. Yet he had already produced some of the finest examples of French verse. He is best known for A Season in Hell, but his other prose poems are no less remarkable. While he was working on them he spoke of his interest in hallucinations––"des vertiges, des silences, des nuits." These perceptions were caught by the poet in a beam of pellucid, and strangely active language which still lights up––now here, now there––unexplored aspects of experience and thought.

    Wright’s most intimate thoughts and images appear before us in dramatic and spectral short narratives: mesmerizing poems whose colloquial sound and rhythms announce a new path for this luminous and masterful poet. In these journeys, we hear the constant murmured “yes” of creation—“it will be packing its small suitcase soon; it will leave the keys dangling from the lock and set out at last,” Wright tells us. He introduces us to the powerful presences in his world (the haiku master Basho, Nietzsche, St. Teresa of Avila, and especially his father, James Wright) as he explores the continually unfolding loss of childhood and the mixed blessings that follow it. Taken together, the pieces deliver the diary of a poet—“a fairly good egg in hot water,” as he describes himself—who seeks to narrate his way through the dark wood of his title, following the crumbs of language. “Take everything,” Wright suggests, “you can have it all back, but leave for a little the words, of all you gave the most mysteriously lasting.” With a strong presence of the dramatic in every line, Kindertotenwald pulls us deep into this journey, where we too are lost and then found again with him.

    His first collection, set in the Midwest, alternately features a childhood Wisconsin farm, the record-breaking storm that destroyed it, and the turbulent marriage that recalls it. Love and wonder mingle in these lines.

    How do we reckon our past without being ravaged by it? How do we use people, their bodies, to express ourselves? Danger is everywhere in these poems, but never overwhelms them; the poet is always an anchor on the other side. And his story carries us relentlessly along.

    She is a true metaphysical poet...(At times) her dialectical fire produces poems of transcendent beauty.'-Carol Muske, New York Times Book Review

    I want nothingto reveal feeling but feeling--as in freedom,or the knowledge of peace in a realm beyond,or the sound of water poured in a bowl.--from "Gravity and Center" In his sixth collection of poetry, Henri Cole deepens his excavations of autobiography and memory. "I don't want words to sever me from reality," he asserts, and these poems--often hovering within the realm of the sonnet--combine a delight in the senses with the rueful, the elegiac, the harrowing. Many confront the human need for love, the highest function of our species. But whether writing about solitude or the desire for unsanctioned love, animals or flowers, the dissolution of his mother's body or war, Cole maintains a style that is neither confessional nor abstract. And in Blackbird and Wolf, he is always opposing disappointment and difficult truths with innocence and wonder.

    Christian Hawkey's VENTRAKL folds poetry, prose, biography, translation practices, and photographic imagery into a ground-breaking collaboration with the 19th / early 20th century German Expressionist poet Georg Trakl. What evolves is a candid and deeply felt portrait of two authors--one at the beginning of the 20th century, the other at the beginning of the 21st century, one living and one dead--wrestling with fundamental concerns: how we read texts and images, how we are influenced and authored by other writers, and how the practice of translation--including mistranslation--is a way to ornament and enrich the space between literature and life.

    But the more Jean investigates, the more her life becomes strangely (and not unpleasantly) intertwined with that of the Tilburys: Gretchen is now a friend, and her quirky and charming daughter Margaret a sort of surrogate child. And Jean doesn't mean to fall in love with Gretchen's husband, Howard, but Howard surprises her with his dry wit, his intelligence and his kindness — and when she does fall, she falls hard.But he is married, and to her friend — who is also the subject of the story she is researching for the newspaper, a story that increasingly seems to be causing dark ripples across all their lives. And yet Jean cannot bring herself to discard the chance of finally having a taste of happiness...But there will be a price to pay, and it will be unbearable.

    Introducing Little Black Classics: 80 books for Penguin's 80th birthday. Little Black Classics celebrate the huge range and diversity of Penguin Classics, with books from around the world and across many centuries. They take us from a balloon ride over Victorian London to a garden of blossom in Japan, from Tierra del Fuego to 16th-century California and the Russian steppe. Here are stories lyrical and savage; poems epic and intimate; essays satirical and inspirational; and ideas that have shaped the lives of millions. Sappho (c.630-570 BCE). Sappho's Stung with Love is available in Penguin Classics.

    Yet, to protect the friends he has come to love as family, he's willing to put his life on the line... and does! Collecting the comic book adaptations of R.A. Salvatore's The Crystal Shard, Streams of Silver, and The Halfling's Gem into one massive volume!

    Ludlum's recent book, The Icarus Agenda, sold nearly one million copies.