H. Auden's last, longest, and most ambitious book-length poem--immediately struck a powerful chord, capturing the imagination of the cultural moment that it diagnosed and named. Beginning as a conversation among four strangers in a barroom on New York's Third Avenue, Auden's analysis of Western culture during the Second World War won the Pulitzer Prize and inspired a symphony by Leonard Bernstein as well as a ballet by Jerome Robbins. Yet reviews of the poem were sharply divided, and today, despite its continuing fame, it is unjustly neglected by readers.This volume--the first annotated, critical edition of the poem--introduces this important work to a new generation of readers by putting it in historical and biographical context and elucidating its difficulties. Alan Jacobs's introduction and thorough annotations help today's readers understand and appreciate the full richness of a poem that contains some of Auden's most powerful and beautiful verse, and that still deserves a central place in the canon of twentieth-century poetry.

    Also included are some "Mother Said, " "Father Said, " and "My Girlfriend Said" poems, providing plenty of material for the patient on the couch. My Therapist Said is full of advice, some of it sage, some of it absurd.

    This was 'the surge', and at its helm was General David Petraeus, now acknowledged as one of the greatest military tacticians in US history. Based on unprecedented access to the entire chain of army command - at the top and fighting on the ground - this is the definitive account of one of America's biggest ever military gambles, and what it means for the future of Iraq.

    They are realistic, haunting and shocking. And they are all unforgettable. Television reports, movies, newspapers and blogs about the wars in Iraq and Afghanistan have offered images of the fighting there. But this collection offers voices—powerful voices, telling the kind of truth that only fiction can offer.What makes the collection so remarkable is that all of these stories are written by those who were there, or waited for them at home. The anthology, which features a Foreword by National Book Award winner Colum McCann, includes the best voices of the our wars’ generation: Brian Turner, whose poem “Hurt Locker” was the movie’s inspiration; Colby Buzzell, whose book My War resonates with countless veterans; Siobhan Fallon, whose book You Know When the Men Are Gone echoes the joy and pain of the spouses left behind; Matt Gallagher, whose book Kaboom captures the hilarity and horror of the modern military experience; and nine others.

    . . In a war-torn village in Eastern Europe, an American photographer captures a heart-stopping image: a young girl flying toward the lens, fleeing a fiery explosion that has engulfed her home and family. The image wins acclaim and prizes, becoming an icon for millions—and a subject of obsession for one writer, the photographer’s best friend, who has suffered a devastating tragedy of her own. As the writer plunges into a suicidal depression, her filmmaker husband enlists several friends, including a fearless bisexual poet and an ingenuous performance artist, to save her by rescuing the unknown girl and bringing her to the United States. And yet, as their plot unfolds, everything we know about the story comes into question: What does the writer really want? Who is controlling the action? And what will happen when these two worlds—east and west, real and virtual—collide? A fierce, provocative, and deeply affecting novel of both ideas and action that blends the tight construction of Julian Barnes’s The Sense of an Ending with the emotional power of Anthony Marra’s A Constellation of Vital Phenomena, Lidia Yuknavitch’s The Small Backs of Children is a major step forward from one of our most avidly watched writers.

    Here are reflections on cowboys real and fake, tractor-driving lessons, outhouses, and the uses of baling wire; here are ranch marriages, enduring and not; family legacies; loss and renewal. Westerners will find their friends and neighbors in these pages; others will find a vivid portrait of the women of a region all too often mythologized.

    Every day he gets up before dawn, makes a cup of coffee in the dark, lights a fire with one wooden match, and thinks. What Emmett thinks about is the subject of this wise and closely observed novel, which covers vast distances while moving no further than Emmett’s hearth and home. Nicholson Baker’s extraordinary ability to describe and celebrate life in all its rich ordinariness has never been so beautifully achieved.

    He ultimately escaped the death and drugs of a crime-riddled Bronx by way of the United States Marine Corps. However, after earning his way into the esteemed ranks of the service's famed Scout Snipers, Delgado saw that old struggle reignited when he was dumped into the hell of war in Iraq.There Delgado proved not only a participant, but a warrior capable of turning the tide in several of the most harrowing and historically important battles of the evolving war. He took all the hard lessons learned in combat and, as MARSOC's original lead sniper instructor, made himself a pivotal figure in revolutionizing the way special operations snipers trained and operated. But even after accomplishing his mission in the military, Delgado still faced that original fight, struggling to understand and accept the man his experiences had transformed him into. Bounty Hunter 4/3 is Jason Delgado's captivating first-hand account of these powerful and life-changing experiences.

    For years, theater director Bryan Doerries has led an innovative public health project that produces ancient tragedies for current and returned soldiers, addicts, tornado and hurricane survivors, and a wide range of other at-risk people in society. Drawing on these extraordinary firsthand experiences, Doerries clearly and powerfully illustrates the redemptive and therapeutic potential of this classical, timeless art: how, for example, Ajax can help soldiers and their loved ones better understand and grapple with PTSD, or how Prometheus Bound provides new insights into the modern penal system. These plays are revivified not just in how Doerries applies them to communal problems of today, but in the way he translates them himself from the ancient Greek, deftly and expertly rendering enduring truths in contemporary and striking English.   The originality and generosity of Doerries’s work is startling, and The Theater of War—wholly unsentimental, but intensely felt and emotionally engaging—is a humane, knowledgeable, and accessible book that will both inspire and enlighten. Tracing a path that links the personal to the artistic to the social and back again, Doerries shows us how suffering and healing are part of a timeless process in which dialogue and empathy are inextricably linked.

    Mahmoud Darwish vividly recreates the sights and sounds of a city under terrible siege. As fighter jets scream overhead, he explores the war-ravaged streets of Beirut on August 6th (Hiroshima Day).Memory for Forgetfulness is an extended reflection on the invasion and its political and historical dimensions. It is also a journey into personal and collective memory. What is the meaning of exile? What is the role of the writer in time of war? What is the relationship of writing (memory) to history (forgetfulness)? In raising these questions, Darwish implicitly connects writing, homeland, meaning, and resistance in an ironic, condensed work that combines wit with rage.Ibrahim Muhawi's translation beautifully renders Darwish's testament to the heroism of a people under siege, and to Palestinian creativity and continuity.

    Live or Die, her third volume, consists of poems written from January 25, 1962 to February, 1966, many of them published in such leading periodicals as The New Yorker, Harper's and Encounter.These poems are arranged chronologically and compose a fierce and intimate autobiography. The poet speaks with total frankness, her imagery and reference brilliant and hard as diamonds. It is impossible for her to be banal. Much of her experience is rendered as nightmarish, but it is significant that the final poem is stunningly affirmative, its title the single command "Live."This collection is a striking body of work by a poet whose experience is intensely female, whose poetry is strong and powerful.

    Edward J. Delaney is an enormously gifted writer.” —ROBERT OLEN BUTLER"In Edward J. Delaney's South Boston little is lost, nothing forgotten. Old sins, old wounds haunt his characters, young and old, and reverberate throughout his wonderfully complicated plot. Broken Irish is an enthralling, satisfying novel." —MARGOT LIVESEY"An entire community is on the brink. Hope is the only hope. And faith cannot scrub the grime off its hands. With Broken Irish, Edward J. Delaney delivers a gripping epic." —ADAM BRAVERAs the millennium approaches, “Southie” is still a place where little distinguishes mob bosses from pillars of industry, the bullied from the bullies, and the pious from the pitiful. In this tough Boston neighborhood, six lives are about to converge... Jimmy, an alcoholic writer, whose life is unalterably changed after witnessing an accident; Jeanmarie, a teenage runaway, whose quest for independence leads down a dark path; Christopher, a young Catholic school dropout with a gnawing secret; Colleen, a war widow whose grief has blinded her to the needs of her son; Father John, a priest on the eve of forced retirement; and Rafferty, a wealthy businessman who hires a ghostwriter to tell his story.In Broken Irish, Delaney trains his journalist’s ear, his filmmaker’s eye, and his writer’s heart on each of their stories—creating a driven and deeply human narrative that pierces the heart of the American experience. He also gives us a captivating portrait of late-1990s South Boston at the crossroads—a time when “Whitey Bulger has evaporated into the ether but his boys still kick around on the street corners... waiting for Whitey’s Second Coming.”

    But she has, and here is the record of that change in the decade since the publication of her last nonfiction collection, The Language of the Night. And what a mind — strong, supple, disciplined, playful, ranging over the whole field of its concerns, from modern literature to menopause, from utopian thought to rodeos, with an eloquence, wit, and precision that makes for exhilarating reading.

    We Meant Well is his eyewitness account of the civilian side of the surge—that surreal and bollixed attempt to defeat terrorism and win over Iraqis by reconstructing the world we had just destroyed. Leading a State Department Provincial Reconstruction Team on its quixotic mission, Van Buren details, with laser-like irony, his yearlong encounter with pointless projects, bureaucratic fumbling, overwhelmed soldiers, and oblivious administrators secluded in the world's largest embassy, who fail to realize that you can't rebuild a country without first picking up the trash.Darkly funny while deadly serious, We Meant Well is a tragicomic voyage of ineptitude and corruption that leaves its writer—and readers—appalled and disillusioned but wiser.

    Kill Bin Laden: A Delta Force Commander's Account of the Hunt for the World's Most Wanted Man