The poems gathered here are delivered by a narrator who both loves the world and has intense quarrels with it. Often set against vivid landscapes - the rural America of Lux's childhood and unidentified places south of the border - these poems speak from rivers and swamps, deserts and lawns, jungles and the depths of the sea.

    Yet for all their metaphorical suggestiveness, Dickinson’s and Whitman’s poems about the natural world neither preclude nor erase nature’s relevance as an actual living environment. In their respective poetic projects, the earth matters both figuratively, as a realm of the imagination, and also as the physical ground that is profoundly affected by human action. This double perspective, and the ways in which it intersects with their formal innovations, points beyond their traditional status as curiously disparate icons of American nature poetry. That both of them not only approach nature as an important subject in its own right, but also address human-nature relationships in ethical terms, invests their work with important environmental overtones. Dickinson and Whitman developed their environmentally suggestive poetics at roughly the same historical moment, at a time when a major shift was occurring in American culture’s view and understanding of the natural world. Just as they were achieving poetic maturity, the dominant view of wilderness was beginning to shift from obstacle or exploitable resource to an endangered treasure in need of conservation and preservation.A Place for Humility examines Dickinson’s and Whitman’s poetry in conjunction with this important change in American environmental perception, exploring the links between their poetic projects within the context of developing nineteenth-century environmental thought. Christine Gerhardt argues that each author's poetry participates in this shift in different but related ways, and that their involvement with their culture’s growing environmental sensibilities constitutes an important connection between their disparate poetic projects. There may be few direct links between Dickinson’s “letter to the World” and Whitman’s “language experiment,” but via a web of environmentally-oriented discourses, their poetry engages in a cultural conversation about the natural world and the possibilities and limitations of writing about it—a conversation in which their thematic and formal choices meet on a surprising number of levels.

    In his Introduction, James Dickey probes London’s strong personal and literary identification with the wolf-dog as symbol and totem. Andrew Sinclair, London’s official biographer and the volume’s editor, provides a brief account of London’s life a sailor, desperado, socialist, adventurer, and acclaimed author.

    They change you, and you almost never see it coming." When writer Jon Katz met Maria Wulf, a quiet, sensitive artist he felt a connection with her immediately, but a formidable obstacle stood in the way: Maria's dog, Frieda. A rottweiler-shepherd mix who had been abandoned and living in the wild for several years, Frieda was ferociously protective. She roared and charged at almost anyone who came near. But to Maria, she was her sweet, loyal and devoted friend. Jon quickly realised that to win over Maria, he'd have to make friends with Frieda too. The Dog Nobody Loved is the heart-warming story of how one man and a dog discovered it's never too late to find love. Please note, The Dog Nobody Loved is the UK title for the book published in the US as The Second-Chance Dog.

    The misunderstandings caused by language recur throughout the book: contemplating what "yes" means in different cultures; watching Nickelodeon's "Nick at Nite" with a husband who grew up in the Philippines and never saw The Patty Duke Show; misreading another poet's title "The Difference Between Pepsi and Coke" as "The Difference Between Pepsi and Pope" and concluding that "Pepsi is all for premarital sex. / The Pope won't stain your teeth." Misunderstandings also abound as characters mingle with others from different classes. In "Cockroaches," a father-in-law refers to budget-minded American college students backpacking in Europe as cockroaches, not realizing his daughter-in-law was once, not so long ago, such a student/roach herself.With welcome levity and refreshing irreverence, The Star-Spangled Banner addresses issues of ethnicity, class, and gender in America.

    Because let’s face it! We hoomans are obviously stupid and trust me unicorns are never wrong. Did you know? The horn of the unicorn symbolizes ultimate truth and it has the power to pierce the chest of anyone who tries to lie. Damn!‘Uuuuuuuunicornnnnnnnnnnnnn,’ I yawned, waking up, after being thrown back to our crap-shit called Earth.‘So fellow hoomans, let’s begin.’About the book:This book is a sarcastic and humorous take on various themes like love, life, humanity, healing, and heartbreak - expressed through 51 beautiful chapters of relatable quotes, musings and poems. It basically deals with what we humans go through on a day-to-day basis. Moreover, every chapter is accompanied by a unique and perfectly orchestrated author's rant or opinion focused on one single person; You.

    A hilarious collection of poetry by dogs- perfect for lovers of literature and pups alike.

    0-935906-02-9$5.00 / Javan Press

    Direct, humorous and disquieting, Satellite further develops the unique sensibility of an important young poet.

    Doughty’s poems are at once absurdist and matter-of-fact; the images he conjures are thrown into high relief through cutting wordplay. In a series of prose poems about showbiz, he reimagines Cookie Monster as a burned-out suicide, and cheesy talk-show host Joe Franklin as a cross-dressing witness to the apocalypse. And in “For Charlotte, Unlisted,” he wrenchingly tracks the elusive memory of a faded romance.

    Each of Levin's poems is an astonishing investigation of human darkness, propelled by a sensuous syntax and a desire for healing."This is the language of a prophet: Levin's art, in this book certainly, takes place in a kind of mutating day of judgment: it means to wipe a film from our eyes. It is a dare, a challenge, and, for all its considerable beauty, the opposite of the seductive...Sensuous, compassionate, violent, extravagant: what an amazing debut this is, a book of terrors and marvels."-Louise Gluck, from the IntroductionDana Levin was raised in Lancaster, California, in the Mojave Desert. She has received fellowships, grants, and awards from the National Endowment for the Arts, the Academy of American Poets, the Vermont Arts Council, and New York University, where she received her M.F.A. She lives in New Mexico and teaches Creative Writing at the College of Santa Fe.

    They celebrate the wonders of nature and explore the nature of love and friendship.

    We were made to sing and recite poetry in groups. The rhyming words somehow would bring a sense of enjoyment, and they won’t leave our mind even with the passing days. Poetry holds magic. A magic to change the moment and bring out the joyous hidden self. We all in some point or another had come across a poetry that either taught us the unlearned or brought back a memory or just a smile.Piece of poetry is an effort to share some thoughts through prose. Each poetry was written with a story in mind, willing to be talked about. The thoughts that didn’t need sophisticated words, but they were craving for rhythm.The idea was to point out some of the feelings and emotions that were desperate to be shared. Some untold words, a certain perspective that was always doubted by self and others. Piece of poetry is an honest attempt to format these feelings into a song, hoping that it would stick with everyone who decided to read it.

    The haunting memories and shared histories of these people—their rituals and traditions—animate this land, and are celebrated in Rash’s crystalline, intensely imagined verse.With an eye for the surprising and vivid detail, Ron Rash powerfully captures the sorrows and exaltations of this wondrous world he knows intimately. Illuminating and indelible, Poems demonstrates his rich talents and confirms his legacy as a standard-bearer for the literature of the American South.

    Hayes was then an undergrad at a small South Carolina college. He has since published four highly honored books of poetry, is a professor of poetry at the University of Pittsburgh, has appeared multiple times in the series, and is one of today’s most decorated poets. His brazen, restless poems capture the diversity of American culture with singular artistry, grappling with facile assumptions about identity and the complex repercussions of race history in this country. Always eagerly anticipated, the 2014 volume of The Best American Poetry begins with David Lehman’s “state-of-the-art” foreword followed by an inspired introduction from Terrance Hayes on his picks for the best American poems of the past year. Following the poems is the apparatus for which the series has won acclaim: notes from the poets about the writing of their poems.