The poems speak intimately of their authors' sexual longing, fulfillment and disillusionment.

    After thousands of years of other people's tellings, of all these different bridges, of words gotten wrong, I'll tell it myself.Seductresses and she-monsters, nymphs and demi-goddesses, populate the famous myths of Ovid's Metamorphoses. But what happens when the story of the chase comes in the voice of the woman fleeing her rape? When the beloved coolly returns the seducer's gaze? When tales of monstrous transfiguration are sung by those transformed? In voices both mythic and modern, Wake, Siren revisits each account of love, loss, rape, revenge, and change. It lays bare the violence that undergirds and lurks in the heart of Ovid's narratives, stories that helped build and perpetuate the distorted portrayal of women across centuries of art and literature.Drawing on the rhythms of epic poetry and alt rock, of everyday speech and folk song, of fireside whisperings and therapy sessions, Nina MacLaughlin, the acclaimed author of Hammer Head, recovers what is lost when the stories of women are told and translated by men. She breathes new life into these fraught and well-loved myths.

    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.

    Thomas' acclaimed translations of Akhmatova's poems. This volume includes "Requiem", her poem of the Stalinist Terror and "Poem Without a Hero".

    Lorca (1898-1937) is admired all over the world for the lyricism, immediacy and clarity of his poetry, as well as for his ability to encompass techniques of the symbolist movement with deeper psychological shadings. But Lorca's poems are, most of all, admired for their beauty. Undercurrents of his major influences--Spanish folk traditions from his native Andalusia and Granada, gypsy ballads, and his friends the surrealists Salvador Dali and Luis Bunuel--stream throughout Lorca's work. Poets represented here as translators are as diverse as Stephen Spender, Langston Hughes, Ben Belitt, William Jay Smith, and W.S. Merwin.

    Through photographs, poetry, prose, and a short story, Orion Carloto invites readers to remember the forgotten and reach into the past, find comfort in the present, and make sense of the intangible future. Film photography isn’t just eye candy; it’s timeless and romantic—the ideal complement to Carloto’s writing. In Film for Her, much like a visual diary, word and image are intertwined in a book perfect for both gift and self-purchase.

    

    It includes Emily's verse from Poems by Currer, Ellis and Acton Bell, as well as 200 works collected from various manuscript sources after her death in 1848.

    Based on the myth of the blind prophet Tiresias, Hold Your Own is a riveting tale of youth and experience, sex and love, wealth and poverty, community and alienation. Walking in the forest one morning, a young man disturbs two copulating snakes - and is punished by the goddess Hera, who turns him into a woman. This is only the beginning of his journey . . . Weaving elements of classical myth, autobiography and social commentary, Tempest uses the story of the gender-switching, clairvoyant Tiresias to create four sequences of poems: 'childhood', 'manhood', 'womanhood' and 'blind profit'. The result is a rhythmically hypnotic tour de force - and a hugely ambitious leap forward for one of the UK's most talented and compelling young writers.

    H. Auden endowed poetry in the English language with a new face. Or rather, with several faces, since his work ranged from the political to the religious, from the urbane to the pastoral, from the mandarin to the invigoratingly plain-spoken.This collection presents all the poems Auden wished to preserve, in the texts that received his final approval. It includes the full contents of his previous collected editions along with all the later volumes of his shorter poems. Together, these works display the astonishing range of Auden's voice and the breadth of his concerns, his deep knowledge of the traditions he inherited, and his ability to recast those traditions in modern times.

    But you are more than just a hero ora villain, cursed or charmed. You are everything in between. You are everything. In fifty poems Christine Heppermann places fairy tales side by side with the modern teenage girl. Powerful and provocative, deadly funny and deadly serious, this collection is one to read, to share, to treasure, and to come back to again and again.

    Not so with Daphne Gottlieb. In Why Things Burn, Gottlieb tackles sexuality, lesbian issues, rape, urban life, and a host of other topics with the same power of her live performances.

    Brute arises, brave and furious, from the dissolution of a relationship, showing how such endings necessitate self-discovery and reinvention. The speaker of these poems is a sorceress, a bride, a warrior, a lover, both object and agent, ricocheting among ways of knowing and being known. Each incarnation squares itself up against ideas of feminine virtue and sin, strength and vulnerability, love and rage, as it closes in on a hard-won freedom. Brute is absolutely sure of its capacity to insist not only on the truth of what it says but on the truth of its right to say it. "What am I supposed to say: I'm free?" the first poem asks. The rest of the poems emphatically discover new ways to answer. This is a timely winner of the Walt Whitman Award, and an introduction to an unforgettable voice.

    Her poetry probes the difficulties that the individual encounters in relationships with others, with the natural world, and with cultural and popular ideas. - -britanica

    Drawing from Jorge Luis Borges’ fascination with the library, Rollins uses the concept of the archive to offer a lyric history of the ways in which we process loss. “Memory is about the future, not the past,” she writes, and rather than shying away from the anger, anxiety, and mourning of her narrators, Rollins’ poetry seeks to challenge the status quo, engaging in a diverse, boundary-defying dialogue with an ever-present reminder of the ways race, sexuality, spirituality, violence, and American culture collide.