Everything you need to hear, but already know.

    In this superb anthology can be found the best of the English-speaking world’s inspirational and reassuring verse, including such classics as Rudyard Kipling’s ‘If’ and W.H. Davies’ ‘Leisure’. This beautifully illustrated collection of over 120 poems is sure to offer solace, hearten the soul and motivate the human spirit.

    Where we don't, we read, we ask, we learn and then, we solve! What happens when there are no answers though? When nobody in the world knows! When we see the need to invent Gods even if we can't discover Him. Through a string of poems, the author narrates such an experience with his non-verbal and autistic daughter, Enya. What started as a week of babysitting for him soon became a seeking to change her into 'normal'. But, that seeking ended up transforming the seeker!The narrative in the form of poetry touches upon the revelation that comes out of desperation of not finding an answer at all and therefore, the thoughts getting tired of themselves and the mind taking a back seat. In that silence, the author says, things become clear and all aspects of life show their inter-relation! The intellect gives way to the intelligence, the body and mind as 'me' gives way to the world as 'me'! The mind map once seen, one starts to see the true nature of the 'me' and that perspective and clarity make everything clear and possible in life...

    Edited by Lee Ann Brown. SONNETS, first published in 1989 as Tender Buttons Number 1 is widely considered to be one of the most generative and innovative works of contemporary American poetry, radically rethinking the traditional sonnet form. This expanded 25th Anniversary edition includes a new preface by Bernadette Mayer, an editor's note by Tender Buttons Press publisher Lee Ann Brown, and a selection of previously unpublished archival material including the Skinny Sonnets, described as Hypnogogic Word Playing in Reporters' Notebooks which further expand our map of Bernadette Mayer's ground- breaking works of writing consciousness.

    This book contains the poem “Grace”, which the Poetry Society of America chose for their Poetry in Motion series to entertain public transit passengers in major metropolitan areas.

    Here parody does not exclude the cri de coeur any more than seriousness excludes the joke. With surrealist volatility, these poems are the result of experiments that continue for the reader during each reading. Young moves from reworkings of creation myths, the index of the Norton Anthology of Poetry, pseudo reports and memos, collaged biographies, talking clouds, and worms, to memory, mourning, sexual playfulness, and deep sadness in the course of this turbulent book.

    I believe everyone should understand that we all go through things in life, it's all about how we react and recover from them. If you've felt as though you didn't have a voice in a situation, or you weren't sure if you'd get through it "fluid." may be the book for you.

    The poems in this book are polyphonic: they juxtapose the discourses of science and religion, Hollywood and the occasional psychotic stranger. The title poem, which appears in Best American Poetry 2002, leads off with a "sphinx" asking "Does a road / run its whole length / at once? / Does a creature / curve to meet / itself?" Armantrout's work, with its careful syntax bordering on plain speech and meticulously scored short lines, is always struggling with the problem of consciousness, its blindspots and double-binds. The poems whirl like shifting and scattered pieces of the present moment. They attempt to "make sense" of our lives while acknowledging the depth of our self-deception and deception.

    Hard to imagine that no one counts,that only things endure.Unlike the seasons, our shirts don't shed,Whatever we see does not see us,however hard we look,The rain in its silver earrings against the oak trunks,The rain in its second skin.--from "Scar Tissue II"In his new collection, the Pulitzer Prize-winning poet Charles Wright investigates the tenuous relationship between description and actuality--"thing is not an image"--but also reaffirms the project of attempting to describe, to capture the natural world and the beings in it, although he reminds us that landscape is not his subject matter but his technique: that language was always his subject--language and "the ghost of god." And in the dolomites, the clouds, stars, wind, and water that populate these poems, "something un-ordinary persists."Scar Tissue is a groundbreaking work from a poet who "illuminates and exalts the entire astonishing spectrum of existence" (Booklist).

    Most particularly if she writes poems about death and violence. Or at least that is the lesson that the posthumous careers of Anne Sexton and Sylvia Plath seen to teach us.Reading this new volume of Sexton's previously uncollected poems, one has to wonder what will happen when there are no more half-finished poems left to be published. Will her grocery lists be next?I'm sure that the editor of this volume, Sexton's daughter Linda Gray Sexton, acts out of the desire to complete her mother's oeuvre, and apparently Anne Secton did leave instructions for at least some of her work, the section called "Letters for Dr. Y," to be published after her death. And in all fairness to Linda Gray Sexton I should mention that she and her co-editor Lois Ames did an excellent job of annotating and editing Anne Sexton's collected letters, putting together in A Self-Portroit in Letters (1977) a picture of a remarkably courageous woman and talented artist who fought her madness for many years.The heart of Anne Sexton's work lies in her earliest books - To Bedlam and Part Way Back, Live or Die, All My Pretty Ones. Here searing images take one by surprise, and the poems combine virtuoso technical skill with highly personal material is a way no one dies had ever done before. Yet as she grow older, worn down by her recurring bouts with insanity , Sexton's work grew sloppier, more self-indulgent , repetitive and heavy-handed. Her obsession with death and violence became more and more a part of some personal psychotic heil, more and more distorted each time she wrote, like a drawing one can't quite get right and finally ruins by constant erasure. The poems and the three horror stories in Words for Dr. Y are no exception.I would like to remember Anne Sexton for what I consider to be those extraordinary poems written in the face of great odds - poems like "Music Swims Back to Me," "You, Dr. Martin," "Her Kind." But the continuing publication of her inferior work tends to obscure her real achievement. [susan wood]

    Introduction by Geof Hewitt. Alfred Starr Hamilton (1914-2005) was an American poet from Montclair, New Jersey. Though Hamilton wrote thousands of poems during his lifetime, only a small percentage of them ever found their way into print. His poems appeared in small poetry journals during the '60s, '70s and '80s; two chapbooks, The Big Parade and Sphinx; and one full-length collection, The Poems of Alfred Starr Hamilton, published by The Jargon Society in 1970. In this new volume, Ben Estes and Alan Felsenthal present a collection of Hamilton's poems from these publications, along with many of Hamilton's poems that were previously considered lost and poems from posthumously found notebooks."Hamilton is the author of spare, wry, slightly surreal poems that have, so far as I can see, no real equivalent in American English."—Ron Silliman"Alfred Starr Hamilton 'wrote to the governor of poetry / And simply signed [his] own name.' Consider this collection—assembled by two very dedicated allographers—an essential expansion on said letter. People who've encountered Hamilton's work previously will be glad for the chance to see familiar poems alongside many marvelous new ones. And how I envy first-time readers of this most generous and genuine American writer."—Graham Foust"It is a hidden world, a hushabye place that Alfred Starr Hamilton occupies, a secluded place where he is free to summon daffodils and stars, chimes and angels, thread and old-fashioned spoons. There is Hungarian damage, blue revolutionary stars, a sedge hammer (which is not a typo). He is obsessively drawn to fine metals—bronze, silver and gold. He would be golden, but can never grasp the elusive sad: 'One cloud, one day / Came as a shadow in my life / And then left, and came back again; and stayed' like "Anything Remembered" which is the title of that poem. He is too removed to see things any other way but his own. It is a silver peepshow in the wonderbush, and there is always a moon to scrape from the bottom of his view."—C. D. Wright"We are living in the Badlands. Dorothy's ruby-slippers would get you across the Deadly Desert. So will these poems."—Jonathan Williams

    each poem is incredibly impactful and beautifully written. stories of love, heartbreak, suffering, and healing come alive on the page in an incredible way. let this book of poetry touch your soul and help you feel free. join trevor capiro on this journey towards healing.

    I referred them to Doctor Who's Tardis.'Frank Skinner wants you to read more poetry. Wait, wait - don't stop reading. Whether you're a frequent poetry reader or haven't read any since sixth form, Frank's infectious passion for language, rhythm and metre will win you over and provide you with the basic tools you need to tackle any poem.In this short, easy-to-digest and delightful book, Frank guides us through the twists and turns of 'Pad, pad' by Stevie Smith, a short, seemingly simple poem that contains multitudes of meaning and a deceptive depth of emotion. Revel in the mastery of Stevie Smith's choice of words, consider the eternal mystery of the speaker of the poem and be moved by rhyming couplets like you never have before.Give it a go. You never know, you might even enjoy it.

    The poet who drew such unusual attention has a surprising background: for many years he has worked for Brooks Brothers, a fact that lends particular nuance to the title of his collection. The Clerk's Tale pays homage not only to Chaucer but to the clerks' brotherhood of service in the mall, where "the light is bright and artificial, / yet not dissimilar to that found in a Gothic cathedral." The fifty poems in The Clerk's Tale are exquisitely restrained, shot through with a longing for permanence, from the quasi-monastic life of two salesmen at Brooks Brothers to the poignant lingering light of a Miami dusk to the weight of geography on an empty Minnesota farm. Gluck describes them as having "an effect I have never quite seen before, half cocktail party, half passion play . . . We do not expect virtuosity as the outward form of soul-making, nor do we associate generosity and humanity with such sophistication of means, such polished intelligence . . . Much life has gone into the making of this art, much patient craft."

    Photographs.