Social protest and poetry; reality and myth; nostalgia for an uncorrupted, golden past; sensual human enjoyment of the present; 'magic' rather than lineal time, and, above all, a tender, compassionate love for the living, fertile, wondrous land and the struggling, hopeful people of Guatemala.—Saturday Review • Winner of the 1967 Nobel Prize for Literature

    it expands from the brutal honesty of his last book to look the darkness of life & heartbreak in the eyes and swear to move on. this is a journey of love, heartbreak, hope, and healing.

    This book brings together for the first time all of the poems in Ron Silliman's Age of Huts cycle, including Ketjak, Sunset Debris, The Chinese Notebook, and 2197, as well as two key satellite texts, Sitting Up, Standing, Taking Steps, and BART. Each poem offers a radically different approach toward using language to explore the world. One of the founding works of Language Poetry, The Age of Huts is about everything, more or less literally, as each sentence, even each phrase, embarks on its own narrative, linking together to form a large polyphonic investigation of contemporary life. From Ketjak, one of the first poems to employ "the new sentence," to 2197, a serial work that scrambles the vocabulary and grammar of its sentences, The Age of Huts questions everything we have known about poetry in order to see the world anew.

    H. Auden, Tennessee Williams, and a young Gore Vidal. But beyond his exotic ethnicity, Villa was a global poet who was admired for "the reverence, the raptness, the depth of concentration in [his] bravely deep poems" (Marianne Moore). Doveglion (Villa's pen name for dove, eagle, and lion) contains Villa's collected poetry, including rare and previously unpublished material.

     In The Love Between Us, Yung Pueblo describes how intense emotions accumulate in our subconscious and condition us to act and react in certain ways. In his characteristically spare, poetic style, he guides readers through the excavation and release of the past that’s required for growth.

    First published on the eve of war in 1939, the essay has often been read as a pacifist manifesto. Rachel Bespaloff was a French contemporary of Weil’s whose work similarly explored the complex relations between literature, religion, and philosophy. She composed her own distinctive discussion of the Iliad in the midst of World War II—calling it “her method of facing the war”—and, as Christopher Benfey argues in his introduction, the essay was very probably written in response to Weil. Bespaloff’s account of the Iliad brings out Homer’s novelistic approach to character and the existential drama of his characters’ choices; it is marked, too, by a tragic awareness of how the Iliad speaks to times and places where there is no hope apart from war.This edition brings together these two influential essays for the first time, accompanied by Benfey’s scholarly introduction and an afterword by the great Austrian novelist Hermann Broch.

    Of the three, Wang was the consummate master of the short imagistic landscape poem that came to typify classical Chinese poetry. He developed a nature poetry of resounding tranquility wherein deep understanding goes far beyond the words on the page—a poetics that can be traced to his assiduous practice of Ch'an (Zen) Buddhism. But in spite of this philosophical depth, Wang is not a difficult poet. Indeed, he may be the most immediately appealing of China's great poets, and in Hinton's masterful translations he sounds utterly contemporary. Many of his best poems are incredibly concise, composed of only twenty words, and they often turn on the tiniest details: a bird's cry, a splinter of light on moss, an egret's wingbeat. Such imagistic clarity is not surprising since Wang was also one of China's greatest landscape painters. This is a breathtaking poetry, one that in true Zen fashion renders the ten thousand things of this world in such a way that they empty the self even as they shimmer with the clarity of their own self-sufficient identity.

    Limón has often been a poet who wears her heart on her sleeve, but in these extraordinary poems that heart becomes a “huge beating genius machine” striving to embrace and understand the fullness of the present moment. “I am beautiful. I am full of love. I am dying,” the poet writes. Building on the legacies of forebears such as Frank O’Hara, Sharon Olds, and Mark Doty, Limón’s work is consistently generous and accessible—though every observed moment feels complexly thought, felt, and lived.

    Widely known for her performance poetry, which has been viewed over 3 million times on YouTube, author Brenna Twohy's debut collection reads like a letter to all that haunts her-- letting them know that despite her wounds, she's still alive.

    This small collection of poems explores how time influences loving another, loving yourself and loving the life you own. This quick but fulfilling read, explores these topics in three sections: the head, the heart and the lungs.

    As a boy he was exiled from his hometown, and from this devastating loss he has created art of the highest order. His poems portray experiences that range from catastrophe to splendor, each preserving an essential human dignity. So What includes Arabic en face and introductions by cotranslators Gabriel Levin and Peter Cole.

    The poems range in tone from the spiritual longing of an isolated monk to the erotic ecstasy of a court princess—but share the extraordinary simplicity and luminosity of language that marks Kenneth Rexroth's verse style. An introduction by the poet and translator Sam Hamill, the editor of this collection, and short biographies of the poets are included. The Shambhala Library is a series of exquisitely designed and produced cloth editions of the world's spiritual and literary classics, both ancient and modern. Perfect for collecting or as gifts, each volume features a sewn binding, decorative endsheets, and a ribbon marker—a delightful-to-hold 4 ¼ x 6 ¾ trim size.

    . . any Ruefle poem is an occasion of resonant wit and language, subject to an exacting intelligence."—Rodney Jones, Poetry Society of America, William Carlos Williams Award citationTrances of the Blast is a major new collection from recent National Book Critics Circle Award finalist Mary Ruefle. Full of Ruefle's particular wisdom and wit, the poems deliver her imaginative take on the world's rifts—its paradoxes, failures, and loss—and help us better appreciate its redeeming strangeness.If only I'd understood that lonelinesswas just loneliness, only lonelinessand nothing more.But I was blind.Little did I know.If only I'd invented salt.I might have died happy.I wish I loved you,but you can't have everything.Mary Ruefle is the author of many books of prose, poetry, and erasures. She is the recipient of the William Carlos Williams Award, an Award in Literature from the American Academy of Arts and Letters, a Guggenheim fellowship, a National Endowment for the Arts fellowship, and a Whiting Award. Her book of lectures, Madness, Rack, and Honey, was named a finalist for the 2012 National Book Critics Circle Award. She lives and teaches in Vermont.

    With each successive book her drive to leave behind what came before has grown more fierce, the force of her gaze fixed on what has yet to be imagined. She invented a form to accommodate this need, the book-length sequence of poems, like a landscape seen from above, a novel with lacunae opening onto the unspeakable. The reiterated yet endlessly transfigured elements in this landscape—Persephone, a copper beech, a mother and father and sister, a garden, a husband and son, a horse, a dog, a field on fire, a mountain—persistently emerge and reappear with the dark energy of the inevitable, while at the same time are shot through with the bright aspect of things new-made.              From the outset (“Come here / Come here, little one”), Gluck’s voice has addressed us with deceptive simplicity, the poems in lines so clear we “do not see the intervening fathoms.”  From within the earth’sbitter disgrace, coldness and barrennessmy friend the moon rises: she is beautiful tonight, but when is she not beautiful?To read these books together is to understand the governing paradox of a life lived in the body and of the work wrested from it, the one fated to die and the other to endure.

    As Strindberg himself wrote in his Preface, he wanted “to imitate the disjointed yet seemingly logical shape of a dream. Everything can happen, everything is possible and probable. Time and place do not exist.”Caryl Churchill’s spare and resonant new version was first staged at the National Theatre, London, in a production by Katie Mitchell, where A Dream Play was called “fresh, new and magical” (Telegraph).Caryl Churchill has written for the stage, television and radio. A renowned and prolific playwright, her plays include Cloud Nine, Top Girls, Far Away, Drunk Enough to Say I Love You?, Bliss, Love and Information, Mad Forest and A Number. In 2002, she received the Obie Lifetime Achievement Award and 2010, she was inducted into the American Theater Hall of Fame.August Strindberg (1849-1912) was a novelist and playwright from Stockholm, Sweden. His plays include Miss Julie, The Father, To Damascus, A Dream Play, and The Pelican. In 1912 Strindberg's birthday was marked by a torchlight procession through Stockholm, where his radical journalism had earned him the title of ‘people’s writer.’