The highlight of this complete edition of poems is a CD containing vintage recordings of Thomas reading eight of his works in his famous "Welsh-singing" style.

    The wit and wisdom of the West, as documented by Dalton Wilcox, poet laureate of the West.

    Whether describing a goosefish stranded at low tide, the feeling of being baptized by the mist from a whale's blowhole, or the ‘connection between soul and landscape’, Oliver invites readers to find themselves and their experiences at the center of her world. In Long Life she also speaks of poets and writers: Wordsworth's ‘whirlwind’ of ‘beauty and strangeness’; Hawthorne's ‘sweet-tempered’ side; and Emerson's belief that ‘a man's inclination, once awakened to it, would be to turn all the heavy sails of his life to a moral purpose’. With consummate craftsmanship, Mary Oliver has created a breathtaking volume sure to add to her reputation as ‘one of our very best poets’ (New York Times Book Review).

    He is regarded as a major "innovator in the art of the short story"; his children's books are enduring classics of children's literature; and his best works speak to a versatile and luminous narrative gift. Kipling was one of the most popular writers in English, in both prose and verse, in the late 19th and early 20th centuries. In 1907, he was awarded the Nobel Prize in Literature, making him the first English language writer to receive the prize, and to date he remains its youngest recipient.

    The narrator of The Visible World, the American-born son of Czech immigrants living in New York, grows up in an atmosphere haunted by fragments of a past he cannot understand. At the heart of that past is his mother, Ivana, a spontaneous, passionate woman drifting ever closer to despair. As an adult, the narrator travels to Prague, hoping to learn about a love affair between his then young mother and a member of the resistance named Tomas, an affair whose untimely end, he senses, lay behind Ivana's unhappiness. Ultimately unable to complete his knowledge of the past, he imagines the two lovers as participants in one of the more dramatic (and true) moments of the war, and through the deeply romantic story he tells, creates not only the ending of their story but the beginning of his own. The Visible World is a literary page-turner and an immensely moving novel about the vagaries of love and our need to make sense of life through the telling of stories.

    After her death in March 2012, Rich left behind a manuscript of mature work that speaks for her concern with a poetics of relation along with a passionate attention to craft.In addition to her selections from twelve volumes of published work, Later Poems: Selected and New contains ten powerful new poems. Among these, From Strata is a kind of archaeology of the present day; Itinerary searches for an indefinite future in a menaced landscape; For the Young Anarchists offers a trope of skilled labor for political action; and the haunting voice of the Teethsucking Bird reminds us of what we have been told to forget.These and other poems look back into history and forward into the future while engaging with contemporary moments. Rich s singular command of language continues to the end.

    These poems show Collins at his best, performing the kinds of distinctive poetic maneuvers that have delighted and fascinated so many readers. They may begin in curiosity and end in grief; they may start with irony and end with lyric transformation; they may, and often do, begin with the everyday and end in the infinite. Possessed of a unique voice that is at once plain and melodic, Billy Collins has managed to enrich American poetry while greatly widening the circle of its audience.

    Churchill, 1948: World War II was the defining event of our age—the climactic clash between liberty and tyranny. It led to revolutions, the demise of empires, a protracted Cold War, and religious strife still not ended. Yet Churchill maintained that it was all avoidable. Here is a transformative view of Churchill’s theories, prescriptions, actions, and the degree to which he pursued them in the decade before the war. It shows that he was both right and wrong: right that Hitler could have been stopped; wrong that he did all he could to stop him. It is based on what really happened—evidence that has been “hiding in public” for many years, thoroughly referenced in Churchill’s words and those of his contemporaries. Richard M. Langworth began his Churchill work in 1968 when he organized the Churchill Study Unit, which later became the Churchill Centre. He served as its president and board chairman and was editor of its journal Finest Hour from 1982 to 2014. In November 2014, he was appointed senior fellow for Hillsdale College’s Churchill Project. Mr. Langworth published the first American edition of Churchill’s India, is the author of A Connoisseur’s Guide to the Books of Sir Winston Churchill, and is the editor of Churchill by Himself, The Definitive Wit of Winston Churchill, The Patriot’s Churchill, All Will Be Well: Good Advice from Winston Churchill, and Churchill in His Own Words. His next book is Winston Churchill, Urban Myths and Reality. In 1998, Richard Langworth was appointed a Commander of the Most Excellent Order of the British Empire by HM The Queen “for services to Anglo-American understanding and the memory of Sir Winston Churchill.”

    Cummings is without question one of the major poets of the 20th century, and this volume, first published in 1959, is indispensable for every lover of modern lyrical verse. It contains one hundred of Cummings’s wittiest and most profound poems, harvested from thirty-five of the most radically creative years in contemporary American poetry. These poems exhibit all the extraordinary lyricism, playfulness, technical ingenuity, and compassion for which Cummings is famous. They demonstrate beautifully his extrapolations from traditional poetic structures and his departures from them, as well as the unique synthesis of lavish imagery and acute artistic precision that has won him the adulation and respect of critics and poetry lovers everywhere.

    But it was months, even years, before the mass graves started to yield up their dead and the process of identification, burial, and mourning could begin. Here we travel through the ravaged postwar landscape in the company of a few survivors (mostly women) as they visit the scenes of their loss: a hall where victims' clothing is displayed; an underground cave littered with pale jumbles of bones; a camp for homeless refugees; a city now abandoned to the ghosts of painful memories; a funeral service where a family can finally say goodbye. These encounters are snapshots and memorials, a feat of powerful reportage told from the viewpoint of people who have lost nearly everything. With the sensibility of Philip Gourevitch or Ryszard Kapuscinski, Tochman captures a painful moment in history, as an entire community comes to terms with its raw and recent past.

    The doors of the chapel were open, and before the old Byzantine image of the Mother of God two candles were burning. The gleam of these lighted but faintly the darkness on the altar. We knelt down, one at the side of the other. She, broken by sorrow, wearied by sobbing, sleeplessness, and grief, rested her poor little head on my arm, and so we remained there in silence. The hour was late; in the hall adjoining the chapel, the cuckoo called hoarsely on the old Dantiz clock the second hour after midnight. Deep silence everywhere, broken only by the painful sighs of Hania, and by the distant sound of the snow-bearing wind, which at times shook the leaden window-sash in the chapel. I did not dare to speak one word of solace; I merely drew her toward me, as her guardian, or her elder brother. . . .That's the start to Henryk Sienkiewicz's powerful "Hania" -- which is nearly long enough to qualify as a novel, but is probably more rightly described as a novella. Regardless, this collection contains much, much more than "Hania" -- it includes "Tartar Captivity," "Let Us Follow Him," "Be Thou Blessed," "At the Source," "Charcoal Sketches," "The Organist of Ponikla," "Lux in Tenebris Lucet," "On the Bright Shore," and "That Third Woman."When old Mikolai on his death-bed left Hania to my guardianship and conscience, I was sixteen years of age; she was younger by almost a year, and was also just emerging from childhood.I had to lead her from the bed of her dead grandfather almost by force, and we both went to my father's domestic chapel. The doors of the chapel were open, and before the old Byzantine image of the Mother of God two candles were burning. The gleam of these lighted but faintly the darkness on the altar. We knelt down, one at the side of the other. She, broken by sorrow, wearied by sobbing, sleeplessness, and grief, rested her poor little head on my arm, and so we remained there in silence. The hour was late; in the hall adjoining the chapel, the cuckoo called hoarsely on the old Dantiz clock the second hour after midnight. Deep silence everywhere, broken only by the painful sighs of Hania, and by the distant sound of the snow-bearing wind, which at times shook the leaden window-sash in the chapel. I did not dare to speak one word of solace; I merely drew her toward me, as her guardian, or her elder brother. . . .That's the start to Henryk Sienkiewicz's powerful "Hania" -- which is nearly long enough to qualify as a novel, but is probably more rightly described as a novella. Regardless, this collection contains much, much more than "Hania" -- it includes "Tartar Captivity," "Let Us Follow Him," "Be Thou Blessed," "At the Source," "Charcoal Sketches," "The Organist of Ponikla," "Lux in Tenebris Lucet," "On the Bright Shore," and "That Third Woman."

    The greatest sonnets ever written, by the greatest poet and playwright in the English language

    The subject of that love is Matilde Urrutia de Neruda, Pablo's 'beloved wife'.

    From Hurricane Sandy to the murder of Sandra Bland to the massacre at Sandy Hook, from the sand in the gizzards of birds to the desertified mountains of Haiti, from Attar's Conference of the Birds to Chaucer's Parliament of Fowls to Twitter, a sand book is about change and quantification, the relationship between catastrophe and cultural transmission. It moves among houses of worship and grocery stores, flitters between geological upheaval and the weird weather of the Internet. In her long-awaited follow-up to Mercury, Reines has written her most ambitious work to date, but also her most visceral and satisfying.

    Avery is one of the engineers responsible for the dismantling and reconstruction of the temple as it’s rescued from the rising waters of the Aswan Dam. He is a “machine-worshipper,” yet exquisitely sensitive to the dichotomy of creation and destruction of which machines are capable. Jean is a botanist by avocation and passion, interested in everything that grows. They had met on the banks of the St. Lawrence River and watched together as the construction of the seaway changed the course of the river and swallowed towns, homes, lives. Now, at the edge of another world about to be lost forever, Avery and Jean create their own world, exchanging the “moments that are the mortar of our days, innocent memories we don’t know we hold until given the gift of the eagerness of another.”But that gift will not be enough to bind them when tragedy strikes, and they will go back to separate lives in Toronto. Avery returns to school to study architecture, and Jean enters the life of Lucjan, a Polish émigré artist. Lucjan’s haunting stories of occupied Warsaw draw Jean further and further away from Avery. But, in time, he will also offer her the chance for forgiveness, consolation, and, finally, her own, most essential life.Stunning in its explorations of both the physical and emotional worlds of its characters, intensely moving and lyrical, The Winter Vault is a radiant work of fiction.