Set in an apocalyptic and post-apocalyptic world that is disturbing because it is uncannily familiar, National Anthem chronicles the aftermath of the failure of imperial vision. Allowing Rome and America to bleed into one another, Prufer masterfully weaves the threads of history into an anthem that is as intimate as it is far-reaching.

    In a world of machinists, loggers, mill workers, and hairdressers, the poems collected here bear witness to a landscape, an industry, and a people teetering on the edge of ruin. From tightly constructed narratives to expansive and surreal meditations, the various styles in this book not only reflect the poet's range, but his willingness to delve into his obsessions from countless angles Full of despair yet never self-loathing, full of praise yet never nostalgic, Dismantling the Hills is both ode and elegy. McGriff's vision of blue-collar life is one of complication and contradiction, and the poems he makes are authentic, unwavering, and unapologetically American.

    Bambrick began writing poems in order to document the forms of violence she witnessed towards the people and the environment of the Columbia River. While working there she found that reservoirs foster a uniquely complex community--from fish biologists to the owners of luxury summer homes--and became interested in the issues and tensions between the people of that place. The idea of power, literal and metaphorical, was present in every action and encounter with bosses and the people using the river. The presence of a young woman on the crew irritated her older, male co-workers who'd logged, built houses, and had to suffer various forms of class discrimination their entire lives. She found throughout this experience that their issues, while not the same, were inherently connected to the suffering of the lands they worked. Introduction by Sharon Olds.

    it is the facade that many of us peruse our lives carrying, often neglecting our pain, our mental health, and most importantly, the way we are more prone to hurting others when we lack this self-awareness. (w)holehearted seeks to encompass as many stories as possible, touching on several topics, namely, spirituality, feminism, colorism, domestic violence, intersectionality, mental health and more. it aims to depict that anyone with the darkest past and pitfalls can still save themselves from drowning in the difficulties that not only plague our world, but also plague our hearts.

    Her mordant humour and formal ingenuity are in evidence, even as she remembers the wounds of a damaging childhood; and in poems about love and the inevitable problems of aging she achieves an intriguing blend of sadness and joy. Two very different sets of commissioned poems round off a remarkable volume, whose opening poem sounds clearly the profound note of compassion which underlies the whole.

    She discovers often at night, often in nature the pleasures of rescuing a fleeting thought. Deeply moving, Woolgathering calls up our own memories, as the child glimpses and gleans, piecing together a crazy quilt of truths. Smith introduces us to her tribe, a race of cloud dwellers, and to the fierce, vital pleasures of cloud watching and stargazing and wandering.A radiant new autobiographical piece, Two Worlds (which was not in the original 1992 Hanuman edition of Woolgathering), and the author's photographs and illustrations are also included. Woolgathering celebrates the sacred nature of creation with Smith's beautiful style, acclaimed as glorious (NPR), spellbinding (Booklist), rare and ferocious (Salon), and shockingly beautiful (New York Magazine).

    But it's hate at first sight for Jane and Cal Langdon, and neither is too happy at the prospect of sharing a villa with one another for a week, not even in the beautiful and picturesque Marches countryside. But when Holly and Mark's wedding plans hit a major snag that only Jane and Cal can repair, the two find themselves having to put aside their mutual dislike for one another in order to get their best friends on the road to wedded bliss €”and end up on a road themselves ... one neither of them ever expected. Queen of Babble Gets Hitched: Things are looking up at last for Lizzie Nichols. She has a career she loves in the field of her choice (wedding gown restoration), and the love of her life, Jean-Luc, has finally proposed. Life's become a dizzying whirl of wedding gown fittings, not necessarily her own as Lizzie prepares for her dream wedding at her fiance's chateau in the south of France. But the dream soon becomes a nightmare as the best man, €”whom Lizzie might once have accidentally slept with . . . no, really, just slept €”announces his total lack of support for the couple, a sentiment the maid of honor happens to second; Lizzie's Midwestern family can't understand why she doesn't want to have her wedding in the family backyard; her future, oh-so-proper French in-laws seem to be slowly trying to lure the groom away from medical school and back into investment banking; and Lizzie finds herself wondering if her Prince Charming really is as charming as she once believed.

    . . . Joudah's poems explore loss, displacement, suffering, and longing. They drift from the personal and specific to the larger stories of peoples and nations that Joudah encounters. . . . [His] unique talent is to offer poetry readers a look at a wounded and fractured world through his eyes."—Lena Khalaf Tuffaha, The Institute for Middle East Understanding Winner of the Yale Younger Poets competition, 2007In The Earth in the Attic Fady Joudah, a Palestinian-American physician, explores big themes—identity, war, religion, what we hold in common—while never losing sight of the quotidian, the specific. Contest judge Louise Glück describes the poet in her Foreword as “that strange animal, the lyric poet in whom circumstance and profession . . . have compelled obsession with large social contexts and grave national dilemmas.” She finds in his poetry an incantatory quality and concludes, “These are small poems, many of them, but the grandeur of conception is inescapable. The Earth in the Attic is varied, coherent, fierce, tender; impossible to put down, impossible to forget.”

    Born in 1902 in Salinas, California, Steinbeck attended Stanford University before working at a series of mostly blue-collar jobs and embarking on his literary career. Profoundly committed to social progress, he used his writing to raise issues of labor exploitation and the plight of the common man, penning some of the greatest American novels of the twentieth century and winning such prestigious awards as the Pulitzer Prize and the National Book Award. He received the Nobel Prize in 1962, "for his realistic and imaginative writings, combining as they do sympathetic humour and keen social perception." Today, more than thirty years after his death, he remains one of America's greatest writers and cultural figures. The boxed set, containing deluxe trade paperback editions with french flaps, is being released in honor of the Steinbeck centennial being celebrated throughout 2002. Penguin Putnam Inc, in partnership with the Steinbeck Foundation and the Great Books Foundation is sponsoring numerous events throught the year.

    . . is grounded by a shadow play of macabre references to horrors that ghost around the edges of the narrative, many eerily similar to some of the more infamous real life reports that have emerged in recent years."-- The Irish Times Combining the spirit of Kingsley Amis's Lucky Jim with a bawdy evisceration of hypocrisy in old-school Catholic education, The Brothers' Lot is a comic satire that tells the story of the Brothers of Godly Coercion School for Young Boys of Meager Means, a dilapidated Dickensian institution run by an assemblage of eccentric, insane, and often nasty celibate Brothers. The school is in decline and the Brothers hunger for a miracle to move their founder, the Venerable Saorseach O'Rahilly, along the path to Sainthood.When a possible miracle presents itself, the Brothers fervently seize on it with the help of the ethically pliant Diocesan Investigator, himself hungry for a miracle to boost his career. The school simultaneously comes under threat from strange outside forces. The harder the Brothers try to defend the school, the worse things seem to get. It takes an outsider, Finbar Sullivan, a young student newly arrived at the school, to see that the source of the threat may in fact lie inside the school itself. As the miracle unravels, the Brothers' efforts to preserve it unleash a disastrous chain of events.Tackling a serious subject from the oblique viewpoint of satire, The Brothers' Lot explores the culture that allowed abuses within church-run institutions in Ireland to go unchecked for decades.

    MacNeice's work matches the world he famously described as 'incorrigibly plural.'Michael Longley, himself a distinguished Ulster poet, has written an introductory essay of meticulous advocacy. His wife, the critic Edna Longley, has supplied the apparatus for students and the general reader.

    This collection suggests that a person is like a world, full of mysteries and wonders–and equally in need of an encyclopedia, a compendium of everything known. The long title sequence offers entries such as “The Sun” (“There is one mind in all of us, one soul, / who parches the soil in some nations / but in others hides perpetually behind a veil”), “The Elephant” (“How to explain my heroic courtesy?”), “The Pigeon” (“Once startled, you shall feel hours of weird sadness / afterwards”), and “Randall Jarrell” (“If language hurts you, make the damage real”). The mysteriously emotional individual poems coalesce as a group to suggest that our natural world is populated not just by fascinating creatures–who, in any case, are metaphors for the human as Chiasson considers them– but also by literature, by the ghosts of past poetries, by our personal ghosts. Toward the end of the sequence, one poem asks simply, “Which Species on Earth Is Saddest?” a question this book seems poised to answer. But Chiasson is not finally defeated by the sorrows and disappointments that maturity brings. Combining a classic, often heartbreaking musical line with a playful, fresh attack on the standard materials of poetry, he makes even our sadness beguiling and beautiful.

    The language, the invention, the imagination, and the sheer fun of his poems is astounding. It's not all dazzle either. The poems are also moving. This man reminds us that there is nothing more serious than a joke' - Charles Simic, final judge and author of "Jackstraws", "Walking the Black Cat", and "A Wedding in Hell".

    “May the great poet we are looking for never find it shut, or half-shut, against his ample genius!” For a century, the most important and enduring poets have walked through that door—William Carlos Williams and Wallace Stevens in its first years, Rae Armantrout and Kay Ryan in 2011. And at the same time, Poetry continues to discover the new voices who will be read a century from now.Poetry’s archives are incomparable, and to celebrate the magazine’s centennial, editors Don Share and Christian Wiman combed them to create a new kind of anthology, energized by the self-imposed limitation to one hundred poems. Rather than attempting to be exhaustive or definitive—or even to offer the most familiar works—they have assembled a collection of poems that, in their juxtaposition, echo across a century of poetry. Adrienne Rich appears alongside Charles Bukowski; poems by Isaac Rosenberg and Randall Jarrell on the two world wars flank a devastating Vietnam War poem by the lesser-known George Starbuck; August Kleinzahler’s “The Hereafter” precedes “Prufrock,” casting Eliot’s masterpiece in a new light. Short extracts from Poetry’s letters and criticism punctuate the verse selections, hinting at themes and threads and serving as guides, interlocutors, or dissenting voices.The resulting volume is an anthology like no other, a celebration of idiosyncrasy and invention, a vital monument to an institution that refuses to be static, and, most of all, a book that lovers of poetry will devour, debate, and keep close at hand.

    Philip Larkin's second collection, The Less Deceived was published by The Marvell Press in 1955, and now appears for the first time in Faber covers.The eye can hardly pick them out From the cold shade they shelter in, Till wind distresses tail and mane; Then one crops grass, and moves about - The other seeming to look on - And stands anonymous again.from 'At Grass'