This revised and expanded edition contains over 50 pages of all-new material.Organized in four sections – Inception, Longing, Chaos, and Epiphany – K.Y. Robinson's debut poetry collection explores what it is to want in spite of trauma, shame, injustice, and mental illness. It is one survivor's powerful testimony, and a love letter "to those who lie awake burning."

    "By turns hilarious and chilling....the culmination of this playwright's work to date....Riveting theater."-Frank Rich, New York Times; "A brilliant black comedy, a dazzling dissection of Hollywood cupidity and another tone poem by our foremost master of the language of moral epilepsy... On its deepest level it belongs with the darker disclosures of movie-biz pathology like Nathanael West's The Day of the Locust and F. Scott Fitzgerald's The Last Tycoon. In a sense Speed-the-Plow distills all of these to a stark quintessence: there's hardly a line in it that isn't somehow insanely funny or scarily insane... [It is a] scathingly comic play."-Jack Kroll, Newsweek

    There is no Table of Contents. Instead, there is a "Track List," making it easy to refer to them to your friends with a, "Hey did you read track seven?!" There are no chapters. Instead, the book is divided into two parts, or as one would say in the 90's, two "sides." Side A holds poetry that touches on all aspects of the human condition like life, death, love, moving on, evolving, growing up, hometowns, family dynamic, life after trauma, and make-ups and breakups. Side B holds the "remixes" of these poems, in the form of blackout poetry, also known as "found poetry." Side B gives the material a fresh twist by creating new poetry out of Side A. There is also a very special surprise at the end of each track. Alicia decided to self publish this effort after leaving her publishing house. She views this book as her "independence" and official separation from that venture. She also drew the front and back cover herself. Alicia is a contributing writer for many blogs and news outlets, including the Huffington Post and multiple Gannett Publications. She writes regularly on drug addiction and how it directly affects families. Because of this, she has chosen to donate 100% of royalties to the Willow Tree Center in New Jersey. www.willowtree.org. Follow Alicia on Instagram: @thealiciacook or check out her website: www.thealiciacook.com.

    Selected by a team of poets and prominent Neruda scholars in both Chile and the United States, this is a definitive selection that draws from the entire breadth and width of Neruda’s various styles and themes. An impressive group of translators that includes Alaistair Reid, Stephen Mitchell, Robert Hass, Stephen Kessler and Jack Hirschman have come together to revisit or completely retranslate the poems. A bilingual edition, with English on one side of the page, the original Spanish on the other. This selection sets the standard for a general, high--quality introduction to Neruda’s complete oeuvre. Pablo Neruda was born in Chile in 1904. He received the Nobel Prize for Literature in 1971.

    Rainer Maria Rilke was staying at Duino Castle, on a rocky headland of the Adriatic Sea near Trieste. One morning he walked out onto the battlements and climbed down to where the cliffs dropped sharply to the sea. From out of the fierce wind, Rilke seemed to hear a voice: Wer, wenn ich schriee, horte mich denn aus der Engel Ordnungen? (If I cried out, who would hear me up there, among the angelic orders?). He wrote these words, the opening of the first Duino Elegy, in his notebook, then went inside to continue what was to be his major opus—completely only after another ten, tormented years of effort—and one of the literary masterpieces of the century. Duino Elegies speaks in a voice that is both intimate and majestic on the mysteries of human life and our attempt, in the words of the translator David Young, “to use our self-consciousness to some advantage: to transcend, through art and the imagination, our self-deception and our fear.”

    "But there is wisdom/ in the hour in which a boy/ sits in his room listening," says the first poem, and Lee's silent willingness to step outside himself imbues Rose with a rare sensitivity. The images Lee finds, such as the rose and the apple, are repeated throughout the book, crossing over from his father's China to his own America. Every word becomes transformative, as even his father's blindness and death can become beautiful. There is a strong enough technique here to make these poems of interest to an academic audience and enough originality to stun readers who demand alternative style and subject matter. — Rochelle Ratner, formerly Poetry Editor, "Soho Weekly News," New York

     Bishop was unforgiving of fashion and limited ways of seeing and feeling, but cast an even more trenchant eye on her own work. One wishes this volume were thicker, though the perfections within mark the rightness of her approach. The poems are sublimely controlled, fraught with word play, fierce moral vision (see her caustic ballad on Ezra Pound, "Visits to St. Elizabeths"), and reticence. From the surreal sorrow of the early "Man-Moth" (leaping off from a typo she had come across for "mammoth"), about a lonely monster who rarely emerges from "the pale subways of cement he calls his home," to the beauty of her villanelle "One Art" (with its repeated "the art of losing isn't hard to master"), the poet wittily explores distance and desolation, separation and sorrow.

    Challenging, intense, and difficult to translate, Vallejo's work has often been overshadowed by his fervent endorsement of communism. Noted scholar Ilan Stavans tackles the avant- garde poet's politics head-on in an enlightening new introduction that places Vallejo in his proper literary context, while Margaret Sayers Peden's new translation does full justice to Vallejo's complex literary style. Including Spanish and English versions of more than eighty poems that span the arc of his career, this volume is certain to become the leading collection of Vallejo's work for years to come.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    In America she has been posthumously launched as the electric-age Blake, she has been translated into French and Italian to great acclaim, and in the Times Literary Supplement Thom Gunn compared her to the great Augustan satirists. Her reclamation as an English poet is long overdue.Pound, Moore and Williams valued her work, while British critics openly scorned it. Not only were her futurist techniques unlike anything they had encountered before, but her subjects -- procreation, parturition, prostitution, suicide, addiction, retardation -- were considered shocking even by some modernists.She vanished from the literary scene just as dramatically as she had arrived on it, and for much of the century her bold experiments remained a well-kept secret. Carcanet first introduced her work to British readers in 1985 in Roger Conover's The Last Lunar Baedeker, a collected writings. This new edition updates our earlier volume and presents more reliable texts of the essential Loy poems. It includes more extensive notes and apparatus, and features a number of previously unknown works rescued from Dada archives and obscure avant-garde little magazines. All of Loy's canonical Futurist and feminist satires are included, as are the celebrated poems from her Paris and New York periods, the complete cycle of `Love Songs', and her famous portraits-in-verse which define the trajectory of her favoured company and geography -- from fellow modernists Joyce and Brancusi in Paris in the 1920s to fellow destitutes in New York's Lower East Side in the 1940s.

    24 short stories including Little Herr Friedemann, Death in Venice, Mario and the Magician, The Blood of the Walsungs, and A Man and His Dog.

    His celebration of all forms of natural life and his laments for the death of rural England grew directly out of his intimate knowledge of the labourer's life, the wheatfields and hedgerows of his village in Northamptonshire.This authoritative and engaging selection includes poems from every stage of Clare's poetic career, organised by theme, from 'Birds and Beasts' to 'Madhouses, Prisons and Whorehouses'.

    This is to be the first verse translation of Goethe's poetry in penguin classics and replaces Luke's own 1964 prose translation which has been in print continously since then (life sales 43,000).

    The work interrogates the social and linguistic space between regimes of power enacted on the body, and thereby the soul.

    We all are broken and broken is its own kind of beautiful.

    Many of the poems take place along the coastline known as Omaha Beach in Normandy, and move between visions of that beach during the Allied invasion of Europe (whose code name was Operation Overlord) and that landscape of beaches, fields, and hedgerows as it is known to the speaker today. In every sense the work meditates on our new world, ghosted by, and threatened by, competing descriptions of the past, the future, and what it means to be, as individuals, and as a people, "free."