It included many poems missing from Stevens's Collected Poems, along with Stevens's characteristically inventive prose and pieces for the theater. Now Milton J. Bates, the author of the acclaimed Wallace Stevens: A Mythology of Self, has edited and revised Opus Posthumous to correct the previous edition's errors and to incorporate material that has come to light since original publication. A third of the poems and essays in this edition are new to the volume. The resulting book is an invaluable literary document whose language and insights are fresh, startling, and eloquent.

    He had led migration of Bohemian Paris across the city from Montmartre to Montparnasse, he had helped formulate the principles of 'Cubism', having written one of the first books on the subject, and coined the word 'Surrealist'; and he had demonstrated in his own work those innovations we have come to associate with the most vital investigations of the avente - garde.

    Within these notebooks, Roethke allowed his mind to rove freely, moment by moment, moving from the practical to the transcendental, from the halting to the sublime.Fellow poet and colleague David Wagoner distilled these notebooks—twelve linear feet of bookshelf—into an energetic, wise, and rollicking collection that shows Roethke to be one of the truly phenomenal creative sources in American poetry.From “A Psychic Janitor”: I’m sick of fumbling, furtive, disorganized minds like bad lawyers trying to make too many points that this is an age of criticism: and these, mind you, tin-eared punks who couldn’t tell a poem from an old boot if a gun were put to their heads . . .Cover art by United States Poet Laureate Ted Kooser.

    The maid comes to the bedroom to clean. She inevitably forgets something -- the soap, fresh sheets, a bucket -- or does something wrong. The master has had a nightmare he can't quite recall that had something to do with when he was in school: lectures, or was it lechers? No matter, the maid must be reprimanded for her neglect, and out comes the handy paraphernalia -- a hairbrush, a cat-o'-nine-tails, a rod, a cane -- and the spanking begins.Included in Harold Bloom's The Western Canon and named by Daphne Merkin in The New Yorker as one of her "favorite" S/M books, Spanking the Maid is a spare, tantalizing, and perfect book by an American master.

    This bilingual edition contains a representative selection of poems from different periods and different aspects of his vast output.

    The Blue Estuaries contains her five previous books of verse along with a section of uncollected work, fully representing a unique and distinguished contribution to modern poetry over five decades.

    Heaney's pilgrim is on an inner journey and proceeds through a series of dream encounters which lead him back into the world that formed him, and then forward to face the crises of the present. Writing in The Washington Post Book World, Hugh Kenner called this narrative sequence "as fine a long poem as we've had in fifty years." It is preceded by a section of richly meditative lyrics ("Wry, spare, compressed, subtle, strange, they have a furtive intensity and exicitement." - Richard Ellmann, The New York Review of Books), and leads naturally into a third group of poems, in which the poet's voice is at one with the voice of the legendary Sweeney, a king of Ulster whose story Heaney translated from the Irish.

    In this revised and expanded collection, renowned translators Chana Bloch and Stephen Mitchell have selected Amichai's most beloved and enduring poems, including forty new poems from his recent work.from Tourists:Once I was sitting on the steps near the gate at David's Citadel and I put down my two heavy baskets beside me. A group of tourists stood there around their guide, and I became their point of reference. "You see that man over there with the baskets? A little to the right of his head there's an arch from the Roman period. A little to the right of his head." "But he's moving, he's moving!" I said to myself: Redemption will come only when they are told, "Do you see that arch over there from the Roman period? It doesn't matter, but near it, a little to the left and then down a bit, there's a man who has just bought fruit and vegetables for his family."

    Charles Wright’s translation, Jonathan Galassi’s introduction, and, as afterword, Montale’s thoughtful essay on Campana, identify the heart of this poet’s achievement.

    . . . It helps us to go on, having Gary Snyder in our midst."--Los Angeles Times. Snyder is the author of many volumes of poetry and prose, including The Practice of the Wild and the Pulitzer Prize-winning Turtle Island. Reading tour.

    From his Deep Image-inspired lyrics to his Whtimanesque renderings of Neruda, Vallejo, and other Latin American poets, and from his heartfelt reflections on life, love, and loss in his native Ohio to the celebrated prose poems (set frequently in Italy) that marked the end of his important career, Above the River gathers the complete work of a modern master. It also features a moving and insightful introduction by Donald Hall, Wright's longtime friend and colleague.

    This selection is from L’Espace du Dedans, which collected eight books of prose poems, sketches and free verse. Brilliantly translated by Richard Ellmann, Michaux asks readers to join him in a fantastic world of the imagination. It is a world where wry humor plays against horror––where Chaplin meets Kafka––a world of pure and rare invention.

    Hart Crane, prodigiously gifted and tragically doom-eager, was the American peer of Shelley, Rimbaud, and Lorca. Born in Garrettsville, Ohio, on July 21, 1899, Crane died at sea on April 27, 1932, an apparent suicide. A born poet, totally devoted to his art, Crane suffered his warring parents as well as long periods of a hand-to-mouth existence. He suffered also from his honesty as a homosexual poet and lover during a period in American life unsympathetic to his sexual orientation. Despite much critical misunderstanding and neglect, in his own time and in ours, Crane achieved a superb poetic style, idiosyncratic yet central to American tradition. His visionary epic, The Bridge, is the most ambitious and accomplished long poem since Walt Whitman's Song of Myself. Marc Simon's text is accepted as the most authoritative presentation of Hart Crane's work available. For this centennial edition, Harold Bloom, who was introduced to poetry by falling in love with Crane's work while still a child, has contributed a new introduction.

    Warren wrote enduring fiction as well as influential works of literary criticism and theory. Yet, as this variorum edition of his published poems suggests, it is his poetry - spanning sixty years, sixteen volumes of verse, and a wide range of styles - that places Warren among America's foremost men of letters. In this volume, John Burt, Warren's literary executor, has gathered together every poem Warren ever published (with the exception of Brother to Dragons), including the many poems he published in The Fugitive and other magazines, as well as those that appeared in his small press works and broadsides. Burt has also exhaustively collated all of the published versions of Warren's poems - in some cases, a poem appeared as many as six different times with substantive revisions in every line - as well as the author's typescripts and proofs. And since Warren never seemed to reread any of his books without a pencil in hand, Burt has referred to Warren's personal library copies. A record of Burt's comprehensive analysis is found in this edition's textual notes, list of emendations, and explanatory notes.

    In such classics as "The Beekeeper's Daughter," "The Disquieting Muses," "I Want, I Want," and "Full Fathom Five," she writes about sows and skeletons, fathers and suicides, about the noisy imperatives of life and the chilly hunger for death. Graceful in their craftsmanship, wonderfully original in their imagery, and presenting layer after layer of meaning, the forty poems in The Colossus are early artifacts of genius that still possess the power to move, delight, and shock.