A practicing physician for more than 40 years, Williams worked in the idiom of modern American speech ― unlike his friend and mentor, Ezra Pound ― and his poems are redolent with a warmth and generosity of spirit. The Beat poets were particularly impressed with the accessibility of his language, and Williams's widely quoted dictum, "No ideas but in things," influenced a generation of American poets.This fine selection offers readers the opportunity to study and enjoy the richness and variety of Williams's early work. More than 70 poems, published between 1917 and 1921, include "Peace on Earth," "Tract," "El Hombre," "Danse Russe," "Keller Gegen Dom," "Willow Poem," "Queen-Anne's-Lace," "Portrait of a Lady," "The Widow's Lament in Springtime," and many others.

    This rich selection - made by the author - exhibits those qualities in poem after poem, reflecting, moreover, an exciting experimentation with rhythm and language and a movement toward an embrace beyond the personal. Subjects are revisited - the pain of childhood, adolescent sexual stirrings, the fulfilment of marriage, the wonder of children - but each re-casting penetrates ever more deeply, enriched by new perceptions and conceits. A powerful distillation of the best work from one of America's most gifted and widely read poets, drawn from her seven published volumes, this is a testament to a remarkable writer's depth, range and continuing development.

    Through ‘A Rustic Mind’ I aim to provide a thoughtful take on such actions and incidents. Poetic in its expression, these words will strike a chord which is not only deep but relatable on many levels.

    The poems move from the magic of childhood – bostin fittle at Nanny’s, summers before school – into deeper, darker territory: sensual love, enchanted weddings, and the promise of new life.In Berry’s hands, the ordinary is transformed: her characters shift shapes, her eye is unusual, her ear attuned to the sounds of the Black Country, with ‘vowels ferrous as nails, consonants / you could lick the coal from.’ Ablaze with energy and full of the rich dialect of the West Midlands, this is an incandescent debut from a poet of dazzling talent and verve.

    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.

    With the exception of the title poem, which concludes the volume - a thirteen-part poem of exceptional grace and brilliance - the fifty-eight poems in this collection are mostly short; in their relative brevity they display all the valiant wit and rich lyric intensity which readers know from Ashbery's expansive longer work. The critic Harold Bloom has observed: "And the Stars Were Shining is one of John Ashbery's strongest collections, the title poem his most beautiful long poem yet. He helps to redeem a bad time when many among us have joined in a guilty flight away from the aesthetic."

    It is an invitation to my thoughts

    This sparkling creation by multi-award-winning designer David Pelham will amaze and delight all who take the journey through this remarkable book.

    Culled from classic works of poetry, unpublished work solicited especially for the book, and poetry and erotica journals, these poems celebrate sexual connection and expression. Contributors include Sharon Olds, Gary Soto, E. E. cummings, Marge Piercy, Raymond Carver, Galway Kinnell, Pablo Neruda, and Tess Gallagher.

    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.

    Alfred Prufrock” as well as ribald verse and other youthful curios. “Perhaps the most significant event in Eliot scholarship in the past twenty-five years” (New York Times Book Review). Edited by Christopher Ricks.

    Chris Butterworth's text, gently sprinkled with facts, captures the wonder of a child as Charlotte Voake's busy, buoyant artwork conveys how something as simple and common as a tree can feel like magic taking root around you.

    The result easily demonstrated, then as now, the massive achievement of the writer whom Carolyn Kizer called "one of the most passionate, energetic, and honest poets living."

    Included also is "When the Towers Fell," his stunning requiem for those who died in the World Trade Center on 9/11.The book's title derives from Walt Whitman's "Last Invocation": "Strong is your hold O mortal flesh, / Strong is your hold O love."

    Now includes contemporary voices such as Seamus Heaney, Anne Carson, Czeslaw Miloscz, Rainer Maria Rilke, and Raymond Carver