Vincent Millay defined a generation with her passionate lyrics and intoxicating voice of liberation. Edited by Millay biographer Nancy Milford, this Modern Library Paperback Classics collection captures the poet’s unique spirit in works like Renascence and Other Poems, A Few Figs from This-tles, and Second April, as well as in “The Ballad of the Harp-Weaver” and eight sonnets from the early twenties. As Milford writes in her Introduction, “These are the poems that made Edna St. Vincent Millay’s reputation when she was young. Saucy, insolent, flip, and defiant, her little verses sting the page.”

    The title, Regarding Wave,reflects "a half-buried series of word origins dating back through theIndo-European language: intersections of energy, woman, song and 'GoneBeyond Wisdom.'" Central to the work is a cycle of songs for Snyder'swife, Masa, and their first son, Kai. Probing even further than Snyder'sprevious collection of poems, The Back Country, this newvolume freshly explores "the most archaic values on earth… the fertilityof the soil, the magic of animals, the power-vision in solitude, theterrifying initiation and rebirth, the love and ecstasy of the dance,the common work of the tribe…”

    The Holy Forest, now spanning five decades, is Blaser's highly acclaimed lifelong serial poem. This long-awaited revised and expanded edition includes numerous published volumes of verse, the ongoing "Image-Nation" and "Truth Is Laughter" series, and new work from 1994 to 2004. Blaser's passion for world making draws inspiration from the major poets and philosophers of our time—from friends and peers such as Robert Duncan, Jack Spicer, Charles Olson, Charles Bernstein, and Steve McCaffery to virtual companions in thought such as Hannah Arendt, Maurice Merleau-Ponty, Michel Foucault, and Jacques Derrida, among others. This comprehensive compilation of Blaser's prophetic meditations on the histories, theories, emotions, experiments, and countermemories of the late twentieth century will stand as the definitive collection of his unique and luminous poetic oeuvre.

    Here the Irish experience is refracted through images drawn from different parts of the Northern European experience, and the idea of the north allows the poet to contemplate the violence on his home ground in relation to memories of the Scandinavian and English invasions which have marked Irish history so indelibly.

    On entering the Society of Jesus at the age of 24, he burnt all his poetry and 'resolved to write no more, as not belonging to my profession, unless by the wish of my superiors.' The poems, letters, and journal entries selected for this edition were written in the following twenty years of his life and published posthumously in 1918.His verse is wrought from the creative tensions and paradoxes of a poet-priest who wanted to evoke the spiritual essence of nature sensuously, and to communicate this revelation in natural language and speech-rhythms while using condensed, innovative diction and all the skills of poetic artifice. Intense, vital, and individual, his writing is the 'terrible crystal' through which the soul--the inscape, the nature of things--may be illuminated.

    Norman Shapiro's superb translations display Verlaine's ability to transform into timeless verse the essence of everyday life and make evident the reasons for his renown in France and throughout the Western world.

    Spare and intensely-felt, Valentine's poems present experience as only imperfectly graspable. This volume gathers together all of Valentine's published poems and includes a new collection, Door in the Mountain.Valentine's poetry is as recognizable as the slant truth of a dream. She is a brave, unshirking poet who speaks with fire on the great subjects—love, and death, and the soul. Her images—strange, canny visions of the unknown self—clang with the authenticity of real experience. This is an urgent art that wants to heal what it touches, a poetry that wants to tell, intimately, the whole life.

    Dorn is one of the few political poets in America; this fantasy about a demigod cowboy, a saloon madam, and a talking horse named Claude Levi-Strauss, who travel the Southwest in search of Howard Hughes, has become a minor classic.

    Includes "There's a certain slant of light," "Because I could not stop for death," "It was not death for I stood up."

    Here are "Birches," "Mending Wall," "Stopping by Woods on a Snowy Evening," "Two Tramps at Mudtime," "Choose Something Like a Star," and "The Gift Outright," which Frost read at the inauguration of John F. Kennedy." An essential addition to every home library, Robert Frost's Poems is a celebration of the New England countryside, Frost's appreciation of common folk, and his wonderful understanding of the human condition. These classic verses touch our hearts and leave behind a lasting impression.* Over 100 poems* All Frost's best known verses from throughout his life

    Like it or not, it outwits whatever I then thought to say and gains thereby whatever I was in saying it. Thankfully, I was never what I thought I was, certainly never enough. Otherwise, when it came time to think specifically of this collection and of what might be decorously omitted, I decided to stick with my initial judgments, book by tender book, because these were the occasions most definitive of what the poems might mean, either to me or to anyone else. To define their value in hindsight would be to miss the factual life they had either made manifest or engendered. So everything that was printed in a book between the dates of 1945 and 1975 is here included as are also those poems published in magazines or broadsides. In short, all that was in print is here. I'm delighted that they are all finally together, respected, included, each with their place--like some ultimate family reunion! I feel much relieved to see them now as a company at last. I'm tempted to invoke again those poets who served as a measure and resource for me all my life as a poet. But either they will be heard here, in the words and rhythms themselves, or one will simply know the. This time I am, in this respect, alone these are my poems. We are a singular compact. Finally, there's no end to any of it, or none we'll know that simply. But I'm very relieved that this much, like they say, is done. So be it.

    The anthology offers more poetry by women (40 new poets), with special attention to early women poets. The book also includes a greater diversity of American poetry, with double the number of poems by African American, Hispanic, native American and Asian American poets. There are 26 new poets representing the Commonwealth literature tradition: now included are more than 37 poets from Australia, New Zealand, Ireland, Scotland, Wales, the Caribbean, South Africa and India.

    Toklas had rented in the Rhone Valley, Stanzas in Meditation is one of Stein's most abstract and complex works. It is almost as if Stanzas was conceived as a mirror opposite of The Autobiography of Alice B. Toklas, penned in the same year. The latter, written in a more direct and normative language, brought Stein international acclaim and resulted in the attention she received from 1934 on, while the former remained unavailable until its publication, after her death, in 1956. To Stein readers and admirers, however, this is one of her most important works, a poetic achievement central to her canon. From John Ashbery's groundbreaking essay-review of Stanzas in 1957 to Richard Bridgman's 1970 publication, Gertrude Stein in Pieces, poets and critics have recognized the importance of this masterpiece.

    An unusually rich selection from Byron's letters and journals accompanies the poems. The critical essays offer an integrated view of Byron's achievement as well as analyses of its different facets. Published for the first time is Bergen Evans's general essay Lord Byron's Pilgrimage; other essays are by John D. Jump, Michael G. Cooke, Francis Berry, Robert F. Gleckner, James R. Thompson, Frank D. McConnell, Leslie A. Marchand, and E. D. Hirsch, Jr. A special section, Images of Byron, presents 26 views of Byron as artist and as the epitome of the Romantic hero, ranging from the perspectives of his contemporaries to those of such modern writers as James Joyce, Virginia Woolf, T. S. Eliot, and Albert Camus. A Chronology sets forth the main events of Byron's life, and a Selected Bibliography lists sources for further study.

    With his distinct voice and accessible language, America's two-term Poet Laureate has opened the door to poetry for countless people for whom it might otherwise remain closed.Like the present book's title, Collins's poems are filled with mischief, humor, and irony, "Poetry speaks to all people, it is said, but here I would like to address / only those in my own time zone"-but also with quiet observation, intense wonder, and a reverence for the everyday: "The birds are in their trees, / the toast is in the toaster, / and the poets are at their windows. / They are at their windows in every section of the tangerine of earth-the Chinese poets looking up at the moon, / the American poets gazing out / at the pink and blue ribbons of sunrise."Through simple language, Collins shows that good poetry doesn't have to be obscure or incomprehensible, qualities that are perhaps the real trouble with most "serious" poetry: "By now, it should go without saying / that what the oven is to the baker / and the berry-stained blouse to the drycleaner / so the window is to the poet."In this dazzling new collection, his first in three years, Collins explores boyhood, jazz, love, the passage of time, and, of course, writing-themes familiar to Collins's fans but made new here. Gorgeous, funny, and deeply empathetic, Billy Collins's poetry is a window through which we see our lives as if for the first time.