There are 366 poems (one for each day of the year, and one for leap years), to delight, inspire and excite. Chosen for their magic and memorability, the poems in this anthology are an exultant mix of old and new from across the world, poems to learn by heart and take to heart.

    Beginning with babies, the book is divided into sections on childhood, growing up, making a living and making love, family life, getting older, and approaching death, ending with poems of mourning and commemoration.Ranging from Chaucer to Carol Ann Duffy, via Shakespeare, Keats, and Lemn Sissay, this book offers something for each of those moments in life, whether falling in love, finding your first grey hair or saying your final goodbyes, when only a poem will do.

    This rich treasury includes Tolkien's most beloved short fiction plus his essay on fantasy. Publisher's Note Tolkien's Magic Ring, by Peter S. Beagle The Homecoming of Beorhtnoth Beorhthelm's Son Tree and Leaf On Fairy-Stories Leaf by Niggle Farmer Giles of Ham The Adventures of Tom Bombadil The Adventures of Tom Bombadil Bombadil Goes Boating Errantry Princess Mee The Man in the Moon Stayed Up Too Late The Man in the Moon Came Down Too Soon The Stone Troll Perry-the-Winkle The Mewlips Oliphaunt Fastitocalon Cat Shadow-bride The Hoard The Sea-Bell The Last Ship

    Her characters are all unsteady on their feet in one way or another; they all yearn for connection and betterment, though each in very different ways, but they are often tripped up by their own baser impulses and existential insecurities. Homesick for Another World is a master class in the varieties of self-deception across the gamut of individuals representing the human condition. But part of the unique quality of her voice, the echt Moshfeghian experience, is the way the grotesque and the outrageous are infused with tenderness and compassion. Moshfegh is our Flannery O'Connor, and Homesick for Another World is her Everything That Rises Must Converge or A Good Man is Hard to Find. The flesh is weak; the timber is crooked; people are cruel to each other, and stupid, and hurtful. But beauty comes from strange sources, and the dark energy surging through these stories is powerfully invigorating. We're in the hands of an author with a big mind, a big heart, blazing chops, and a political acuity that is needle-sharp. The needle hits the vein before we even feel the prick.

    Now, twenty years later, Graham returns with a new selection, this time from eleven volumes, including previously unpublished work, which, in its breathtaking overview, illuminates of the development of her remarkable poetry thus far.In From the New World—Poems 1976-2014, we can witness the unfolding of Graham’s signature ethical and eco-political concerns, as well as her deft exploration of mythology, history, love and, increasingly, love of the world in a time of crisis. As the work evolves, the depth of compassion grows—gradually transforming, widening and expanding her extraordinary formal resources and her inimitable style.These pages present a brilliant portrait one of the major voices of American contemporary poetry. As critic Calvin Bedient says, “If Graham has proved oversized as a poet in the field of contemporary poetry, it is because she continually recalls the great Western tradition of philosophical and religious inquiry . . . tenaciously thinking and feeling her way through layer after layer of perception, like no poet before her.”

    Vincent Millay to Edward Lear's whimsical "The Owl and the Pussycat" and James Whitcomb Riley’s homespun "When the Frost Is on the Punkin." Famous poets such as Wordsworth, Tennyson, Whitman, and Frost are well-represented, as are less well-known poets such as John McCrae ("In Flanders Fields") and Ernest Thayer ("Casey at the Bat"). Includes 10 selections from the Common Core State Standards Initiative: "The Owl and the Pussycat," "Casey at the Bat," "Jabberwocky," "O Captain! My Captain!," "Paul Revere's Ride," "Ozymandias," "The Raven," "Because I Could Not Stop for Death," "Mending Wall," and "Ode on a Grecian Urn."

    White Apples and the Taste of Stone collects more than two hundred poems from across sixty years of Hall's celebrated career, with new poems recently published in The New Yorker, the American Poetry Review, and the New York Times. Greatly anticipated, this is Hall's first selected volume in fifteen years, and also the first to include poems from his seminal bestseller, Without.The bound-in audio CD was specially recorded by Hall for this publication -- more than an hour of favorite poems from throughout the book. Hall's distinctive, sonorous voice and inimitable humor provide a perfect companion for fans of his work and for classroom use.

    But she has, and here is the record of that change in the decade since the publication of her last nonfiction collection, The Language of the Night. And what a mind — strong, supple, disciplined, playful, ranging over the whole field of its concerns, from modern literature to menopause, from utopian thought to rodeos, with an eloquence, wit, and precision that makes for exhilarating reading.

    Originally published in 1861, it quickly established itself as the most popular selection of English poems. Today it stands as a testament to the richness of our finest native poetic writing from Spenser, Shakespeare, and Wordsworth, to Tennyson, Yeats, Eliot, and Betjeman. This edition includes a sixth book, prepared by John Press, which covers the post-war years, showing that the lyrical tradition remains strong. Over ninety poets are included, from Dylan Thomas, George Mackay Brown, Ted Hughes, and Philip Larkin to Carol Ann Duffy, Elizabeth Garrett and Simon Armitage.

    This essential collection is perfect for the poetry lover who wants to carry around their favorite poems, and ideal for the reader seeking an introduction to the greatest poems world literature has to offer. The authors included are each represented by his or her best-known and best-loved work, from the Classics (Homer, Sappho, Virgil, Ovid) to the Renaissance (Dante, Petrarch, Villon, Shakespeare) to the Romantics (Schiller, Wordsworth, Shelley, Keats) to the 20th Century giants (Pound, Eliot, Frost, Stevens) down to the present day (Ginsberg, Plath, Angelou). Each poem is introduced by a brief head note which details the poet’s life history as well as the poem’s significance.

    A medical procedure reveals an object of worship. A carnivorous reptile divides and cauterizes a town. Amelia Gray’s curio cabinet expands in Gutshot, where isolation and coupling are pushed to their dark and outrageous edges. These singular stories live and breathe on their own, pulsating with energy and humanness and a glorious sense of humor. Hers are stories that you will read and reread—raw gems that burrow into your brain, reminders of just how strange and beautiful our world is. These collected stories come to us like a vivisected body, the whole that is all the more elegant and breathtaking for exploring its most grotesque and intimate lightless viscera.

    Now, at a veritable fairy-tale moment—witness the popular television shows Grimm and Once Upon a Time and this year’s two movie adaptations of “Snow White”—Philip Pullman, one of the most popular authors of our time, makes us fall in love all over again with the immortal tales of the Brothers Grimm.From much-loved stories like “Cinderella” and “Rumpelstiltskin,” “Rapunzel” and “Hansel and Gretel” to lesser-known treasures like “Briar-Rose,” “Thousandfurs,” and “The Girl with No Hands,” Pullman retells his fifty favorites, paying homage to the tales that inspired his unique creative vision—and that continue to cast their spell on the Western imagination.

    This infinity of lists is no coincidence: a culture prefers enclosed, stable forms when it is sure of its own identity, while when faced with a jumbled series of ill-defined phenomena, it starts making lists. The poetics of lists runs throughout the history of art and literature. We do not only see it at work in ancient bestiaries, the celestial hosts of angels or the naturalist collections of the 16th century. We also find it more obliquely from Homer to Joyce, from the treasures of Gothic cathedrals to the fantastic landscapes of Bosch and cabinets of curiosities, until we get to Andy Warhol and Arman in the 20th century. In this 5-colour illustrated edition, Umberto Eco reflects on how the idea of catalogues has changed over the centuries and how, from one period to another, it has expressed the spirit of the times. His essay is accompanied by a literary anthology and a wide selection of works of art illustrating and analysing the texts presented. This new illustrated essay is a companion volume to On Beauty and On Ugliness.

    In this Library of America volume are presented the first two novels and a little-known collection of biographical sketches by the man about whom H. L. Mencken said, “American writing, before and after his time, differed almost as much as biology before and after Darwin.”Dreiser grew up poor in a series of small Indiana towns, in a large German Catholic family dominated by his father’s religious fervor. At seventeen he moved to Chicago and eventually became a newspaper reporter there and in St. Louis, Pittsburgh, and New York. Reaction to his first book, Sister Carrie (1900), was not encouraging, and after suffering a nervous breakdown, he went on to a successful career editing magazines. In 1910 he resumed writing, and over the next fifteen years published fourteen volumes of fiction, drama, travel, autobiography, and essays.“Dreiser’s first great novel, Sister Carrie …came to housebound and airless America like a great free Western wind, and to our stuffy domesticity gave us the first fresh air since Mark Twain and Whitman,” Sinclair Lewis declared in his Nobel Prize acceptance speech in 1930. Carrie Meeber, an eighteen-year-old small-town girl drawn to bustling Chicago, becomes the passionless mistress of a good-humored traveling salesman and then of an infatuated saloon manager who leaves his family and elopes with her to New York. Dreiser’s brilliant, panoramic rendering of the two cities’ fashionable theaters and restaurants, luxurious hotels and houses of commerce, alongside their unemployment, labor violence, homelessness, degradation, and despair makes this the first urban novel on a grand scale.In a 1911 review, H. L. Mencken wrote, “Jennie Gerhardt is the best American novel I have ever read, with the lonesome but Himalayan exception of Huckleberry Finn.” Beautiful, vital, generous, but morally naïve and unconscious of social conventions, Jennie is a working-class woman who emerges superior to the succession of men who exploit her. There are no villains in this novel; in Dreiser’s view, everyone is victimized by the desires that the world excites but can never satisfy.Dreiser’s embracing compassion is felt in Twelve Men (1919), a collection of portraits of men he knew and admired. They range from “My Brother Paul” (Paul Dresser, vaudeville musical comedian and composer of “On the Banks of the Wabash” and “My Gal Sal”) to “Culhane, the Solid Man,” a sanatorium owner and former wrestler. Without sentiment but with honest emotion and respect for the bleak and unvarnished truth, Dreiser recalls these anomalous individuals and the twists of fate that shaped their lives.

    It is divided into three parts: the first is introduced by a powerful prayer for the dead of 9/11; the second by a searching meditation on Martin Luther King Jr., and the last by a heart-wrenching eulogy for James Baldwin. In the writings and speeches included here, Morrison takes on contested social issues: the foreigner, female empowerment, the press, money, "black matter(s)," and human rights. She looks at enduring matters of culture: the role of the artist in society, the literary imagination, the Afro-American presence in American literature, and in her Nobel lecture, the power of language itself. And here too is piercing commentary on her own work (including The Bluest Eye, Sula, Tar Baby, Jazz, Beloved, and Paradise) and that of others, among them, painter and collagist Romare Bearden, author Toni Cade Bambara, and theater director Peter Sellars. In all, The Source of Self-Regard is a luminous and essential addition to Toni Morrison's oeuvre.