This standard edition of his poems was edited and arranged by his great friend Geoffrey Keynes. It includes a considerable number of early pieces, among them two of his longest poems, "The Pyramids" and "The Bastille".

    This will involve a new jacket design recalling the typographic virtues of the classic Faber poetry covers, connecting the backlist and the new titles within a single embracing cover solution. A major reissue program is scheduled, to include classic individual collections from each decade, some of which have long been unavailable: Wallace Stevens's Harmonium and Ezra Pound's Personae from the 1920s; W.H. Auden's Poems (1930); Robert Lowell's Life Studies from the 1950s; John Berryman's 77 Dream Songs and Philip Larkin's The Whitsun Weddings from the 1960s; Ted Hughes's Gaudete and Seamus Heaney's Field Work from the 1970s; Michael Hofmann's Acrimony and Douglas Dunn's Elegies from the 1980s. Timed to celebrate publication of Seamus Heaney's new collection, Electric Light, the relaunch is intended to re-emphasize the predominance of Faber Poetry, and to celebrate a series which has played a shaping role in the history of modern poetry since its inception in the 1920s.

    Ackerman muses on the confines of therapy sessions, where she intersects "twice a week/in a painstaking hide-and-seek/making do with half-light, half-speak"; relishes the succulent pleasure of eating an apricot, with its "gush of taboo sweetness"; and imagines the "unupholstered voice, a life in outline" in her stunning elegy to C. S. Lewis. Whimsical, organic, and wise, the poems in I Praise My Destroyer affirm Ackerman's place as one of the most enchanting poets writing today.

    Included are "The Dark Chateau," "The Witch," "The Ghost," and more.

    Whether writing as son of a dying father or as father of a daughter about to be wed, Berry plumbs the complexities of conflict, grief, loss, and love. He celebrates life from the domestic to the eternal, finding in the everyday that which is everlasting.

    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.

    . . . Each poem adds its incisive particulars to the general stoic wreck; but what startles, then reassures in all this canon of the inconsolable, the unsanctified, the dispossessed, is Hugo’s poetics, the analogy of language to experience. . . . Richard Hugo is such an important poet because the difficulties inherent in his art provide him a means of saying what he has to say. It is no accident that he must develop a negative in order to produce a true image.”

    Lyrical and pungent, passionate and polemical, this volume is a treasure-an essential collection of the work of a poet whose words have entered our common language.

    Although their work conjures the texture of wind and the broad spaces of the sky, these poems are not serenely pastoral. Rather, Myles' sparse blank verse is concerned with the diaphanous qualities of perception, as if her momentary experiences were as slippery and translucent as clouds. A sometimes brutal loneliness and urgent but stoic sensuality results, finding its expression in simple colors: orange, grey, yellow, white, rose.

    H. Auden first published in 1952, and the title work of a collection of poems by Auden, published in 1955. It is Auden's response to the detailed description, or ekphrasis, of the shield borne by the hero Achilles in Homer's epic poem the Iliad.The poem is the title work of The Shield of Achilles, a collection of poems in three parts, published in 1955, containing Auden's poems written from around 1951 through 1954. It begins with the sequence "Bucolics", then miscellaneous poems under the heading "In Sunshine and In Shade", then the sequence Horae Canonicae.It won the U.S. National Book Award for Poetry in 1956.

    Whittled down to song and fragments of story, these poems teeter at the edge of dread. A gang of unchaperoned children, grappling with blame and forgiveness, speak with tenderness and disdain about “the mothers” and “the fathers,” absent figures they seek in “the faces of clouds” and in the cars that pass by. Other poems investigate the force of maternal love and its at-times misguided ferocities. The final poem, a long sequence of nocturnes, eschews almost everything but the ghostly erotic. These are bodies at the edge of experience, watchful and defamiliarized.

    Compiled by poets who have been at the center of the Nuyorican Poets Cafe in New York City, Aloud! showcases the work of the most innovative and accomplished word artists from around America.

    Bizarre, witty, sad, sometimes caustic, her poems impart a zest for life, and reveal her unique eye for the marvels of the ordinary and her deep sensibility to the paradoxical nature of all human emotions.

    The haunting memories and shared histories of these people—their rituals and traditions—animate this land, and are celebrated in Rash’s crystalline, intensely imagined verse.With an eye for the surprising and vivid detail, Ron Rash powerfully captures the sorrows and exaltations of this wondrous world he knows intimately. Illuminating and indelible, Poems demonstrates his rich talents and confirms his legacy as a standard-bearer for the literature of the American South.

    Most critics (including Helen Vendler, Steven Gould Axelrod, Adam Kirsch, and others) consider it one of Lowell's most important books, and the Academy of American Poets named it one of their Groundbreaking Books. Helen Vendler called Life Studies Lowell's "most original book." It won the National Book Award for Poetry in 1960.