This book was then and remained, for all practical purposes, Thomas's "collected" poems and in that sense complete. However, with the 1971 publication of the 192 poems in The Poems of Dylan Thomas (also now available in a revised edition), Thomas's Collected Poems has naturally evolved to become Thomas's Selected Poems.Thomas wrote his last poem, "Prologue," especially to begin this collection, and addressed it to "my readers, the strangers." Two unfinished poems are included in this edition: "Elegy," prepared by Vernon Watkins, and "In Country Heaven," prepared by Daniel Jones—both Welsh poets were life-long friends of Dylan Thomas. Textual corrections discovered over the course of forty years have now been incorporated, and a complete index of titles and first lines, as well as a brief chronology of the author's life, have been added.As it has for half a century, this book includes the best of Dylan Thomas's poetry—"Light Breaks Where No Sun Shines," "The Force that Through the Green Fuse Drives the Flower," "And Death Shall Have No Dominion," "Poem in October," "Do Not Go Gentle into that Good Night," "The Hunchback in the Park," "In My Craft or Sullen Art," "In Country Sleep," and Thomas's poignant reflection on his youth, "Fern Hill."

    "Nick Demske writes from culture like the Hollywood version of a rebellious slave, the role shredding off him, culture's synthetic exemplary tales shredding and piling up on the floor of the projector room."—Joyelle McSweeneyHis name is "a transcendant uber-obsenity that can be understood universally by speakers of any language."

    O'Hara’s untimely death in 1966 at the age of forty was, in the words of fellow poet John Ashbery, "the biggest secret loss to American poetry since John Wheelwright was killed.” This collection is a reissue of a volume first published by Grove Press in 1957, and it demonstrates beautifully the flawless rhythm underlying O'Hara’s conviction that to write poetry, indeed to live, "you just go on your nerve.”

    I read his work with awe and admiration.”—Ben Marcus “Joe Wenderoth's brave new poetic talent is like nothing so much as a live wire writing its own epitaph in sparks. [His poems] throb brilliantly with a sense of the 'too much.' . . . But in Wenderoth's case the too much is the too little or the too ordinary—a very remarkable discovery to have made so late in the history of poetry. Philip Larkin and a few American poets have approached it, but Wenderoth's instrument is sharper than theirs; he makes quick cuts in the meat of the ordinary, which is the meat of the impossible.”—Cal Bedient This clear-eyed new work from a favorite young poet is searching and solemn, dissatisfied with artificial condolences and pat maxims. Joe Wenderoth’s determination in the face of harsh realities is what rescues us, and him, from hopelessness. “Luck” So a screaming woke you just in time An animal’s scream, or animals’. What kind of animal it was doesn’t matter, and cannot, in any case, be determined. The point is you are saved. Your mouth has been opened. Joe Wenderoth grew up near Baltimore and is the author of five books of prose and poetry. He teaches at the University of California, Davis.

    The poem describes coming to terms with his loss through the lens of her translation of Poem 101 by Catullus “for his brother who died in the Troad.” Nox is a work of poetry, but arrives as a fascinating and unique physical object. Carson pasted old letters, family photos, collages and sketches on pages. The poems, typed on a computer, were added to this illustrated “book” creating a visual and reading experience so amazing as to open up our concept of poetry.

    This collection, born out of the tumultuous social and political landscape of the late sixties, is as intense, sensual, and compelling as Jim Morrison's persona was during the Doors' peak. His fast life and mysterious death remain controversial more than forty years later.

    Dramatic, energetic, beautiful, and true, this slim selection will delight any reader—The Red Wheelbarrow Other Poems is a book to be treasured.

    Hall's new poems further the themes of love, death, and mourning so powerfully introduced in his WITHOUT (1998), but from the distance of passed time. A long poem, "Daylilies on the Hill 1975 - 1989," moves back to the happy repossession of the poet's old family house and its history - a structure that "persisted against assaults" as its generations of residents could not. These poems are by turns furious and resigned, spirited and despairing - "mania is melancholy reversed," as Hall writes in another long poem, "Kill the Day." In this book's fourth and final section, "Ardor," the poet moves toward acceptance of new life in old age; eros reemerges.

    When he became involved in a conspiracy and was imprisoned in Pavia, it was to the Greek philosophers that he turned. THE CONSOLATION was written in the period leading up to his brutal execution. It is a dialogue of alternating prose and verse between the ailing prisoner and his 'nurse' Philosophy. Her instruction on the nature of fortune and happiness, good and evil, fate and free will, restore his health and bring him to enlightenment. THE CONSOLATION was extremely popular throughout medieval Europe and his ideas were influential on the thought of Chaucer and Dante.

    Part II contains over 25 especially powerful prayers: to Our lady, St. Joseph, St. Anne, St. Jude, St. Philomena, St. Anthony, etc. Part III contains miscellaneous favorite prayers: e.g., Morning Offering, Prayers to Our Lady, to St. Joseph for Purity, to overcome a bad habit, for grace, the Te Deum, Consecration to the Holy Ghost, etc. And Part IV contains various other "favorite prayers," such as for a happy death, the choice of a state of life, for priests, Fatima Prayers, for safe delivery of a baby, for the dying, for the dead, for the Poor Souls, etc. For a small package, this little Prayerbook is dynamite, and should be carried by all!

    What Would your life say if it could talk?                                                            —from “No Fly Zone”With allusions to David Bowie and interplanetary travel, Life on Mars imagines a soundtrack for the universe to accompany the discoveries, failures, and oddities of human existence. In these new poems, Tracy K. Smith envisions a sci-fi future sucked clean of any real dangers, contemplates the dark matter that keeps people both close and distant, and revisits the kitschy concepts like “love” and “illness” now relegated to the Museum of Obsolescence. These poems reveal the realities of life lived here, on the ground, where a daughter is imprisoned in the basement by her own father, where celebrities and pop stars walk among us, and where the poet herself loses her father, one of the engineers who worked on the Hubble Space Telescope.