It could not anticipate what was to come after, neither could it grasp what had happened in literary theory in the light of where it was to lead.

    His poetry, whether dealing with art, war, memories of childhood, or the loneliness of everyday life, is powerful and moving. A poet of colloquial language, ample generosity, and intimacy, Jarrell wrote beautifully "of the American landscape," as James Atlas noted in American Poetry Review, "[with] a broad humanism that enabled him to give voice to those had been given none of their own."The Complete Poems is the definitive volume of Randall Jarrell's verse, including Selected Poems (1955), with notes by the author; The Woman at the Washington Zoo (1960), which won the National Book Award for Poetry; and The Lost World (1965), "his last and best book," according to Robert Lowell. This volume also brings together several of Jarrell's uncollected or posthumously published poems as well as his Rilke translations.

    Joyce Carol Oates has collected a group of works that are both intimate and important, essays that move from personal experience to larger significance without severing the connection between speaker and audience. From Ernest Hemingway covering bullfights in Pamplona to Martin Luther King, Jr.’s “Letter from Birmingham Jail,” these essays fit, in the words of Joyce Carol Oates, “into a kind of mobile mosaic suggest[ing] where we’ve come from, and who we are, and where we are going.” Among those whose work is included are Mark Twain, John Muir, T. S. Eliot, Richard Wright, Vladimir Nabokov, James Baldwin, Tom Wolfe, Susan Sontag, Maya Angelou, Alice Walker, Joan Didion, Cynthia Ozick, Saul Bellow, Stephen Jay Gould, Edward Hoagland, and Annie Dillard.Foreword / by Robert Atwan --Introduction / by Joyce Carol Oates --Corn-pone opinions / Mark Twain --Of the coming of John / W.E.B. Du Bois --Law of acceleration / Henry Adams --Stickeen / John Muir --Moral equivalent of war / William James --Handicapped / Randolph Bourne --Coatesville / John Jay Chapman --Devil baby at Hull-house / Jane Addams --Tradition and the individual talent / T.S. Eliot --Pamplona in July / Ernest Hemingway --Hills of Zion / H.L. Mencken --How it feels to be colored me / Zora Neale Hurston --Old stone house / Edmund Wilson --What are master-pieces and why are there so few of them / Gertrude Stein --Crack-up / F. Scott Fitzgerald --Sex Ex Machina / James Thurber --Ethics of living Jim Crow: an autobiographical sketch / Richard Wright --Knoxville: Summer of 1915 / James Agee --Figure a poem makes / Robert Frost --Once more to the lake / E.B. White --Insert flap "A" and throw away / S.J. Perelman --Bop / Langston Hughes --Future is now / Katherine Anne Porter --Artists in uniform / Mary McCarthy --Marginal world / Rachel Carson --Notes of a native son / James Baldwin --Brown wasps / Loren Eiseley --Sweet devouring / Eudora Welty --Hundred thousand straightened nails / Donald Hall --Letter from Birmingham jail / Martin Luther King, Jr. --Putting daddy on / Tom Wolfe --Notes on "Camp" / Susan Sontag --Perfect past / Vladimir Nabokov --Way to Rainy Mountain / N. Scott Momaday --Apotheosis of Martin Luther King / Elizabeth Hardwick --Illumination rounds / Michael Herr --I know why the caged bird sings / Maya Angelou --Lives of a cell / Lewis Thomas --Search for Marvin Gardens / John McPhee --Doomed in their sinking / William H. Gass --No name woman / Maxine Hong Kingston --Looking for Zora / Alice Walker --Women and honor: some notes on lying / Adrienne Rich --White album / Joan Didion --Aria: a memoir of a bilingual childhood / Richard Rodriguez --Solace of open spaces / Gretel Ehrlich --Total eclipse / Annie Dillard --Drugstore in winter / Cynthia Ozick --Okinawa: the bloodiest battle of all / William Manchester --Heaven and nature / Edward Hoagland --Creation myths of Cooperstown / Stephen Jay Gould --Life with daughters: watching the miss America Pageant / Gerald Early --Disposable rocket / John Updike --hey all just went away / Joyce Carol Oates --Graven images / Saul Bellow --Biographical notes --Appendix: Notable twentieth-century American literary nonfiction

    Her previous collection, Otherwise: New & Selected Poems, published just after her death in 1995, has been a favorite among readers, with over 60,000 copies in print, and is a contemporary classic.Now at the ten-year anniversary of her death, Kenyon's Collected Poems assembles all of her published poetry in one book. Included here are the complete poems found in her four previous volumes--From Room to Room, The Boat of Quiet Hours, Let Evening Come, and Constance--as well as the poems that appear in her posthumous volumes Otherwise and A Hundred White Daffodils, four poems never before published in book form, and her translations in Twenty Poems of Anna Akhmatova.

    A dazzling fourth novel by the author of The Recognitions, Carpenter’s Gothic, and JR uses his considerable powers of observation and satirical sensibilities to take on the American legal system.

    This ambitious and revelatory collection turns the traditional chronology of anthologies on its head, listing poems according to their first individual appearance in the language rather than by poet.

    Pushing the bounds of fiction and form, Barthelme subverts the classic tale, prompting The New York Times to call him “a splendid practitioner at the peak of his power” and inspiring a new generation of authors including Charles Baxter, Dave Eggers, and David Gates.

    This popular volume collects two of Lowell's finest books of poetry.

    Beginning with: "It was Sappho who first called eros 'bittersweet.' No one who has been in love disputes her. What does the word mean?", Carson examines her subject from numerous points of view and styles, transcending the constraints of the scholarly exercise for an evocative and lyrical meditation in the tradition of William Carlos William's Spring and All and William H. Gass's On Being Blue.

    A young woman visits her father following his nervous breakdown, and a devoted sister is profoundly unsettled by the sermon her brother insists on reciting. Whether in childhood or Vietnam, in memory or the eternal present, these people are revealed in the extenuating, sometimes extreme circumstances of everyday life, and in the complex consequences of their decisions—that, for instance, can bring together an innocent inner-city youth and a little girl attacked, months earlier, by a dog in a wintry park. Yet each story, however crucial, is marked by Mr. Wolff’s compassionate understanding and humor.In short, fiction of dazzling emotional range and absolute authority.

    As a first book of poems, it is remarkable for its accurate perceptions and its rich linguistic gifts.

    There is rampant speculation on the subject.Are they all great-looking and charming and well dressed?Yes. All of them, and especially Felicia Wong, who can even make her own clothes.I have a question about the process by which the entries in this collection are chosen. Is it scientific?The process by which The Best American Non-Required Reading is put together is not scientific. It is whatever one would consider the opposite of scientific.Creationist?Well, no, it's not creationist either. The point is that we are probably a bit less top-to-bottom thorough than, say, the Army Corps of Engineers. Well, actually, scratch that. We are probably about exactly as thorough as the Army Corps of Engineers, in that we are intermittently thorough.What is your opinion and the committee's opinion of the state of short stories and small magazines and other periodicals?This is a good time. It really is.More specifically?Not all of us Americans appreciate the fact that we have about 150 very good quarterlies in this country. Every state seems to have a very good quarterly, and about a hundred colleges have very good quarterlies — from the Kenyon Review to the University of Illinois's Ninth Letter. So by our estimate there are about 150 very good quarterlies in this country. Maybe more. Now, the thing we don’t always appreciate here in America is that elsewhere in the world there are few to no quarterlies.How does it feel to select something for the collection that you found in an unlikely place?It feels so good. This year, for example, at the last moment we found “Humpies” by Mattox Roesch. It was published by Agni Online, and we all loved it, and here it is, ideally able to reach a new audience. We all took pleasure in finding that one; the mandate of the committee is to find the offbeat and the lesser-known and bring these pieces to our readers, most of whom have great skin and bad eyes.

    

    From all across the continent come tales of creation and love, of heroes and war, of animals, tricksters, and the end of the world. Alfonso Ortiz, an eminent anthropologist, and Richard Erdoes, an artist and master storyteller, Indian voices in the best folkloric sources of the nineteenth century to make this the most comprehensive and authentic volume of American Indian myths available anywhere.With black-and-white drawings throughoutPart of the Pantheon Fairy Tale and Folklore Library

            The stories are divided into three sections: The Age of Fable or Stories of Gods and Heroes (first published in 1855); The Age of Chivalry (1858), which contains King Arthur and His Knights, The Mabinogeon, and The Knights of English History; and Legends of Charlemagne or Romance of the Middle Ages (1863). For the Greek myths, Bulfinch drew on Ovid and Virgil, and for the sagas of the north, from Mallet's Northern Antiquities. He provides lively versions of the myths of Zeus and Hera, Venus and Adonis, Daphne and Apollo, and their cohorts on Mount Olympus; the love story of Pygmalion and Galatea; the legends of the Trojan War and the epic wanderings of Ulysses and Aeneas; the joys of Valhalla and the furies of Thor; and the tales of Beowulf and Robin Hood. The tales are eminently readable. As Bulfinch wrote, "Without a knowledge of mythology much of the elegant literature of our own language cannot be understood and appreciated. . . . Our book is an attempt to solve this problem, by telling the stories of mythology in such a manner as to make them a source of amusement."Thomas Bulfinch, in his day job, was a clerk in the Merchant's Bank of Boston, an undemanding position that afforded him ample leisure time in which to pursue his other interests. In addition to serving as secretary of the Boston Society of Natural History, he thoroughly researched the myths and legends and copiously cross-referenced them with literature and art. As such, the myths are an indispensable guide to the cultural values of the nineteenth century; however, it is the vigor of the stories themselves that returns generation after generation to Bulfinch.