American poet Robert Frost's first three books, in one collectionThis volume presents Frost’s first three books, masterful and innovative collections that contain some of his best-known poems, including "Mowing," "Mending Wall," "After Apple-Picking," "Home Burial," "The Oven Bird," "Birches," and "The Road Not Taken."

    Drawing from his eleven collections and including twenty-three previously unpublished poems, Search Party is the essential compilation of this beloved poet's work. Edited by his son, Sebastian Matthews, and William Matthews's friend and fellow poet Stanley Plumly (who also introduces the book), Search Party is an excellent introduction to the poet and his glistening riffs on twentieth-century topics from basketball to food to jazz.

    It showcases the works that made him one of the most beloved and significant writers of the past century while inviting a new recognition of his enduring commitments, fluency, and power.

    In the life she constructs as a barrier against the emotional wreckage of her family tragedy, Anna settles comfortably into a career as a teacher of deaf children. But a challenge arrives—in the form of a young girl. Adrea’s disarming vulnerability and obvious need for love offer Anna the possibility of reconnecting with the world around her—if she has the courage to open her heart. In this debut novel, Rachel Stolzman has crafted a moving and poetic witness to love’s power to transcend grief, pain, and the constraints of human language. The Sign for Drowning is a poignant story of loss and the unexpected occasions of grace that enable us to heal from it and grow beyond it.

    Over 100 complete and unabridged poems are accompanied by a concise text that provides insight, observations, and a historical context for each poet and their work.

    Middle Eastern studies. Translated from the French by the author. Reprinted with a new foreward by Jalal Toufic. This book, a masterwork of the dislocations and radiant outcries of the Arab world, reaffirms Etel Adnan, who authored the great poem, Jebu, as among the foremost poets of the French Language. THE ARAB APOCALYPSE is an immersion into a rapture of chaos clawing towards destiny, and nullified hope refusing its zero. Is is also the journey of soul through the cartography of a global immediacy rarely registered by maps, replete with signposts like hieroglyphs in a storm of shrapnel and broken glass. And above all it is a book that, though capable of being read in its orderly sequence, has so surrendered to 'being there, ' it can rivet the sensibility to the Middle Eastern condition at any point in the text--so rapid are its mutations, so becoming its becomingness--like a wisdom book or a book of Changes--Jack Hirschman.It has a power and intensity that few poets today can muster--only Allen Ginsberg's Howl comes to mind.--Alice MolloyThe power of Adnan's language and imagery reminds us that she is indeed one of the most significant post-modern poets in contemporary Arab culture.--Kamal BoullattaTHE ARAB APOCALYPSE is, to date, Adnan's most triumphant battle with the exactness of words.--Douglas PowellThe poem invokes a mythic past of Gilgamesh, Tammouz, and Ishtar to presage a present that resists narration, THE ARAB APOCALYPSE contests an uncritical reflection on the immediate historical past.--Barbara Harlow

    It is in her poetry, however, where she achieves the full extent of her revelation as artist and human. The poems in this first selection from her whole work were written over a period of forty years. They convey a wonderfully energetic alternation of mood, idea, and experience that are part of her unique creative process.

    H. Auden’s Selected Poems adds twenty poems to the hundred in the original edition, broadening its focus to better reflect the enormous wealth of form, rhetoric, tone and content in Auden’s work. Newly included are such favorites as “Funeral Blues” and other works that represent Auden’s lighter, comic side, giving a fuller picture of the range of his genius. Also new are brief notes explaining references that may have become obscure to younger generations of readers and a revised introduction that draws on recent additions to knowledge about Auden.As in the original edition, the new Selected Poems makes available the preferred original versions of some thirty poems that Auden revised later in life, making it the best source for enjoying the many facets of Auden’s art in one volume.

    The exquisitely rendered poems in this, her fourth collection, reach back to an early affinity for proverbs and riddles and the proto-poetry found in those forms. Taking on epic subjects—time and memory, metamorphosis and indeterminacy, the complicated nature of beauty, wordless states of being—each poem explores a bright, crisp, singular moment of awareness or shock or revelation.  Purpura reminds us that short poems, never merely brief nor fragmentary, can transcend their size, like small dogs, espresso, a drop of mercury.From the Trade Paperback edition.

    Beginning with "Riot Act," a monologue about the Los Angeles uprising in April 1992, Ai explored racial and sexual politics through the voices of diverse characters.

    Now in paperback, "Complete Short Poetry" gathers all of Zukofsky's poetry outside his 800-page magnum opus entitled" "A""--including work that appeared in "All: The Collected Short Poems, 1923-1964," the experimental transliteration (with Celia Zukofsky) of Catullus, the limited edition "80 Flowers," as well as several fugitive pieces never before collected."Zukofsky is the American Mallarm," writes Hugh Kenner, "and given the peculiar intentness of the American preoccupation with language--obsessive, despite what you may read in the newspapers--his work is more disorienting by far than his exemplar's ever was. Mallarm had a long poetic tradition from which to deviate into philology. Zukofsky received a philological tradition, which he raised to a higher power."

    Repeatedly confronting the darkness, his own sense of godlessness (“Forgive me, faith, for never having any”), he also struggles with the unlikely presence of the divine, the power of art to redeem human transience, and the complexity of relationships. Throughout the collection, his own life trajectory enriches the poems; he is the “skinny, long-beaked boy / who perched in the branches of the old branch library,” as well as the passionate middle-aged man who tells his lover, “I wish I could paint you— / . . . / I need a brush for your hard angles / and ferocious blues and reds. / . . . / I wish I could paint you / from the waist down.”Grieving for the losses occasioned by our mortality, Hirsch’s ultimate impulse as a poet is to praise—to wreathe himself, as he writes, in “the living fire” that burns with a ferocious intensity.

    "With this fine new collection," says Library Journal, Martín Espada "joins the top ranks of poets anywhere"; in the words of Earl Shorris, he is "well on his way to becoming the Latino poet of his generation."

    Compulsively readable, full of fear and persistence, they resonate with the wildness and generosity of Ginsberg, Whitman, and Ted Berrigan, turning the everyday into an encompassing, harrowing, humorous, necessary vision. Beckman is, as Publishers Weekly notes, “the real thing.”Joshua Beckman is the author of numerous poetry collections, translations, and collaborative works. His awards include a NYFA Fellowship and a Pushcart Prize. He lives in Seattle and New York.

    In Smoke, Laux revisits familiar themes of family, working class lives and the pleasures of the body in poetry that is vital and artfully crafted—poetry that "gets hard in the face of aloofness," in the words of one reviewer. In Smoke, as in her previous work, Laux weaves the warp and woof of ordinary lives into extraordinary and complex tapestries. In "The Shipfitter’s Wife," a woman recalls her husband’s homecoming at the end of his work day:Then I’d open his clothes and takethe whole day inside me—the ship’sgray sides, the miles of copper pipe,the voice of the foreman clangingoff the hull’s silver ribs. Spark of leadkissing metal. The clamp, the winch,the white fire of the torch, the whistle,and the long drive home.And in the title poem, Laux muses on her own guilty pleasures:Who would want to give it up, the coala cat’s eye in the dark room, no one therebut you and your smoke, the windowcracked to street sounds, the distant criesof living things. Alone, you are almostsafe . . .With her keen ear and attentive eye, Dorianne Laux offers us a universe with which we are familiar, but gives it to us fresh.Dorianne Laux is the author of two previous collections of poetry from BOA Editions, Ltd., and is co-author, with Kim Addonizio, of The Poet’s Companion: A Guide to the Joys of Writing Poetry (W.W. Norton, 1997), chosen as an alternate selection by several bookclubs. Laux was the judge for the 2012 A. Poulin, Jr. Poetry Contest, and is a tenured professor in the creative writing program at the University of Oregon. Laux lives in Eugene, Oregon.