They are truly delightful and robustly original—a poetic joy."—Tony HoaglandSelected by Bernadette Mayer for the National Poetry Series, these poems engage the structures of family and intimacy, exposing the viscera of the everyday, all its frailties and familiarity rendered absurd and remade through language.Outside there's a world where every love-scenebegins with a man in a doorway;he walks over to the woman and says "Open your mouth."Hannah Gamble has received fellowships from Rice University, The University of Houston, and The Edward F. Albee Foundation. She teaches literature and writing at Prairie State College and is the poet-in-residence at Children's Memorial Hospital in Chicago, Illinois.

    One of the forefront leaders of the Acmeism movement, which focused on rigorous form and directness of words, she was a master of conveying raw emotion in her portrayals of everyday situations. Her works range from short lyric love poetry to longer, more complex cycles, such as Requiem, a tragic depiction of the Stalinist terror. During the time of heavy censorship and persecution, her poetry gave voice to the Russian people. To this day, she remains one of Russia's most beloved poets and has left a lasting impression on generations of poets that came after her. Rosary, published in 1914, is Akhmatova's second book, and one of her most popular collections. After its publication, Akhmatova became a household name and further established her place among the greatest Russian poets.

    A large and important collection by one of Eastern Europe's major contemporary poets.

    Remarkably, this is the first collection of Ocampo’s poetry to appear in English. From her early sonnets on the native Argentine landscape, to her meditations on love’s travails, to her explorations of the kinship between plant and animal realms, to her clairvoyant inquiries into history and myth and memory, readers will find the full range of Ocampo’s “metaphysical lyricism” (The Independent) represented in this groundbreaking edition.

    This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

    Their neighbours prove a mixed bag, including the towering, kindly Jed Armstrong, a farmer whose land 'marches with' theirs, the local vicar and his family, and the three gossipy Pringle sisters, who travel by donkey-drawn cart and get their knives into one and all. After a bumpy start, with a disagreeable cook and her nincompoop daughter as their only help, Susan and Oliver begin to settle in nicely, and find themselves in the midst of romance, confusion, and earthy hilarity.Molly Clavering was for many years the neighbour and friend of bestselling author D.E. Stevenson, and they may well have influenced one another's writing. First published in 1936 (under the pseudonym B. Mollett) and out of print for more than 80 years, Susan Settles Down is one of her most cheerful and vivid romantic comedies. This new edition features an introduction by Elizabeth Crawford.

    Don't lose more time searching for the perfect poems or readings - I've already done all the hard work to save you the trouble. This book combines several well known anthologies and brings you well over 1000 poems since 1250. The original anthologies used as a source are: 1919 Arthur Quiller-Couch, The Oxford Book of English Verse, and 1917 The New Poetry - An Anthology - Edited by Harriet Monroe and Alice Corbin Henderson.

    Try to see as others do what is desired or refused. What went wrong. Or right, then wrong. Objectively, what hangs. Pull yourself together. Years are neither kind nor cruel. You drag on. The girl is gone. Consider that it might be time to call in a professional. Blood is fearless, runs to meet a touch, indiscriminate, remembering the first time it fell in love with the world, unaware that now you are alone.From MirrorIn Modern and Normal, Karen Solie takes her on-the-road fascination with being between places to a new level, exploring conceptual and perceptual states of in-betweenness - for example, between what is perceived and what is actually there, or between and among the patterns the world repeats from the cell to the structure of the universe -- to find points of intersection. Solie finds a middle ground between the discourses of the hard sciences and the intuitive, a realm of weird overlap wherein lie questions of probability, fate, determinism, chance, luck, and faith. She writes about fractals and physics, but also about bar bands, broken hearts, and the trappings of desire. Some splendid landscape poems celebrate nature while mourning the way in which it's often exploited and used. Once again Karen Solie offers readers her lovely dexterity and skill in poems which entertain as they move.

    In eleven collections over thirty years, Edson has created his own poetic genre, a surreal philosophical fable, easy to enter, but difficult to leave behind. In The Tormented Mirror, Edson continues and refines his form in seventy-three new poems.

    R. Ammons’s long, thin poem was written on a roll of adding-machine tape, then transferred foot by foot to manuscript. He chose this method as a serious experiment in making a poem adapt to something outside itself. The tape determined both the length of the poem’s lines and when it ends. Tape for the Turn of the Year is a poem of infinite variety, blessed by the rich resources of one of this century’s greatest poets. By turns witty, serious, lyrical, and meditative, it is at once a superbly entertaining book and a significant literary achievement.

    Dating from the Middle Ages to the 20th century, these splendid poems remain evergreen in their capacity to engage our minds and refresh our spirits. Among them are Marlowe: "The Passionate Shepherd to His Love"; Shakespeare: "Sonnet XVIII" ("Shall I compare thee to a summer's day?"); Donne: "Holy Sonnet X" ("Death, be not proud"); Marvell: "To His Coy Mistress"; Wordsworth: "I Wandered Lonely as a Cloud"; Shelley: "Ode to the West Wind"; Longfellow: "The Children's Hour"; Poe: "The Raven"; Tennyson: "The Charge of the Light Brigade"; Whitman: "O Captain! My Captain!"; Dickinson: "This Is My Letter to the World"; Yeats: "When You Are Old"; Frost: "The Road Not Taken"; Millay: "First Fig."Works by many other poets — Milton, Blake, Burns, Coleridge, Byron, Keats, Emerson, the Brownings, Hardy, Housman, Kipling, Pound, and Auden among them — are included in this treasury, a perfect companion for quiet moments of reflection.

    An inventory in form and substance, Brand’s poem reckons with the revolutionary songs left to fragment, the postmodern cities drowned and blistering, the devastation flickering across TV screens grown rhythmic and predictable. Inventory is an urgent and burning lamentation.

    Apart from the famous War Poems of 1919, which firmly established his reputation, he published eight volumes of verse during his lifetime. This collected edition represents his own choice of the poems he wished to preserve. It was first published in 1947 and subsequently enlarged to include the late poems in Sequences.

    This is a theatrical book of dilapidated houses and overgrown gardens, of passageways and thresholds, edges, prosceniums, unearthings, and root systems. The unstable property lines here rove from heaven to hell, troubling proportion and upsetting propriety in the name of unfathomable propagation. Are all the gates in this book folly? Are the walls too easily scaled to hold anything back or impose self-confinement? What won't a poem do to get to the other side?