More than a tale of possession, the novel probes disturbing depths of guilt, paranoia, and sexual obsession with an unsparing detachment.

    Shakespeare's "Shall I Compare Thee to a Summer's Day?", Milton's "On His Blindness," Wordsworth's "The World Is Too Much with Us," many more by Spenser, Sidney, Blake, Byron, Coleridge, Longfellow, Yeats, Frost, Poe, etc. Includes 2 selections from the Common Core State Standards Initiative.

    Unconventional in both style and content, it shattered the myths of small town American life. A collection of epitaphs of residents of a small town, a full understanding of Spoon River requires the reader to piece together narratives from fragments contained in individual poems."

    Through translations by two major contemporary poets and a scholar intimate with the Ponge canon, this volume offers selections of mostly earlier poetry —Le parti pris des choses, Pièces, Proêmes, and Nouveau nouveau recueil—as representative of the strongest work of this modern French master.

    Includes "There's a certain slant of light," "Because I could not stop for death," "It was not death for I stood up."

    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."

    These fifty lucid, urgent poems range in tone from lyric to ironic to meditative to prophetic, and in subject from the personal to the political, viewed in its broadest sense. They investigate the mysterious writing of poetry itself, as well as the passage of time and our shared sense of mortality. Brave and compassionate, The Door interrogates the certainties that we build our lives on, and reminds us once again of Margaret Atwood’s unique accomplishments as one of the finest and most celebrated writers of our time.

    His influence has extended not only to later philosophers—Nietzsche, Freud, and Wittgenstein among them—but also to musicians, artists, and important novelists such as Tolstoy, Thomas Mann, and Proust.The Essential Schopenhauer, the most comprehensive English anthology now available of this seminal thinker’s writings, will open English readers to Schopenhauer’s profound ideas. Selected by Wolfgang Schirmacher, president of the International Schopenhauer Association, The Essential Schopenhauer is an invaluable and accessible introduction to Schopenhauer’s powerful body of work."Schopenhauer's beautiful, exceptionally dark philosophy liberates us from the intolerable burden placed upon us by our contemporary optimism. The Essential Schopenhauer is a book to turn to when all others have failed." - Alain de Botton, bestselling author of The Consolations of Philosophy

    This authoritative and comprehensive history of Iran, written by Homa Katouzian, an acclaimed expert, covers the entire history of the area from the ancient Persian Empire to today’s Iranian state.Writing from an Iranian rather than a European perspective, Katouzian integrates the significant cultural and literary history of Iran with its political and social history. Some of the greatest poets of human history wrote in Persian—among them Rumi, Omar Khayyam, and Saadi—and Katouzian discusses and occasionally quotes their work. In his thoughtful analysis of Iranian society, Katouzian argues that the absolute and arbitrary power traditionally enjoyed by Persian/Iranian rulers has resulted in an unstable society where fear and short-term thinking dominate. A magisterial history, this book also serves as an excellent background to the role of Iran in the contemporary world.

    This edition contains 778 poems, 100 of them previously unpublished, and has, in addition, a context piece, author's words and CD of readings. It is a definitive (though not complete) collection.

    And images of a fantastic idyll complete with falling stars, the sound of the sea, and beautiful countryside. In the hands of Surrealists, though, love poetry also includes gravediggers and murderers, dice and garbage, snakeskin purses and "the drunken kisses of cyclones." Surrealism, the movement founded in the 1920s on the ashes of Dada's nihilism, embraced absurdity, contradiction, and, to a supreme extent, passion and desire. From André Breton's battle cry of "Mad Love" to the quiet lyricism of Robert Desnos, Surrealist writers and artists obsessively expressed the permutations of that fundamental human state, love, and they did so with the vocabulary of natural and unnatural worlds, the explicit language of sex, and a great deal of humor.Surrealist Love Poems brings together sixty poems by Surrealists who charged their work with all forms of eroticism. Expertly and energetically edited by Mary Ann Caws, this collection seeks to demonstrate the truth of Breton's words, that "the embrace of poetry like that of bodies / As long as it lasts / Shuts out all the woes of the world.""Erotic, impassioned and necrophilic, the sixty works gathered in Surrealist Love Poems celebrate the idea of obsessive and transformative love. 'I want to sleep with you side by side. . . . Stretched out on your shadow / Hammered by your tongue / To die in a rabbit's rotting teeth / Happy' writes Joyce Mansour. . . . Caws places poems by major surrealist writers like André Breton and Paul Eluard, along with the poetry of Picasso, Dalí, and Frida Kahlo, side by side with fourteen lushly printed and alluring black-and-white photos by the likes of Man Ray, Lee Miller, and Claude Cahun."—Publishers Weekly

    It is a rich, capacious volume, featuring the work of more than 200 poets-almost three times as many as the 1976 edition. With a succinctand often witty head note introducing each author, it is certain to become the definitive anthology of American poetry for our time.Lehman has gathered together all the works one would expect to find in a landmark collection of American poetry, from Whitman's Crossing Brooklyn Ferry to Stevens's The Idea of Order at Key West, and from Eliot's The Waste Land to Ashbery's Self-Portrait in a Convex Mirror. But equally important, the editor has significantly expanded the range of the anthology. The book includes not only writers born since the previous edition, but also many fine poets overlooked in earlier editions or little known in the past but highly deserving of attention. The anthology confers legitimacy on theObjectivist poets; the so-called Proletariat poets of the 1930s; famous poets who fell into neglect or were the victims of critical backlash (Edna St. Vincent Millay); poets whose true worth has only become clear with the passing of time (Weldon Kees). Among poets missing from Richard Ellmann's 1976volume but published here are W. H. Auden, Charles Bukowski, Donald Justice, Carolyn Kizer, Kenneth Koch, Stanley Kunitz, Emma Lazarus, Mina Loy, Howard Moss, Lorine Niedecker, George Oppen, James Schuyler, Elinor Wylie, and Louis Zukosky. Many more women are represented: outstanding poets such asJosephine Jacobsen, Josephine Miles, May Swenson. Numerous African-American poets receive their due, and unexpected figures such as the musicians Bob Dylan, Patti Smith and Robert Johnson have a place in this important work.This stunning collection redefines the great canon of American poetry from its origins in the 17th century right up to the present. It is a must-have anthology for anyone interested in American literature and a book that is sure to be consulted, debated, and treasured for years to come.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    From the swirling center of poetic change he excited the powerful energies of Eliot, Joyce, and William Carlos Williams and championed the Imagism and Vorticism movements. This volume, the most comprehensive collection of his poetry and translations ever assembled, gathers all his verse except "The Cantos." In addition to the famous poems that transformed modern literature, it features dozens of rare and out-of-print pieces, such as the handmade first collection "Hilda's Book" (1905-1907), late translations of Horace, rare sheet music translations, and works from a 1917 "lost" manuscript. Pound's influential "Cathay" (1915), "Lustra" (1917), and "Hugh Selwyn Mauberley" (1920)-as surely as his later masterly Confucian odes and Sophoclean dramas-followed the poet's own directive to "make it new," opening fresh formal pathways into ancient traditions. Through these works and others representing more than 30 different volumes and dozens of pieces that Pound never collected, "Poems and Translations" reveals the breadth of his daring invention and resonant music: lyrics echoing the Troubadors and Browning, chiseled 1920s free verse, and dazzling translations that led Eliot to call Pound "the inventor of Chinese poetry for our time." An extensive chronology offers guidance to Pound's tumultuous life. Detailed endnotes of unprecedented range and depth clarify Pound's fascinatingly recondite allusions.

    It also presents Cioran as a connoisseur of apocalypse, a theoretician of despair, for whom writing and philosophy both share the "lyrical virtues" that alone lead to a metaphysical revelation."No modern writer twists the knife with Cioran's dexterity. . . . His writing . . . is informed with the bitterness of genuine compassion."—Bill Marx, Boston Phoenix"The dark, existential despair of Romanian philosopher Cioran's short meditations is paradoxically bracing and life-affirming. . . . Puts him in the company of Nietzsche and Kierkegaard."—Publishers Weekly, starred review"This is self-pity as epigram, the sort of dyspeptic pronouncement that gets most people kicked out of bed but that has kept Mr. Cioran going for the rest of his life."—Judith Shulevitz, New York Times Book Review