This collection suggests that a person is like a world, full of mysteries and wonders–and equally in need of an encyclopedia, a compendium of everything known. The long title sequence offers entries such as “The Sun” (“There is one mind in all of us, one soul, / who parches the soil in some nations / but in others hides perpetually behind a veil”), “The Elephant” (“How to explain my heroic courtesy?”), “The Pigeon” (“Once startled, you shall feel hours of weird sadness / afterwards”), and “Randall Jarrell” (“If language hurts you, make the damage real”). The mysteriously emotional individual poems coalesce as a group to suggest that our natural world is populated not just by fascinating creatures–who, in any case, are metaphors for the human as Chiasson considers them– but also by literature, by the ghosts of past poetries, by our personal ghosts. Toward the end of the sequence, one poem asks simply, “Which Species on Earth Is Saddest?” a question this book seems poised to answer. But Chiasson is not finally defeated by the sorrows and disappointments that maturity brings. Combining a classic, often heartbreaking musical line with a playful, fresh attack on the standard materials of poetry, he makes even our sadness beguiling and beautiful.

    Hejinian's characteristic linguistic intensity and philosophical approach are present in this book- length poem. "Reading Lyn Hejinian's HAPPILY can make one imagine a second, somewhat happier Stein telling stories in single long or short lines that are aware of one another as they go about their own affairs."--Bob Perelman "HAPPILY"...is a series of aphoristic statements interrogating 'hap' or, more prosaically, one's lot in life, one's fortune. This notion of chance as it is expressed through its root form, as in to happen, happenstance, happenings, haphazard, happenchance, happily, and happy happiness, becomes the generator that enlivens this ontological exploration of language's relationship to experience."--Claudia Rankine

    Her poetic strength lies in her ability to cast poems as modern myths and allegories. Propelled by patterned repetitions and lush cadences, the poems move the reader through a landscape where waking and dream consciousness fuse.Brigit Pegeen Kelly teaches creative writing at the University of Illinois at Urbana-Champaign. Her poetry collections are Song (BOA Editions), the 1994 Lamont Poetry Selection of The Academy of American Poets and a finalist for the 1995 Los Angeles Times Book Award, and To the Place of Trumpets, selected by James Merrill for the 1987 Yale Series of Younger Poets Prize.

    Toklas had rented in the Rhone Valley, Stanzas in Meditation is one of Stein's most abstract and complex works. It is almost as if Stanzas was conceived as a mirror opposite of The Autobiography of Alice B. Toklas, penned in the same year. The latter, written in a more direct and normative language, brought Stein international acclaim and resulted in the attention she received from 1934 on, while the former remained unavailable until its publication, after her death, in 1956. To Stein readers and admirers, however, this is one of her most important works, a poetic achievement central to her canon. From John Ashbery's groundbreaking essay-review of Stanzas in 1957 to Richard Bridgman's 1970 publication, Gertrude Stein in Pieces, poets and critics have recognized the importance of this masterpiece.

    Not a typical tourist, she prefers indoor spaces, seeing Paris go by on TV or watching from her window the ever-changing displays of men's designer clothing across the boulevard. Or she roams the streets, caught between nostalgia and a competing sense of the present day, between Paris's rich cultural traditions and the realities of Western imperialism. Disillusioned by her inability to reconcile these contradictions and by her own part in perpetuating them, she assembles in her journal pieces of the present, past, of art, philosophy, of herself, and of the world outside her.

    It's even bemoaned by poets: "I, too, dislike it," wrote Marianne Moore. "Many more people agree they hate poetry," Ben Lerner writes, "than can agree what poetry is. I, too, dislike it and have largely organized my life around it and do not experience that as a contradiction because poetry and the hatred of poetry are inextricable in ways it is my purpose to explore."In this inventive and lucid essay, Lerner takes the hatred of poetry as the starting point of his defense of the art. He examines poetry's greatest haters (beginning with Plato's famous claim that an ideal city had no place for poets, who would only corrupt and mislead the young) and both its greatest and worst practitioners, providing inspired close readings of Keats, Dickinson, McGonagall, Whitman, and others. Throughout, he attempts to explain the noble failure at the heart of every truly great and truly horrible poem: the impulse to launch the experience of an individual into a timeless communal existence. In The Hatred of Poetry, Lerner has crafted an entertaining, personal, and entirely original examination of a vocation no less essential for being impossible.

    What is the difference, he asks, between good and evil, cruelty and instruction, risk and trust? Against the backdrop of the natural world, Phillips pitches the restlessness of what it means to be human, as he at once deepens and extends a meditation on that space where the forces of will and imagination collide with sexual and moral conduct.

    Reflecting recent struggles around #MeToo, and the growing interest in witchcraft and astrology, these poems unmake the world around them so that it might be remade anew. Spells are poems; poetry is spelling. Spell-poems take us into a place where the right words can influence the universe.Edited by Sarah Shin and Rebecca Tamás, with an introduction by So Mayer, Spells other contributors include Rachael Allen, Nuar Alsadir, Khairani Barokka, Emily Berry, A.K. Blakemore, Jen Calleja, Vahni Capildeo, Kayo Chingonyi, Elinor Cleghorn, Nia Davies, Kate Duckney, Livia Franchini, Will Harris, Caspar Heinemann, Rebecca May Johnson, Amy Key, Daisy Lafarge, Francesca Lisette, Canisia Lubrin, Karen McCarthy Woolf, Lucy Mercer, Hoa Nguyen, Rebecca Perry, Nat Raha, Nisha Ramayya, Sophie Robinson, Erica Scourti, Dolly Turing, and Jane Yeh.

    It features eight great poets, with brief, accessible essays concerning their life and work and a selection of their poems, and it is accompanied by an 80-minute CD recorded live at the British Library: Ralph Fiennes reading Auden, Edward Fox reading Eliot, Roger Moore reading Kipling, Harold Pinter reading Larkin, and more.Whether you believe (like Robert Frost, who inspired the title) that poetry is a way of taking life by the throat or (like T. S. Eliot) that it is one person talking to another, nobody does it better than the poets featured in this book. For a novice discovering the rich heritage of English-language verse or a seasoned poetry reader, Catching Life by the Throat is an extraordinary introduction to eight iconic poets.

    This well-chosen and comprehensive collection offers a compact and affordable alternative to larger and more expensive anthologies.

    Wright interweaves familiar, coloquial speech with strikingly inventive language, leaving each poem a distinctive entity, yet interconnected by linked metaphors and images.

    The title refers to the idea that those who are deviant propel the world forward at top speed. Delving into the center of the endless webs of repression against our bodies, desires, politics, and imaginations, are those whose actions and motion cut away at the systemic limitations of society. This collection of poems was written with the inspiration and work of these people in mind.As a working class queer poet, Conrad has had to fight through different stratifications of oppression his entire life. His poems vibrate with the flamboyant desire that manifests itself in queer culture, where the right to act on basic desires can become a battleground, and everyday acts of love and devotion must be enacted as a political form of defiance. The poems that emerge from this life long struggle illustrate the sharp edge of that defiance and desire, where joy is closely linked to death. In a world ruled by those who govern with fear, and in a landscape barbed with those who are terrified of desire, moving at speed of deviants is the only way to transform potential into action, and desire into positive change.

    Bacovia's prose and prose poems reveal his concern for the underdog and his yearning for new ideals. His descriptions of people and places are often set against a lyrical background and linked to an internal dialogue or a rhetorical question. They are sensual with powerful visual images, which also reveal Bacovia's introspective eroticism.

    At last, just in time for his 99th birthday, a powerful overview of one of America's most beloved poets: New Directions is proud to present a swift, terrific chronological selection of Ferlinghetti's poems, spanning more than six decades of work and presenting one of modern poetry's greatest achievements.

    These poems comb through violence and love, fear and loss, exploring the common denominators in each. Against Which seeks the ways human beings might transform themselves from participants in a thoughtless and brutal world to laborers in a loving one.