Ashberry reaffirms the poetic powers that have made him such an outstanding figure in contemporary literature. This new book continues his astonishing explorations of places where no one has ever been.

    This definitive poetry collection, originally published in 1954 to honor Stevens on his 75th birthday, contains:- "Harmonium"- "Ideas of Order"- "The Man With the Blue Guitar"- "Parts of the World"- "Transport Summer"- "The Auroras of Autumn"- "The Rock"

    He can be jazzy and streetwise. Or cloak himself in antiquity. Simic has new eyes, and in these wonderful poems and poems-in-prose he lets the reader see through them.

    Live or Die, her third volume, consists of poems written from January 25, 1962 to February, 1966, many of them published in such leading periodicals as The New Yorker, Harper's and Encounter.These poems are arranged chronologically and compose a fierce and intimate autobiography. The poet speaks with total frankness, her imagery and reference brilliant and hard as diamonds. It is impossible for her to be banal. Much of her experience is rendered as nightmarish, but it is significant that the final poem is stunningly affirmative, its title the single command "Live."This collection is a striking body of work by a poet whose experience is intensely female, whose poetry is strong and powerful.

    The first section, Pictures from Brueghel, contains previously uncollected short poems, while the second and third parts are the complete texts of The Desert Music (1954) and Journey to Love (1955), originally published by Random House. In these books, Dr. Williams perfected his "variable foot" metric and achieved full mastery of the "American idiom" which was his lifelong first concern. Among the poems of this period is the long "Asphodel, That Greeny Flower" which W. H. Auden has called "one of the most beautiful love poems in the language." Pictures from Brueghel was awarded the Pulitzer Prize for Poetry only two months after William Carlos Williams' death on March 4, 1963.

    

    In such classics as "The Beekeeper's Daughter," "The Disquieting Muses," "I Want, I Want," and "Full Fathom Five," she writes about sows and skeletons, fathers and suicides, about the noisy imperatives of life and the chilly hunger for death. Graceful in their craftsmanship, wonderfully original in their imagery, and presenting layer after layer of meaning, the forty poems in The Colossus are early artifacts of genius that still possess the power to move, delight, and shock.

    In this wise and intimate telling—which carries us through the seasons when her marriage was ending—Sharon Olds opens her heart to the reader, sharing the feeling of invisibility that comes when we are no longer standing in love’s sight; the surprising physical bond that still exists between a couple during parting; the loss of everything from her husband’s smile to the set of his hip. Olds is naked before us, curious and brave and even generous toward the man who was her mate for thirty years and who now loves another woman. As she writes in the remarkable “Stag’s Leap,” “When anyone escapes, my heart / leaps up.  Even when it’s I who am escaped from, / I am half on the side of the leaver.” Olds’s propulsive poetic line and the magic of her imagery are as lively as ever, and there is a new range to the music—sometimes headlong, sometimes contemplative and deep. Her unsparing approach to both pain and love makes this one of the finest, most powerful books of poetry Olds has yet given us.

    Frost scholar Lathem, who was also a close friend of the four-time Pulitzer Prize-winner, scrupulously annotated the 350-plus poems in this collection, which has been the standard edition of Frost's work since it first appeared in 1969.

    He is a most agile poet in a precarious world. Life is alarming and absurd, but properly considered that absurdity reveals, often with laughter, the something else by which we live. The poems are about our world, our wrecked, vexed love for it. Tate has been described as a surrealist. If that is what he is, his surrealism issues in a vision of a world delivered back to itself by his unillusioned subversion and candor.

    Winner of the Nobel Prize in LiteratureFrom Pulitzer Prize-winning poet Louise Glück, a stunningly beautiful collection of poems that encompasses the natural, human, and spiritual realmsBound together by the universal themes of time and mortality and with clarity and sureness of craft, Louise Glück's poetry questions, explores, and finally celebrates the ordeal of being alive.

    A hard-drinking wild man of literature and a stubborn outsider to the poetry world, he wrote unflinchingly about booze, work, and women, in raw, street-tough poems whose truth has struck a chord with generations of readers.Edited by John Martin, the legendary publisher of Black Sparrow Press and a close friend of Bukowski's, The Pleasures of the Damned is a selection of the best works from Bukowski's long poetic career, including the last of his never-before-collected poems. Celebrating the full range of the poet's extraordinary and surprising sensibility, and his uncompromising linguistic brilliance, these poems cover a rich lifetime of experiences and speak to Bukowski's “immense intelligence, the caring heart that saw through the sham of our pretenses and had pity on our human condition” (New York Quarterly). The Pleasures of the Damned is an astonishing poetic treasure trove, essential reading for both longtime fans and those just discovering this unique and legendary American voice.

    S. Eliot and Ezra Pound, it was Pound alone who provided (in Hugh Kenner's words) "the synergetic presence" to convert individual experiment into an international movement. In 1926 Pound carefully sculpted his body of shorter poems into a definitive collection which would best show the concentration of force, the economy of means, and the habit of analysis that were, to him, the hallmarks of the new style.This collection, where Pound presented himself in a variety of characters or "masks," was called Personae. In 1926, Personae's publication gave solidity to a movement today the work stands as one of the classic texts of the twentieth century. Pound scholars Lea Baechler (of Columbia) and A. Walton Litz (Holmes Professor of English Literature at Princeton) have prepared a corrected text and supplied an informative "Note on the Text" explaining both Pound's original criteria for his selection and the volume's subsequent history.

    In 1918, she won the Columbia University Poetry Society Prize (which became the Pulitzer Prize for Poetry) and the Poetry Society of America Prize for Love Songs. She later committed suicide. In addition to new poems, this book contains lyrics taken from Rivers to the Sea, Helen of Troy and Other Poems, and one or two from an earlier volume.

    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."