An anthology of some the best poems written by Harivansh Rai Bachchan,which have been selected specially for this anthology by himself.

    Offered here are tales of battle, travel, and adventure, but also songs of heartache and longing, pearls of lusty innuendo and clear-eyed stoicism, charms and spells for everyday use, and seven "hoards" of delightfully puzzling riddles.Featuring all-new translations by seventy-four of our most celebrated poets—including Seamus Heaney, Robert Pinsky, Billy Collins, Eavan Boland, Paul Muldoon, Robert Hass, Gary Soto, Jane Hirshfield, David Ferry, Molly Peacock, Yusef Komunyakaa, Richard Wilbur, and many others—The Word Exchange is a landmark work of translation, as fascinating and multivocal as the original literature it translates.

    That night, Sater came home and began writing the first lyric of Spring Awakening: "Mama Who Bore Me" - a lyric which still stands, verbatim, just as he first wrote it. Ten years later, in the wake of the enormous international success of this groundbreaking, multiaward-winning show, its original director, Michael Mayer, urged Sater to write notes explicating its famously evocative, poetic lyrics. In rich detail, Sater's notes address the literary sources and allusions of each lyric. He also writes feelingly of what prompted the songs over the course of the show's eight years of development. In so doing, Sater expands on his partnership with Sheik and his experiences with original cast members, Lea Michele and Jonathan Groff, now also known from Glee. These notes will prove invaluable for fans of the show, for all those interested in theater, and most especially for all the young performers who will play the roles and sing these songs.

    

    Lyrically complex and startling—yet forthright and unflinching— these poems address rape, abortion, sex work, and other subjects frequently omitted from male-dominated literary traditions, without forsaking the pleasures of being embodied, or the value of personal freedom, of moonlight, and of hope. Throughout, the topography and mythology of California, as well as the uses and failures of language itself, are players in what it means to be a woman, a sexual being, and a trauma survivor in contemporary America.

    "While the new sentence--the prose wing of Language writing--strips narrative down to pointed sets of shifting referents, Lu, in her debut, knowingly resuscitates it, creating a precise and humorous elegy to the self, and to its self-subversions. This quasi-bildungsroman charts the emergence of an 'I' (not 'P' and not 'Pamela, ' though the three characters do appear together) into a 20-something Bay Area, with memories of a suburban childhood close on her heels.... This is a book of extraordinary philosophical subtlety and clarity, one that manages to tell a beautiful story in spite of itself"--Publishers Weekly.

    . . . Beautiful & Pointless is a clear-eyed, opinionated, and idiosyncratic guide to a vibrant but endangered art form, essential reading for anyone who loves poetry, and also for those of us who mostly just admire it from afar." —Tom PerrottaAward-winning New York Times Book Review poetry columnist David Orr delivers an engaging, amusing, and stimulating tour through the world of poetry. With echoes of Francine Prose’s Reading Like a Writer, Orr’s Beautiful & Pointless offers a smart and funny approach to appreciating an art form that many find difficult to embrace.

    Johannes Göransson's translation captures the seething instability of Berg's bizarre compound nouns and linguistic contortions.

    Eliot Prize 2018One of Bustle's 12 Most Anticipated Poetry Collections for 2018Hannah Sullivan’s debut collection is a revelation – three long poems of fresh ambition, intensity, and substance. Though each poem stands apart, their inventive and looping encounters make for a compelling unity. "You, Very Young in New York" captures a great American city, in all its alluring detail. It is a wry and tender study of romantic possibility, disappointment, and the obduracy of innocence. "Repeat until Time" begins with a move to California and unfolds into an essay on repetition and returning home, at once personal and philosophical. "The Sandpit after Rain" explores the birth of a child and the loss of a father with exacting clarity. In Three Poems, readers will experience Sullivan's work with the same exhilaration as they might the great modernizing poems of Eliot and Pound, but with the unique perspective of a brilliant new female voice.

    A democracy. A savage liberty. And yet another anthem and yet another heavenand yet another party wants you. Wants you wants you wants you.—from "Groovallegiance"In one poem, Thomas Sayers Ellis prognosticates, "Pretty soon, the Age of the Talk Show / Will slip on a peel left in the avant- gutter." The result is The Maverick Room, the testing ground of determination and serendipity, where call-and-response becomes Steinian echo becomes Post-Soul percussive pleasure becomes a bootlegged recording hustled out of a D.C. go-go club.

    And yet, argues Mays in his stimulating and informative introduction, several of these works not only occupy a pivotal position in Joyce's career; they are also magnificently assured achievements in their own right. Chamber Music is 'an extraordinary début', fusing the styles of the nineties and the Irish Revival with irony and characteristic verbal exuberance. Pomes Penyeach and Exiles (highly acclaimed in Harold Pinter's 1970 staging) were written when Joyce had published Dubliners and was completing A Portrait of the Artist as a Young Man. Both confront painfully personal issues of adultery, jealousy and betrayal and so pave the way for the more detached and fully realized treatment in Ulysses. Joyce's occasional verse includes 'Ecce Puer' for his new-born grandson, juvenilia, satires, translations, limericks and a parody of Samuel Taylor Coleridge. All are brought together in this scholarly, fully annotated yet accessible new edition.

    No Fear Shakespeare gives you the complete text of The Tempest on the left-hand page, side-by-side with an easy-to-understand translation on the right. Each No Fear Shakespeare contains The complete text of the original play A line-by-line translation that puts Shakespeare into everyday language A complete list of characters with descriptions Plenty of helpful commentary

    Poems: Rimbaud contains selections from Rimbaud's work, including over 100 poems, selected prose, "Letter to Paul Demeny, May 15, 1871," and an index of first lines.

    The poems range in tone from the spiritual longing of an isolated monk to the erotic ecstasy of a court princess—but share the extraordinary simplicity and luminosity of language that marks Kenneth Rexroth's verse style. An introduction by the poet and translator Sam Hamill, the editor of this collection, and short biographies of the poets are included. The Shambhala Library is a series of exquisitely designed and produced cloth editions of the world's spiritual and literary classics, both ancient and modern. Perfect for collecting or as gifts, each volume features a sewn binding, decorative endsheets, and a ribbon marker—a delightful-to-hold 4 ¼ x 6 ¾ trim size.

    a collection of eighty-five poems, was Brautigan's sixth collection of poetry; his eighth poetry book publication. Brautigan visited Roxy and Judy Gordon in Austin, Texas, in August 1970. While there he was issued a Texas fishing license (August 14, 1970). It notes his height (6'4") and weight (165 pounds). The poem "Autobiography (Polish It like a Piece of Silver)," collected in Loading Mercury with a Pitchfork, contains a reference to Judy Gordon and Byrds, a town in central Texas, near Brownwood. Two poems, "A Study in Roads" and "Stone (real," both collected in June 30th, June 30th contain references to Bee Caves, Texas, a small town twelve miles west of Austin. Brautigan may have visited Bee Caves with the Gordons. Roxy Gordon, in turn, dedicated his book, Some Things I Did (Austin, Texas: The Encino Press, 1971) toRICHARD BRAUTIGANwhose favorite gun isthe Colt Navy .36In publicity materials associated with the publication of Gordon's book Brautigan wrote:Roxy and Judy Gordon are two very nice people with an open and perceptive way. Reading Roxy's book is to meet them.As to Gordon's reference to Brautigan's interest in the Colt Navy .36 handgun, novelist Tom McGuane said[Brautigan] had a fascination with the . . . Colt because it seemed to sum up gun owning, democratic gun manufacture, and excellence, all in one thing.