Nonetheless, she traveled from Rhode Island to El Santuario de Chimayo in New Mexico to bring home a miracle for her dying father. Ultimately, Ann Hood discovered the courage to accept what had come her way, and an appreciation for the faith in miracles. Do Not Go Gentle is a profound journey into the nature of miracles, and one woman's revelatory reflection upon her spiritual heritage.

    Thomas' acclaimed translations of Akhmatova's poems. This volume includes "Requiem", her poem of the Stalinist Terror and "Poem Without a Hero".

    Guest editor Robert Bly, an award-winning poet and translator -- famous, too, for his leadership role in the men's movement and his bestselling book, Iron John -- has made selections that present American poetry in all its dazzling originality, richness, and variety. The year's poems are striking in their vibrancy; they all display that essential energy that Bly calls "heat," whether the heat of friendship, the heat of form, or the heat that results when a poet "brings the soul up close to the thing" he or she is contemplating. With comments from the poets illuminating their work, The Best American Poetry 1999 reflects the most exciting and memorable poetry being written at the end of the millennium.

    Is your world familiar? Comfortable? Does it seem the same today as it was yesterday? It isn't. Something is loose in your world that wasn't there before. Something terrible.It is born of the devil, nurtured in evil, and set loose to do its vile work. It moves its foul form with a sleek, sudden, malevolent grace. It comes, it touches, it takes over. Then the horror begins. An aging surgeon, a captured fugitive, a pregnant mother, an innocent hospital worker -- each is its victim, driven by a grotesque impulse to acts of murder, mayhem, nymphomania, infanticide, cannibalism.Can it be stopped? Perhaps...But the battle will be waged by a few brave, desperate souls on the edge of Hell, while Satan awaits the triumph of his cherished Darklings.

    His poetry, whether dealing with art, war, memories of childhood, or the loneliness of everyday life, is powerful and moving. A poet of colloquial language, ample generosity, and intimacy, Jarrell wrote beautifully "of the American landscape," as James Atlas noted in American Poetry Review, "[with] a broad humanism that enabled him to give voice to those had been given none of their own."The Complete Poems is the definitive volume of Randall Jarrell's verse, including Selected Poems (1955), with notes by the author; The Woman at the Washington Zoo (1960), which won the National Book Award for Poetry; and The Lost World (1965), "his last and best book," according to Robert Lowell. This volume also brings together several of Jarrell's uncollected or posthumously published poems as well as his Rilke translations.

    Tap Out, Edgar Kunz’s debut collection, reckons with his working‑poor heritage. Within are poignant, troubling portraits of blue‑collar lives, mental health in contemporary America, and what is conveyed and passed on through touch and words―violent, or simply absent.   Yet Kunz’s verses are unsentimental, visceral, sprawling between oxys and Bitcoin, crossing the country restlessly. They grapple with the shame and guilt of choosing to leave the culture Kunz was born and raised in, the identity crises caused by class mobility. They pull the reader close, alternating fierce whispers and proud shouts about what working hands are capable of and the different ways a mind and body can leave a life they can no longer endure. This hungry new voice asks: after you make the choice to leave, what is left behind, what can you make of it, and at what cost?

    In the Western Night brings together in one volume all of the poems to date, including many previously unpublished poems, of one of the most exciting and gifted poets writing today.

    Schmidt offers the first anthology to gather poems by the 43 poets laureate of the United States.

    Prynne is Britain's leading late Modernist poet. His austere yet playful poetry challenges our sense of the world, not by any direct address to the reader but by showing everything in a different light, enacting slips and changes of meaning through shifting language. When his Poems was first published in 1999, it was immediately acclaimed as a landmark in modern poetry. This expanded edition includes four later collections only previously available in limited editions.

    Opening with twenty new poems and including generous selections from Jane Kenyon's four previous books—From Room to Room, The Boat of Quiet Hours, Let Evening Come, and Constance—this collection was selected and arranged by Kenyon herself—alongside her husband, the esteemed poet Donald Hall—shortly before her death in April 1995.This extensive gathering reveals a scrupulously crafted body of work in which poem after poem achieves a rare and somber grace. Light and shade are never far apart in these telling narratives of life and love and work at the poet's rural New Hampshire home. The shadow of depression in Kenyon's verse, which grew much darker and longer at certain intervals, has the force and heft of a spiritual presence—a god, demon, angel. Yet her work emphasizes the constant effort of her imagination to confront and even find redemption in suffering. However quiet or domesticated or subtle in her moods and methods, Kenyon was a poet who sought to discover the extraordinary within the ordinary, and her poems continue to make this discovery. As Hall writes in the afterword to Otherwise, we share "her joy in the body and the creation, in flowers, music, and paintings, in hayfields and a dog."

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

    African American Studies. TWERK unveils an identity shaped by popular media and history, code switching and cultural inclusivity. The poems, songs, and myths in this long-awaited first book are as rooted in lyric as in innovation, in Black music as in macaronic satire. TWERK evokes paradox, humor, and vulnerability, and it offers myriad avenues fueled by language, idiom, and vernacular. From a poet unafraid to take risks, this book asks only that we imagine America as it has always existed, an Americana beyond the English language."Here it is: a dope jam of dictions; a remixed, multicultural, polyphonic dance of vocabularies; a language of high stakes, hi-jinx, and hybridity. TWERK is subversive, vulnerable, and volatile. TwERK twists tongues. TwERK tweaks speech. Reading these amazing poems mostly makes me say, Wow! Open your ears to take this music in, open your mouth to say it out loud. And: Wow!"--Terrance Hayes"Tweaking parallel languages, rebooting and putting them to (hard, hard) work, TWERK's non-stop shimmy-shimmy embarks on an anime-iigjag idio-lingual-lectical booty-roll and doesn't come down until the break of dawn. La Reina de Harlem responds to Lorca's Big-Apple-opolis heteroglossia with her own inimitable animations, incantations and ululations, twisting tongues so mellifluously that you don't even realize you've been dancing on Saturn with Sun Ra for hours and still could have begged for more. Welcome LaTasha Diggs: this is her many-splendored night out!"--Maria Damon"From this time forward, TWERK, can refer to a collection of cultural coordinates of a radically transformed Americas. TWERK--is rare poetics, a vine enmeshed onyx slab of gypsum glyphs inscribed. Cut, swirly, and nervy, N. Diggs's fractal-linguistic urban chronicles deftly snip away at the lingering fears of a fugitive English's frisky explorations. In her first major work, N. Diggs doesn't so much 'find' culture as she conjures up the new emerging happy peoples herein. Five thousand updates--download now!"--Rodrigo Toscano

    A series of essays including: Stealing Tomorrow, Down the Rabbit-Hole to TV-Land, Rolling Dat Ole Debbil Electronic Stone, Defeating the Green Slime, Fear Not your Enemies, From Albany, With Hate, Centerpunching, Voe Doe Dee Oh Doe, Cheap Thrills on the Road to H*ll, and more.

    The resulting collection is the essential starting place for new readers, the quarry for those familiar with his work. Among the new poems is "Easter Morning," which the critic Helen Vendler called "a classic poem . . . a revelation."

    A shockingly assured first collection from young poet Jesse Ball, its elegant lines and penetrating voice present a poetic symphony instead of a simple succession of individual, barely-linked poems. Craftsmanship defines this collection; it is full of perfect line-breaks, tenderly selected words, and inventive pairings. Just as impressive is the breadth and ingenuity of its recurring themes, which crescendo as Ball leads us through his fantastic world, quietly opening doors.In five separate sections we meet beekeepers and parsons, a young woman named Anna in a thin, linen dress and an old scribe transferring the eponymous March Book. We witness a Willy Loman-esque worker who "ran out in the noon street / shirt sleeves rolled, and hurried after / that which might have passed" only to be told that there's nothing between him and "the suddenness of age." While these images achingly inform us of our delicate place in the physical world, others remind us why we still yearn to awake in it every day and "make pillows with the down / of stolen geese," "build / rooms in terms of the hours of the day." Like a patient Virgil, insistent and confident, Ball escorts us through his mind, and we're lucky to follow.