Ephemeral, vivid and therapeutic poems infused with mysticism and female sexuality are accompanied by intimate self-portraits and nude photographs of the artist's closest friends. Taken on black and white film, these pictures were created especially for this book of poetry making it both a visual and written account of the author's personal journey through a difficult time in her life. By diving deep into her individual and intimate experiences, Neringa creates a work of art where everyone can find themselves by immersing themselves in her honest storytelling.

    Here indeed is a monumental Faust, an audacious man boldly wagering with the devil, Mephistopheles, that no magic, sensuality, experience, or knowledge can lead him to a moment he would wish to last forever. Here, in Faust, Part I, the tremendous versatility of Goethe’s genius creates some of the most beautiful passages in literature. Here too we experience Goethe’s characteristic humor, the excitement and eroticism of the witches’ Walpurgis Night, and the moving emotion of Gretchen’s tragic fate.This authoritative edition, which offers Peter Salm’s wonderfully readable translation as well as the original German on facing pages, brings us Faust in a vital, rhythmic American idiom that carefully preserves the grandeur, integrity, and poetic immediacy of Goethe’s words.

    We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

    Since then, she's written eight more, three of which have been short-listed for England's prestigious Booker Prize, and one of which, Offshore, won. Now she's back with her tenth and best book so far, The Blue Flower. This is the story of Friedrich von Hardenberg--Fritz, to his intimates--a young man of the late 18th century who is destined to become one of Germany's great romantic poets. In just over 200 pages, Fitzgerald creates a complete world of family, friends and lovers, but also an exhilarating evocation of the romantic era in all its political turmoil, intellectual voracity, and moral ambiguity. A profound exploration of genius, The Blue Flower is also a charming, wry, and witty look at domestic life. Fritz's family--his eccentric father and high-strung mother; his loving sister, Sidonie; and brothers Erasmus, Karl, and the preternaturally intelligent baby of the family, referred to always as the Bernhard--are limned in deft, sure strokes, and it is in his interactions with them that the ephemeral quality of genius becomes most tangible. Even his unlikely love affair with young Sophie von Kühn makes perfect sense as Penelope Fitzgerald imagines it. The Blue Flower is a magical book--funny, sad, and deeply moving. In Fritz Fitzgerald has discovered a perfect character through whom to explore the meaning of love, poetry, life, and loss. In The Blue Flower readers will find a work of fine prose, fierce intelligence, and perceptive characterization.

    In this book, she has written a few poems, where she has described herself in some complex and in simple words. Most of the poems are about her black and white memories and few are on generic topics. In this book, the reader will see her describing a relationship between mother nature and human nature in a poetic way.

    Yum! I hope you like it.

    Considered one of the founders of European romanticism, Hölderlin had a mere 10 years to develop his distinctive style before falling prey to a debilitating mental illness, whose resultant works are the heartbreakingly sweet and melancholy pieces of the Späteste Gedichte (Last Poems). Each poem is presented in both its original German and a new English translation, while an illuminating introduction explores Hölderlin’s significance in the realm of literature as well as the tumultuous world in which he lived.

    Sebald, and his friend and collaborator, the German artist Jan Peter Tripp. For a number of years until Sebald's death in 2001, the two exchanged poems and lithographs. Unrecounted is the startlingly original result of this long artistic friendship - a creative dialogue inspired by shared concerns. Tripp's lithographs, which portray pairs of eyes - among them those of Beckett, Borges, Proust - combine with W.G. Sebald's words in Unrecounted to speak of moments salvaged from time passing, of our eyes bearing witness, and of memory and remembrance.'Condenses Sebald's complex visual imagination to its poetic core' Scotland on Sunday'Elegiac, enhancing ... Sebald will not be forgotten' Time Out'A haunting testament to Sebald's singular and lasting vision' Observer'The magic of W.G. Sebald's incandescent body of work continues to unfold, with this unexpected collaboration' Susan Sontag'Anyone with a serious interest in fiction should read Sebald' Daily TelegraphW.G. Sebald was born in Germany in 1944 and settled permanently in England in 1970, where he was Professor of European Literature at the University of East Anglia until his death in 2001. He is the author of four works of fiction: The Emigrants, which won the Berlin Literature Prize, the Heinrich Heine Prize, and the Joseph Breitbach Prize; The Rings of Saturn; Vertigo; and Austerlitz, which was awarded the Independent Foreign Fiction Prize and the National Book Critics Circle Award. Alongside this stand books of poetry For Years Now, After Nature, Unrecounted, and Across the Land and the Water, and the non-fiction books On the Natural History of Destruction and Campo Santo. Jan Peter Tripp was born in 1945 and lives and works in Alsace.

    He's set to wrestle and study creative writing at Columbia University in New York. These poems are a look into his early experiences with love and loss, an introspective coming of age tale told in verse.

    This is a short collection of poetry from the pen and mind of Nyles Adams, most of which originally appeared in other Alexandria House works.Read, absorb and snap your fingers if you are so inclined.

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

    He is most celebrated, however, for the casual notes and aphorisms that he collected in what he called his Waste Books. With unflagging intelligence and encyclopedic curiosity, Lichtenberg wittily deflates the pretensions of learning and society, examines a range of philosophical questions, and tracks his own thoughts down hidden pathways to disconcerting and sometimes hilarious conclusions.Lichtenberg's Waste Books have been greatly admired by writers as very different as Tolstoy, Einstein, and Andre Breton, while Nietzsche and Wittgenstein acknowledged them as a significant inspiration for their own radical work in philosophy. The record of a brilliant and subtle mind in action, The Waste Books are above all a powerful testament to the necessity, and pleasure, of unfettered thought.

    This extended satiric poem assesses the growing economic, political, and familial constraints of late 18th-century Catholic Ireland under British colonial rule, while subversively playing on the tradition of the aisling (or vision) poem in which a beautiful woman represents Ireland’s threatened sovereignty.At the beginning of The Midnight Court, a dreadful female envoy from the fairies appears in a dream to the unmarried poet. She summons him before the court of Queen Aoibheall in order to answer charges of wasting his manhood while women are dying for want of love. He listens to complaints that vary from the celibacy of the clergy to marriages performed between old and young for purely economic reasons. In all their bawdy tales, the female courtiers praise fertility, as well as sexual fulfillment, and condemn the conventions of the day. At last the Queen pronounces judgment on the poet, who awakens as he is being severely chastised by all of the women of the court.While containing many insights into 18th-century social conditions, The Midnight Court is also an exuberant, even jaunty work of the comic imagination. As the translator Ciaran Carson states in his foreword: “The protagonists of the ‘Court,’ including ‘Merriman’ himself, are ghosts, summoned into being by language; they are figments of the imagination. In the ‘Court’ the language itself is continually interrogated and Merriman is the great illusionist, continually spiriting words into another dimension.”

    

    S. Merwin, Allen Ginsberg, and Lawrence Ferlinghetti. In work spanning 30 years (1955-1985), Parra, the pioneer of "antipoetry," remains fresh, bold, and inventive, deftly and humorously subverting convention. Editor David Unger brings together poems from Parra's groundbreaking collection Poemas y antipoemas, the witty aphorisms of Artefactos, and his original and uncompromising later work.