His poems chart a course through his own highly original American dreamscape in language that is fresh, accessible, and remarkably precise. This debut collection has received extraordinary acclaim from readers and reviewers alike and is quickly becoming a cult classic. As Pulitzer Prize-winning poet James Tate said, "These poems are beautiful, strange, intelligent, and funny. . . . It's a book for everyone."

    It is an inspired study in moral uncertainty with the compellingly certain structure of an old-fashioned detective drama. Even as Doubt holds your conscious attention as an intelligently measured debate play, it sends off stealth charges that go deeper emotionally. One of the year’s ten best.”—Ben Brantley, The New York Times“[The] #1 show of the year. How splendid it feels to be trusted with such passionate, exquisite ambiguity unlike anything we have seen from this prolific playwright so far. Blunt yet subtle, manipulative but full of empathy for all sides, the play is set in 1964 but could not be more timely. Doubt is a lean, potent drama . . . passionate, exquisite, important, and engrossing.”—Linda Winer, NewsdayChosen as the best play of the year by over 10 newspapers and magazines, Doubt is set in a Bronx Catholic school in 1964, where a strong-minded woman wrestles with conscience and uncertainty as she is faced with concerns about one of her male colleagues. This play by John Patrick Shanley—the Bronx-born-and-bred playwright and Academy Award-winning author of Moonstruck—dramatizes issues straight from today’s headlines within a world re-created with knowing detail and a judicious eye. After a stunning, sold-out production at Manhattan Theatre Club, the play has transferred to Broadway.John Patrick Shanley is the author of numerous plays, including Danny and the Deep Blue Sea, Dirty Story, Four Dogs and a Bone, Psychopathia Sexualis, Sailor’s Song, Savage in Limbo, and Where’s My Money?. He has written extensively for TV and film, and his credits include the teleplay for Live from Baghdad and screenplays for Congo, Alive, Five Corners, Joe Versus the Volcano (which he also directed), and Moonstruck, for which he won an Academy Award for original screenplay.

    Published posthumously in 1869, Paris Spleen was a landmark publication in the development of the genre of prose poetry—a format which Baudelaire saw as particularly suited for expressing the feelings of uncertainty, flux, and freedom of his age—and one of the founding texts of literary modernism.

    Dedicating his work to Elizabeth I, Spenser brilliantly united medieval romance and renaissance epic to expound the glory of the Virgin Queen. The poem recounts the quests of knights including Sir Guyon, Knight of Constance, who resists temptation, and Artegall, Knight of Justice, whose story alludes to the execution of Mary Queen of Scots. Composed as an overt moral and political allegory, The Faerie Queene, with its dramatic episodes of chivalry, pageantry and courtly love, is also a supreme work of atmosphere, colour and sensuous description.

    The themes in White Buildings are abstract and metaphysical, but Crane's associations and images spring from the American scene. Eugene O'Neill wrote: "Hart Crane's poems are profound and deep-seeking. In them he reveals, with a new insight and unique power, the mystic undertones of beauty which move words to express vision." "Genius is a mystery resistant to reductive analysis, whether sociobiological, psychological, or historical. Like Milton, Pope, and Tennyson, the youthful Crane was a consecrated poet before he was an adolescent."—Harold Bloom "Crane's poems are as distinct from those of other contemporary American poets as one metal from another. This man is a mystical maker: he belongs to a group of poets who create their world, rather than arrange it, and who employ the idiom of their fellows with divine arbitrariness to model the vision of themselves."—The New Republic "In single lines of arresting and luminous quality and in whole poems Mr. Crane reveals that his originality is profound."—Times Literary Supplement  "The line structure is so beautiful in itself, the images so vividly conceived, and the general aura of poetry so indelibly felt that the intelligent reader will move pleasurably among the impenetrable nuances."—New York Times

    The first-person narrative is supplemented by forty-four photographs which form an integral part of the work -- pictures of various surreal people, places, and objects which the author visits or is haunted by in naja's presence and which inspire him to mediate on their reality or lack of it. The Nadja of the book is a girl, but, like Bertrand Russell's definition of electricity as not so much a thing as a way things happen, Nadja is not so much a person as the way she makes people behave. She has been described as a state of mind, a feeling about reality, k a kind of vision, and the reader sometimes wonders whether she exists at all. yet it is Nadja who gives form and structure to the novel.

    Relying entirely on the words of the legal decision Gregson v. Gilbert--the only extant public document related to the massacre of these African slaves--Zong! tells the story that cannot be told yet must be told. Equal parts song, moan, shout, oath, ululation, curse, and chant, Zong! excavates the legal text. Memory, history, and law collide and metamorphose into the poetics of the fragment. Through the innovative use of fugal and counterpointed repetition, Zong! becomes an anti-narrative lament that stretches the boundaries of the poetic form, haunting the spaces of forgetting and mourning the forgotten. Check for the online reader's companion at http: //zong.site.wesleyan.edu.

    Afterlife is a journey from the darkness to the light again, and again, and again.This poetry collection discusses depression, anxiety, trauma flashbacks, intrusive thoughts, death, self-harm, suicidal ideations, strong language.Please practice self-care while reading this poetry collection.Please see appendix at the end of the collection for detailed page number content warnings.Also available for download on Payhip: https://payhip.com/b/hYbl

    We hear it in the poems of Langston Hughes, E. E. cummings, William Carlos Williams, Frank O’Hara, and Gwendolyn Brooks, and in those of Yusef Komunyakaa, Charles Simic, Rita Dove, Ntozake Shange, Mark Doty, William Matthews, and C. D. Wright. Here are poems that pay tribute to jazz’s great voices, and poems that throb with the vivid rhythm and energy of the jazz tradition, ranging in tone from mournful elegy to sheer celebration.

    Riley’s debut collection is an arsenal of deeply personal poems that embody an intensity that is truly impressive yet their hands are tender. She enlists you. She gives you camouflage & a pair of boots so you can stay the course through the minefield of her heart. You will track the lovely flow of her soft yet fierce voice through a jungle of powerful imagery on womanhood, relationships, family, grief, sexuality & love, amidst other matters. Battles with the heart aren’t easily won but Riley hits every mark. You’ll be relieved that you’re on the same side. Much like war, you’ll come back from this book changed.

    K. Williams's sensual poems, but it is also an imaginative treatment of the consternations that interrupt life's easy narrative. National Book Critics Circle Award-winner Williams keeps the self in repair despite love, death, social disorder, and the secrets that separate and join intimates. These forty poems experiment with form but maintain what Alan Williamson has heralded Williams for having so steadily developed from French influences: "the poetry of the sentence."

    Emily is a member of a family in the antebellum Southern aristocracy; after the Civil War, the family has fallen on hard times.

    Filled with colored original artwork from Jess Cruickshank, this powerful collection unpacks how to heal from trauma, explores love in many forms, and empowers you to love yourself and take up the space you deserve.BIG BANG THEORYwhat happens if we collide?will it feel like atoms bursting?will it burn like light?will your hands feel the same as other people's hands?will the whole world change if we touch?do you want to find out?

    A satirical poem that intentionally over-dramatizes an incident in which a lock of a woman's hair is cut without her permission.

    With an exuberant appetite for “my morning song, my scurry-step, my dew,” anchored in complicated human situations, this astounding young poet’s third collection of poems is her strongest yet.