Robert Creeley, who was involved with the publication of this volume before his death in 2005, helped define an emerging counter-tradition to the prevailing literary establishment--the new postwar poetry originating with Ezra Pound, William Carlos Williams, and Louis Zukofsky and expanding through the lives and works of Charles Olson, Robert Duncan, Allen Ginsberg, Denise Levertov, and others. "The Collected Poems of Robert Creeley, 1975-2005" will stand together with "The Collected Poems of Robert Creeley, 1975-2000" as essential reading for anyone interested in twentieth-century American poetry.

    Mary Ruefle is of their number. Her poems discover the full beauty and anguish of life that most of us dare not see, much less depict in luminous detail for the ages.

    In her new collection, Medicine, she deploys a variety of dramatic voices, spoken by such disparate characters as Cinderella's wicked sisters, the wife of a nineteenth-century naturalist, a homicide detective, and a woman who is happily married to a bear. Their elusive collectivity suggests, but never quite defines, the floating authorial presence that haunts them. Gerstler's abiding interests--in love and mourning, in science and pseudo-science, in the idea of an afterlife--are strongly evident in these new poems, which are full of strong emotion, language play, surprising twists, and a wicked sense of black humor.

    An enlarged edition, including thirty pages of illustrations (sculpture and drawings) as well as Pound's later pieces on Gaudier, was brought out in 1970, and is now re-issued as an ND Paperbook. The memoir is valuable both for the history of modern art and for what it shows us of Pound himself, his ability to recognize genius in others and then to publicize it effectively. Would there today be a Salle Gaudier-Brzeska in the Musée de L'Art Moderne in Paris if Pound had not championed him? Gaudier's talent was impressive and his Vorticist aesthetic important as theory, but he was killed in World War I at the age of twenty-three, leaving only a small body of work. Pound knew Gaudier in London, where the young artist had come with his companion, the Polish-born Sophie Brzeska. whose name he added to his own. They were living in poverty when Pound bought Gaudier the stone from which the famous "hieratic head" of the poet was made. Pound arranged exhibitions and for the publication of Gaudier's manifestoes in Blast and The Egoist. And he wrote and sent packages to him in the trenches, where Gaudier––a sculptor to the last––carved a madonna and child from the butt of a captured German rifle, just two days before he died.

    Introduction by George Stade.

    We were made to sing and recite poetry in groups. The rhyming words somehow would bring a sense of enjoyment, and they won’t leave our mind even with the passing days. Poetry holds magic. A magic to change the moment and bring out the joyous hidden self. We all in some point or another had come across a poetry that either taught us the unlearned or brought back a memory or just a smile.Piece of poetry is an effort to share some thoughts through prose. Each poetry was written with a story in mind, willing to be talked about. The thoughts that didn’t need sophisticated words, but they were craving for rhythm.The idea was to point out some of the feelings and emotions that were desperate to be shared. Some untold words, a certain perspective that was always doubted by self and others. Piece of poetry is an honest attempt to format these feelings into a song, hoping that it would stick with everyone who decided to read it.

    This collection suggests that a person is like a world, full of mysteries and wonders–and equally in need of an encyclopedia, a compendium of everything known. The long title sequence offers entries such as “The Sun” (“There is one mind in all of us, one soul, / who parches the soil in some nations / but in others hides perpetually behind a veil”), “The Elephant” (“How to explain my heroic courtesy?”), “The Pigeon” (“Once startled, you shall feel hours of weird sadness / afterwards”), and “Randall Jarrell” (“If language hurts you, make the damage real”). The mysteriously emotional individual poems coalesce as a group to suggest that our natural world is populated not just by fascinating creatures–who, in any case, are metaphors for the human as Chiasson considers them– but also by literature, by the ghosts of past poetries, by our personal ghosts. Toward the end of the sequence, one poem asks simply, “Which Species on Earth Is Saddest?” a question this book seems poised to answer. But Chiasson is not finally defeated by the sorrows and disappointments that maturity brings. Combining a classic, often heartbreaking musical line with a playful, fresh attack on the standard materials of poetry, he makes even our sadness beguiling and beautiful.

    He arrived in Vietnam in 1964 and volunteered to join the worlds first attack helicopter company. The Utility Tactical Transport Helicopter Company (UTT) had deployed to Vietnam in 1962. It came equipped with the U.S. Armys brand new UH-1 Huey, a helicopter originally designed as an aerial ambulance. The crews, not happy with a passive combat role, began experimenting with ways to strap guns on their aircraft and attack the enemy. Through a deadly process of trial and error the pilots pushed their machines to the edge. Mistakes were made, crews were lost and lessons were learned. These lessons evolved into combat tactics and became fondly known as the 12 Cardinal Rules of Attack Helicopter Combat. Upon joining the unit the author learned about the rules. He studied them and on his first day in combat, developed his own 13th rule. Over his ensuing three years in Vietnam, the rules, especially the 13th, helped him survive over one thousand combat missions. This book provides the reader with a cockpit level view of dozens of those missions and describes several additional near disaster situations encountered by the author during over 25 years flying Army Aircraft. The author is successful in striking a balance between the grim realities of combat and the often humorous aspects of life among a group of high spirited aviators who fly into the jaws of death daily without a parachute on their back. He suggests that the 13 rules, although developed during a different war and at a different time, are applicable to armed helicopter combat operations in the 21st Century. The book contains about 200 pages and is nicely illustrated with 50 photographs.

    And I’ve chosen not to spend it constantly stressing about cancer. I’ve chosen to enjoy the little things. I’ve chosen to laugh. And I’ve chosen to look back on my life and thank God for it.' In March 2017, Linda Nolan was diagnosed with secondary breast cancer and was given the terrible news that, while it was treatable, it was not curable. Her first thought was to worry about her family, who were still grieving the loss of their sister Bernie. Her second was, ‘But I’m alive and I’m going to fight it.’In From My Heart, Linda writes honestly about growing up in her big Irish family and finding fame with her sisters in The Nolans and reveals the shocking family secrets and feuds that threatened to tear them apart. She also describes her original battle with breast cancer and how the death of her husband left her deeply depressed, to the point of feeling suicidal. Just as she’d learned to embrace life again, and even to start dating, the cancer came back . . . In this warm, brave and funny memoir, Linda shows that it’s never too late to learn what really matters.

    Great Freedom, whereby you are not bound by the life you live in.The writings of Truth that guides you to the life of wisdom, cleanses your mind and leads you to the true and eternal world.

    

    Hejinian's characteristic linguistic intensity and philosophical approach are present in this book- length poem. "Reading Lyn Hejinian's HAPPILY can make one imagine a second, somewhat happier Stein telling stories in single long or short lines that are aware of one another as they go about their own affairs."--Bob Perelman "HAPPILY"...is a series of aphoristic statements interrogating 'hap' or, more prosaically, one's lot in life, one's fortune. This notion of chance as it is expressed through its root form, as in to happen, happenstance, happenings, haphazard, happenchance, happily, and happy happiness, becomes the generator that enlivens this ontological exploration of language's relationship to experience."--Claudia Rankine

    No Lions team had ever defeated the All Blacks in a Test series. Since 1904, six Lions sides had travelled to New Zealand and all had returned home with their tails between their legs. But in 1971 a tour party led by John Dawes set out to carve their names into the annals of the sport with their assault on the great bastion of world rugby. Lying in wait were team after team of hardened rugby warriors and an All Blacks side filled with legends of the game. But as the Lions began to sweep their way across the length and breadth of the country, displaying ferocity and magic in equal measure, it became clear that a Test series of epic proportions was set to unfold. When Lions Roared delves into the very heart of that famous summer as Lions, All Blacks and provincial players recount their memories to bring to life one of the most celebrated tours in rugby history - one that changed the game forever and continues to resonate powerfully to this day.

    Heralded as "one of our most vital, unclassifiable writers" by the Voice Literary Supplement, Fanny Howe has published more than twenty books and is the recipient of the Gold Medal for Poetry from the Commonwealth Club of California. In addition, her Selected Poems received the 2001 Lenore Marshall Poetry Prize for the Most Outstanding Book of Poetry Published in 2000 from the Academy of American Poets.The poems in Gone describe the transit of a psyche, driven by uncertainty and by love, through various stations and experiences. This volume of short poems and one lyrical essay, all written in the last five years, is broken into five parts; and the longest of these, "The Passion," consecrates the contradictions between these two emotions. The New York Times Book Review said, "Howe has made a long-term project of trying to determine how we fit into God's world, and her aim is both true and marvelously free of sentimental piety." With Gone, readers will have the opportunity to experience firsthand Howe’s continuation of that elusive and fascinating endeavor.

    The book follows his life from his poor family's flight from the Japanese to Hong Kong in 1940, to his famous takeover of the British hong Hutchison Whampoa in 1979, and expansion of his business empire to become one of the ten richest people in the world. Mr Li entered business as a teenager, selling plastic goods, until at twenty-two, he started his own plastics company, Cheung Kong, specializing in plastic flowers. He entered the real estate market in the 1960s, and, by 1979, only the colonial government owned more real estate in Hong Kong than Mr Li. He eventually built a conglomerate encompassing Canada, Britain, parts of the US, and South America, extending into media, hotels, shipping, oil, and grocery stores.