Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    The poems in Pilgrim explore themes of departure, shelter, companionship, deep friendship and the necessary transformations of friendship, the struggles at crucial thresholds and the arrivals that always become further departures, offering companionship along the way.

    What did I know of our language but pieces? Would I teach her to be pieces? Until a friend comforted, Don’t worry, you and your daughter will learn together. Today she stood sunlight on her shoulders lean and straight to share a song in Diné, her father’s language. To sing she motions simultaneously with her hands; I watch her be in multiple musics.—from “WHEREAS Statements”WHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. “I am,” she writes, “a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation—and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live.” This strident, plaintive book introduces a major new voice in contemporary literature.

    

    The semi-autobiographical book is divided into two parts and takes place between two countries; Part I, “is a cloud a living thing?”, takes place during the Author’s tumultueuse teen years with tropical Florida as a backdrop. Part II, “Inside my Shell”, explores themes of transformation as the Author creates a new life in Paris, France. ​The poems in this collection explore the surreal rollercoaster of youth, the performance of identity, being an outsider and the tension between romantic idealism and the dystopic world in which the author finds herself. Her approach to her work as a visual artist is mirrored in her poetry style, which is accompanied by all original illustrations by the Author.

    Merwin's legacy is unquestionably secure: his best and most fierce poems are moody, visionary compositions that dive into the unconscious and the seeds of existence with an inwardness and scrutiny unique in American poetry."—Poetry"Merwin [is] fresh and awake with a simplicity that can only be called wisdom."—Publishers Weekly, starred reviewAn elaboration and response to his Pulitzer Prize-winning The Shadow of Sirius, W.S. Merwin examines everything from minute flowers to oceanic destruction, and weaves our complex relationship with the natural world with his own youth, memory, and intense engagement with the passing of days. With considered reverence, subtle might, and generous poetic imagination, Merwin presents a masterful and gorgeous collection.From "Wild Oats":All the beads have gonefrom the old stringand the string does not miss themI needed my mistakesin their own orderto get me hereIn my youth I believed in somewhere elseI put faith in travelnow I am becoming my own treeW.S. Merwin is one of the country's best-selling poets. He served as Poet Laureate of the United States, and his three most recent poetry collections each received a major award, including the Pulitzer Prize, the National Book Award, and the Bobbitt Award from the Library of Congress. He lives in Hawaii.

    The book features raw, blunt, and in your face poems depicting the darker side of relationships. Readers will find themes such as lies, cheating, and heartache abundant in much of this collection. Midnight Milkshakes, being the second volume of Ray's Ice Cream And Suicide, is great for returning readers to the series. The book focuses on much of the same style and mood that is common in his writings.

    

    His voice and sensibility are distinctive, and the places he goes are ones where not many writers are able or willing to venture. The dark world of his poems, which face many of the hardest truths we must learn to live with, is lit by humor, tenderness, compassion, and honesty. For this edition, the poet has selected from the best of his previous collections, in some cases making substantial revisions, and has added his newest poems. The resulting collection is exciting in its breadth, consistency, depth, and distinction.

    To speak of a different claim from those staked by the patriots of the sword; to speak of the land itself, the cities, and of the imaginations that have dwelt here, at risk, unfree, assaulted, erased. I believe more than ever that the search for justice and compassion is the great wellspring for poetry in our time, throughout the world, though the theme of despair has been canonized in this country. I draw strength from the traditions of all those who, with every reason to despair, have refused to do so."

    Charles Bernstein here proves them alive and well in poems elegiac, defiant, and resilient to the point of approaching song. Heir to the democratic and poetic sensibilities of Walt Whitman and Allen Ginsberg, Bernstein has always crafted verse that responds to its historical moment, but no previous collection of his poems so specifically addresses the events of its time as Girly Man, whichfeatures works written on the evening of September 11, 2001, and in response to the war in Iraq. Here, Bernstein speaks out, combining self-deprecating humor with incisive philosophical and political thinking. Composed of works of very different forms and moods—etchings from moments of acute crisis, comic excursions, formal excavations, confrontations with the cultural illogics of contemporary political consciousness—the poems work as an ensemble, each part contributing something necessary to an unrealizable and unrepresentable whole. Indeed, representation—and related claims to truth and moral certainty—is an active concern throughout the book. The poems of Girly Man may be oblique, satiric, or elusive, but their sense is emphatic. Indeed, Bernstein’s poetry performsits ideas so that they can be experienced as well as understood. A passionate defense of contingency, resistance, and multiplicity, Girly Man is a provocative and aesthetically challenging collection of radical verse from one of America’s most controversial poets.

    R. Ammons’s long, thin poem was written on a roll of adding-machine tape, then transferred foot by foot to manuscript. He chose this method as a serious experiment in making a poem adapt to something outside itself. The tape determined both the length of the poem’s lines and when it ends. Tape for the Turn of the Year is a poem of infinite variety, blessed by the rich resources of one of this century’s greatest poets. By turns witty, serious, lyrical, and meditative, it is at once a superbly entertaining book and a significant literary achievement.

    This new book, again co-published with Field & Stream, collects more of Heavey’s top pieces from the magazine, as well as the best of his writing from the Washington Post and elsewhere. In this far-ranging read, Heavey’s adventures include nearly freezing to death in Eastern Alaska, hunting ants in the urban jungles of the Washington, D.C. metropolitan area, and reconnecting to cherished memories of his grandfather through an inherited gun collection.With Heavey’s trademark witty candor, You're Not Lost if You Can Still See the Truck traces a life lived outdoors through the good, the bad, and the downright hilarious.

    Doughty’s poems are at once absurdist and matter-of-fact; the images he conjures are thrown into high relief through cutting wordplay. In a series of prose poems about showbiz, he reimagines Cookie Monster as a burned-out suicide, and cheesy talk-show host Joe Franklin as a cross-dressing witness to the apocalypse. And in “For Charlotte, Unlisted,” he wrenchingly tracks the elusive memory of a faded romance.

    —from "The Doomsday Clock"The Last Two Seconds is an astonishing confrontation with time—our experience of it as measured out by our perceptions, our lives, and our machines. In these poems, full of vivid imagery and imaginative logic, Mary Jo Bang captures the difficulties inherent in being human in the twenty-first century, when we set our watches by nuclear disasters, species collapse, pollution, mounting inequalities, warring nations, and our own mortality. This is brilliant and profound work by an essential poet of our time.