Beastly Verse aims to help return the wonder of poetry to children's lives through sixteen exquisitely illustrated poems, four of which have the surprise and pleasure of being foldouts. Consisting of playful as well as powerfully memorable poems, Beastly Verse transports the reader into a richly worded world of tigers, hummingbirds, owls, elephants, pelicans, yaks, snails, and even telephones! A playful romp through verse, rhyme, and gorgeous images, this book carries children into the poetic realm in a way that is not only fun and inviting, but inspiring as well! Representing poems from Anonymous, as well as some lesser well-known poets, this volume also includes poems from Lewis Carroll, William Blake, Robert Desnos, Hilaire Belloc, William Cowper, Christina Rossetti, and D.H. Lawrence. Both short and long, these poems can be read and reread, committed to memory and enjoyed all life long.JooHee Yoon is an illustrator and printmaker committed to the art of bookmaking. Her art work has appeared in the New York Times, New Yorker Magazine, Le Monde, and many other international publications. She also exhibits her original drawings and prints in gallery shows around the world and was the recipient of the Ars en Fabula Grant from the Bologna Children's Book Fair in Italy.

    A contemporary of Randolph Caldecott and Walter Crane, she attracted a wide audience in the United States and England, and many of her books were even translated into German and French.One of Greenaway's early successes was Mother Goose, or the Old Nursery Rhymes, first published in 1881, featuring such favorite poems as "Little Jack Horner," "Little Bo Peep," and "Jack and Jill" paired with whimsical illustrations of children playing in an idyllic countryside. Her enchanting watercolors evoked the urban Victorian reader's nostalgia for the rural life of earlier times and echoed Greenaway's own longing to retreat to a more tranquil setting than her native London.This new edition of Kate Greenaway's Mother Goose reproduces illustrations from the rare 1881 edition in the Huntington Library's collections. The Huntington owns an extensive collection of books illustrated by Greenaway, several of her manuscripts, and nearly one hundred of her original drawings.

    Featuring creatures found in the author’s native Ontario, this always sharp, sometimes head-scratchingly bizarre collection of comics offers a view into the secret, surprisingly insightful world of blue jays, squirrels, geese, wolves, and rabbits.

    Now out on the prowl with a new cover that's the cat's meow, it's ready to inspire a second wave of cats and their owners to relax into a catnap. Author and illustrator Alice M. Brock (of Arlo Guthrie's "Alice's Restaurant" fame) counsels cat owners to approach the cat quietly with palms "up and open." Beginning at the rear, the masseur works all the way around the cat using a "vigorous kneading motion," then rubs, presses, twists, and tugs the cat into a state of complete relaxation. We are assured that a well-massaged cat may remain in a state of prolonged calm "for some time." Brock's instructions are accompanied by charming illustrations sure to inspire a mischievous chuckle in both friends and foes of felines everywhere.

    Martin Luther King called the "beloved community," a place where we see each other as the neighbors we already are. Healing the Divide urges us, at this fraught political time, to move past the negativity that often fills the airwaves, and to embrace the ordinary moments of kindness and connection that fill our days.

    Poet Laureate J. Patrick Lewis curates an exuberant poetic celebration of the natural world in this stellar collection of nature poems. From trickling streams to deafening thrunderstorms to soaring mountains, discover majestic photography perfectly paired with contemporary (such as Billy Collins), classics (such as Robert Frost), and never-before-published works.

    The texts were written between the ninth and the seventeenth centuries and convey each author's underlying sense of the world and what is to be valued in it. Four Huts presents original translations by Burton Watson—one of the most respected translators of Chinese and Japanese literature. The qualities that emerge from these writings are an awareness of impermanence, love of nature, fondness for poetry and music, and an appreciation of the quiet life. Four Huts features eleven brush paintings by artist Stephen Addiss.

    Now David Young, author of Black Lab, and well known as a translator of Chinese poets, gives us a sparkling new translation of Du Fu’s verse, arranged to give us a tour of the life, each “chapter” of poems preceded by an introductory paragraph that situates us in place, time, and circumstance. What emerges is a portrait of a modest yet great artist, an ordinary man moving and adjusting as he must in troubled times, while creating a startling, timeless body of work.Du Fu wrote poems that engaged his contemporaries and widened the path of the lyric poet. As his society—one of the world’s great civilizations—slipped from a golden age into chaos, he wrote of the uncertain course of empire, the misfortunes and pleasures of his own family, the hard lives of ordinary people, the changing seasons, and the lives of creatures who shared his environment. As the poet chases chickens around the yard, observes tear streaks on his wife’s cheek, or receives a gift of some shallots from a neighbor, Young’s rendering brings Du Fu’s voice naturally and elegantly to life.I sing what comes to mein ways both old and modernmy only audience right now—nearby bushes and treeselegant houses standin an elegant row, too manyif my heart turns to ashesthen that’s all right with me . . .from “Meandering River”

    I hope that this book makes everyone feel what I felt while writing it, and that love is a universal thing, and my story is not unique. And I hope that this makes them see that there is a beyond and that they can come out happy and clean. And, that this makes them braver than they already are, and gives them that little extra push and strength that they probably need

    Yet for all their metaphorical suggestiveness, Dickinson’s and Whitman’s poems about the natural world neither preclude nor erase nature’s relevance as an actual living environment. In their respective poetic projects, the earth matters both figuratively, as a realm of the imagination, and also as the physical ground that is profoundly affected by human action. This double perspective, and the ways in which it intersects with their formal innovations, points beyond their traditional status as curiously disparate icons of American nature poetry. That both of them not only approach nature as an important subject in its own right, but also address human-nature relationships in ethical terms, invests their work with important environmental overtones. Dickinson and Whitman developed their environmentally suggestive poetics at roughly the same historical moment, at a time when a major shift was occurring in American culture’s view and understanding of the natural world. Just as they were achieving poetic maturity, the dominant view of wilderness was beginning to shift from obstacle or exploitable resource to an endangered treasure in need of conservation and preservation.A Place for Humility examines Dickinson’s and Whitman’s poetry in conjunction with this important change in American environmental perception, exploring the links between their poetic projects within the context of developing nineteenth-century environmental thought. Christine Gerhardt argues that each author's poetry participates in this shift in different but related ways, and that their involvement with their culture’s growing environmental sensibilities constitutes an important connection between their disparate poetic projects. There may be few direct links between Dickinson’s “letter to the World” and Whitman’s “language experiment,” but via a web of environmentally-oriented discourses, their poetry engages in a cultural conversation about the natural world and the possibilities and limitations of writing about it—a conversation in which their thematic and formal choices meet on a surprising number of levels.

    As always, Gorey's painstakingly cross-hatched pen and ink drawings are perfectly suited to his oddball verse and prose. The first book of 15, "The Unstrung Harp," describes the writing process of novelist Mr. Clavius Frederick Earbrass: "He must be mad to go on enduring the unexquisite agony of writing when it all turns out drivel." In "The Listing Attic," you'll find a set of quirky limericks such as "A certain young man, it was noted, / Went about in the heat thickly coated; / He said, 'You may scoff, / But I shan't take it off; / Underneath I am horribly bloated.' "Many of Gorey's tales involve untimely deaths and dreadful mishaps, but much like tragic Irish ballads with their perky rhythms and melodies, they come off as strangely lighthearted. "The Gashlycrumb Tinies," for example, begins like this: "A is for AMY who fell down the stairs, B is for BASIL assaulted by bears," and so on. An eccentric, funny book for either the uninitiated or diehard Gorey fans.Contains: The Unstrung Harp, The Listing Attic, The Doubtful Guest, The Object Lesson, The Bug Book, The Fatal Lozenge, The Hapless Child, The Curious Sofa, The Willowdale Handcar, The Gashlycrumb Tinies, The Insect God, The West Wing, The Wuggly Ump, The Sinking Spell, and The Remembered Visit.

    Before he embarked on his writing career, Eggers was classically trained as a draftsman and painter. He then spent many years as a professional illus­trator and graphic designer before turning to writ­ing full-time. More recently, in order to raise money for ScholarMatch, his college-access nonprofit, he returned to visual art, and the results have been exhibited in galleries and museums around the country. Usually involving the pairing of an animal with humorous or biblical text, the results are wry, oddly anthropomorphic tableaus that create a very entertaining and eccentric body of work from one of today’s leading culture makers.

    For the people who need an extra dose of positivity in their day. This is not a poetry book for you to read and relate to in a sorrow filled way. It is for you to read and say yes, I can be better, and I will.

    Drake brings you a collection of quotes inspired by the conventional teenager in a modern catastrophic society.

    Deceptively simple, Ryokan's poems transcend artifice, presenting spontaneous expressions of pure Zen spirit. Like his contemporary Thoreau, Ryokan celebrates nature and the natural life, but his poems touch the whole range of human experience: joy and sadness, pleasure and pain, enlightenment and illusion, love and loneliness. This collection of translations reflects the full spectrum of Ryokan's spiritual and poetic vision, including Japanese haiku, longer folk songs, and Chinese-style verse. Fifteen ink paintings by Koshi no Sengai (1895-1958) complement these translations and beautifully depict the spirit of this famous poet.