The greatest Americans Have not been born yet They are waiting quietly For their past to die please give blood Here is the account of a man so ravished by a kiss that it distorts his highest and lowest frequencies of understanding into an Incongruent mean of babble and brilliance...

    Includes "There's a certain slant of light," "Because I could not stop for death," "It was not death for I stood up."

    We all are broken and broken is its own kind of beautiful.

    Martin's Press, 1994). Encyclopedic in scope, with more than 800 poems, 100 photographs, a historical chronology, index of first lines, and a bibliography. The Complete Poems will be the definitive English language collection of Akhmatova for many years to come.

    The poems’ subject is the natural world, but their images would never occur in nature. This book is serious and funny at the same time, like a big grave with a clown lying in it.

    Collected Poems brings together not only all his books--The North Ship, The Less Deceived, The Whitsun Weddings, and High Windows--but also his uncollected poems from 1940 to 1984.This new edition reflects Larkin's own ordering for his poems and is the first collection to present the body of his work with the organization he preferred. Preserving everything he published in his lifetime, the new Collected Poems is an indispensable contribution to the legacy of an icon of twentieth-century poetry.

    His many readers will recognize the musical and formal variety, the voice that can be tender and funny, credibly mystical and savagely skeptical. But there are many new notes in this collection as well, including a moving elegy to the poet's father, sharp observations and distillations of modern American life, and rangy poems that merge and juxtapose different modes of speech and thought. The cumulative effect is extraordinary. Reading Survival Is a Style, one has the sense one is encountering work that will become a permanent part of American literature.

    He seems to be writing the poems we all need to read right now." --Antioch Review Larry Levis was born in Fresno, California, in 1946. His first book of poems, Wrecking Crew, won the United States Award from the International Poetry Forum, and was published in the Pitt Poetry Series in 1972. His second book, The Afterlife, won the Lamont Award from the American Academy of Poets in 1976. In 1981, The Dollmaker's Ghost was a winner of the Open Competition of the National Poetry Series. Among his other awards were three fellowships in poetry from the National Endowment for the Arts, a Fulbright Fellowship, and a Guggenheim Fellowship. Larry Levis died in 1996.

    She was appointed the Library of Congress’s sixteenth poet laureate from 2008 to 2010. Salon has compared her poems to “Fabergé eggs, tiny, ingenious devices that inevitably conceal some hidden wonder.” The two hundred poems in Ryan’s The Best of It offer a stunning retrospective of her work, as well as a swath of never-before-published poems of which are sure to appeal equally to longtime fans and general readers.

    Playing with old ideas of wealth and love from Hollywood's golden era, these poems flirt with nostalgia without ever succumbing to it, casting a new light on the present through the fantasies of the past.

    This work is breathtakingly immediate, stylistically varied, redemptive, and wise.His familiar landscapes are here—San Francisco, the Northern California coast, the Sierra high country—in addition to some of his oft-explored themes: art; the natural world; the nature of desire; the violence of history; the power and limits of language; and, as in his other books, domestic life and the conversation between men and women. New themes emerge as well, perhaps: the essence of memory and of time.The works here look at paintings, at Gerhard Richter as well as Vermeer, and pay tribute to his particular literary masters, friend Czesław Miłosz, the great Swedish poet Tomas Tranströmer, Horace, Whitman, Stevens, Nietszche, and Lucretius. We are offered glimpses of a surpris­ingly green and vibrant twenty-first-century Berlin; of the demilitarized zone between the Koreas; of a Bangkok night, a Mexican desert, and an early summer morning in Paris, all brought into a vivid present and with a passionate meditation on what it is and has been to be alive. "It has always been Mr. Hass's aim," the New York Times Book Review wrote, "to get the whole man, head and heart and hands and every­thing else, into his poetry."Every new volume by Robert Hass is a major event in poetry, and this beautiful collection is no exception.

    Informed in part by Gnostic concepts of the separate soul in search of its divine origins ("spirit held by matter"). This dualistic vision is cast in contemporary terms and seeks resolution of these tensions through acceptance.

    The poems weave between personal narrative and pop-cultural criticism, examining and confronting modern media, consumption, feminism, and Blackness. This collection explores femininity and race in the contemporary American political climate, folding in references from jazz standards, visual art, personal family history, and Hip Hop. The voice of this book is a multifarious one: writing and rewriting bodies, stories, and histories of the past, as well as uttering and bearing witness to the truth of the present, and actively probing toward a new self, an actualized self. This is a book at the intersections of mythology and sorrow, of vulnerability and posturing, of desire and disgust, of tragedy and excellence.

    We Were Young explores the heartbreaks, hangovers, and hang ups associated with growing up.

    Collected by Elisa Sampedrin.Lisa Robertson writes poems that mine the past — its ideas, its personages, its syntax — to construct a lexicon of the future. Her poems both court and cuckold subjectivity by unmasking its fundament of sex and hesitancy, the coil of doubt in its certitude. Reading her laments and utopias, we realize that language — whiplike — casts ahead of itself a fortuitous form. The form brims here pleasurably with dogs, movie stars, broths, painting's detritus, Latin and pillage. Erudite and startling, the poems in Lisa Robertson's Magenta Soul Whip, occasional works written over the past fifteen years, turn vestige into architecture, chagrin into resplendence. In them, we recognize our grand, saddened century.