Paz himself translated many of the poems from the Spanish. Some distinguished contributors to this bilingual edition include, among others, Paul Blackburn, Lysander Kemp. Denise Levertov, and Muriel Rukeyser. Paz's poems, although rooted in the mythology of South America and his native Mexico, nevertheless have an international background, transfiguring the images of the contemporary world. Powerful, angry, erotic, they voice the desires and rage of a generation.

    From maple ice cream to Z-shaped fire escapes, these poems carry a flashlight you'll want to follow: unexpected as night swimming, entertaining as a music video in sign language.

    Throughout, poetry is discovered to be among our most effective tools to examine the delirium of making contact."Hot":The sexiest thing a woman has ever doneto or with or for me—while wearing the loose breezeof a dress or standing inside its red zero on the floor—while bending over and pulling her shorts downon a racquetball court or to reach the watershutoff valve behind the fridge—as Satiewhispers against our thighs or hummingher brain's native tune as we touchthe smudged glass protecting extinct beetlesin a museum—with her lips swaddling my tongueor finger up my ass—is tell the truth—which makes my wife the hottest womanI've ever known—her mouth erotic every timeshe speaks—she is an animal when it comes to sexand love—comes to us—in that she doesn't primpin front of the mirror of what she thinks I wanther to say or be—the only real flesh—only nakedthat matters––how she looks at meBob Hicok's poems have appeared in the New Yorker, Poetry, and the American Poetry Review. His books have been awarded the Bobbitt Prize from the Library of Congress and named a "Notable Book of the Year" by Booklist. Hicok has worked as an automotive die designer and a computer system administrator. He is currently teaching at Purdue University.

    Old Europe still lives in Bosselaar's rich language: Entre chien et loup, as it's known in Flanders--the time at dusk when a wolf can be mistaken for a dog.Lyrical poetry that sings of farmers, families and nunneries in Belgium and Flanders.

    As she grows up, a Mormon girl learns that lasting friendships, hidden talents, and faith in God are some of life's most precious gifts.

    The Dead Sea Poems, his fourth collection, culminates in a long visionary poem, 'Five Eleven Ninety Nine'. Elsewhere, questions of belief and trust, of identity and knowledge, dealt with as they occur in everyday domestic life, contribute to a picture of our contemporary world that is at once realistic and touched with a unique imaginative intensity.

    He writes of lechery and pain while finding still being able to find its beauty.

    Jack Slade and Sam Healey, flying partners during World War II, establish a bush pilot business in Alaska after the war. When their C-47 Dakota is forced down on a glacier by a wolverine in the cargo deck that breaks out of its cage, they discover a valley that offers the realization each man's dreams. To Jack Slade, itOCOs the ideal place to homestead, raise a family, and live simply as a professional hunting and fishing guide; to Healey, the pool of crude oil he locates under the glacial ice promises the wealth he always wanted. In scenes that range from AlaskaOCOs coastal fishing ports to the high, fierce wastelands of the interior, we watch each man lay the plans for their individual goals?and ultimately come into fatal conflict. Along the way, they meet a wide, colorful variety of Alaskan types, including Charlie Blue, a Tlingit Indian, shaman, and seer; Norman Ormandy, the tough saloonkeeper of Gurry Bay; and Malec Mummad-Afi, a wealthy exiled Iranian oil king and sheep hunter.

    It was first published in the Easter supplement of Prager Tagblatt on 20 April 1924. During his final illness Kafka corrected the proofs of the story for the inclusion into collection A Hunger Artist (Ein Hungerkünstler) published by Verlag Die Schmiede after his death.

    For readers devoted to poetry, it offers illuminating examples of the infinitely various ways a poem reaches a reader.In both the book and the videos on the accompanying DVD, poems by Sappho, Shakespeare, Keats, Whitman, and Dickinson as well as contemporary poets are introduced by people from across the United States—a construction worker, a Supreme Court justice, a glassblower, a marine—each of whom speaks about his or her connection to the poem. Their comments are variously poignant, funny, heartening, tart, penetrating, and eccentric, showing some of the ways poetry is alive for American readers. An Invitation to Poetry will inspire a fresh experience of poetry's pleasure and insight.

    Our companions are an aging poet, who is sad because he can no longer write—he has lost the joy he used to have in simply being alive–and a young, mischievous female donkey, who is sad because she can't run and play—she has a touch of arthritis. . . . There is a moral, of course, but any moral looks dull next to the simple happiness of the old poet and his long-eared muse."—The New Yorker

    Through the often grim and bloody events of fifty years which changed the world, his life is a triumph of the human spirit.

    Kenyon's fourth collection is built around two perfectly orchestrated poem sequences. In the first, the speaker contrasts memories of her baby carriage with other images from her childhood, such as her parents' toiling away at low-paying jobs. She also recalls the present-day life of her aging, increasingly dependent mother. Melancholia, the subject of the second sequence and several poems surrounding it, has been played to death in modern poetry, but still Kenyon offers new insights and gives even the most depressing poems an uplifting lilt in their final lines. In her hands a list of the latest medications becomes fit material for poetry: "The coated ones smell sweet or have / no smell; the powdery ones smell / like the chemistry lab at school / that made me hold my breath." She writes, in addition to illness, of sleep, insomnia and death. She interacts with the insects, birds and flowers in her New Hampshire landscape, relying on their fragility to teach her of her own. Kenyon describes afterlife, or "the Other Side," with the same precise, hard-edged imagery that fills her other poems." from Publisher's Weekly

    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.

    With their brutally frank self-exposure and emotional immediacy, Plath's poems, from "Lady Lazarus" to "Daddy," have had an enduring influence on contemporary poetry.