It is the idea that each of us carries an infinity - an oblivion - and love, of any kind, is a falling upward; a falling in. Each chapter explores a different stage of that journey.

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    Do Angels Need Haircuts? is an extraordinary snapshot of this turning point in Reed’s career. Gathering poems, photographs and ephemera from this era (including previously unreleased audio of the 1971 St. Mark’s Church reading), and featuring a new foreword by Anne Waldman and an afterword by Laurie Anderson, this book provides a window to a little-known chapter in the life of one of the most singular and uncompromising voices in American popular culture.

    – Shubhangi Swarup (Latitudes of Longing)

    He wrote the first American translation of Dante Alighieri's Divine Comedy and was one of the five members of the group known as the Fireside Poets. He established his literary career by submitting poetry and prose to various newspapers and magazines. Between January 1824 and his graduation in 1825, he had published nearly 40 minor poems. About 24 of them appeared in the short-lived Boston periodical The United States Literary Gazette. After graduating in 1825, he was offered a job as professor of modern languages at his alma mater. The story, possibly apocryphal, is that an influential trustee, Benjamin Orr, had been so impressed Longfellow's translation of Horace that he was hired under the condition that he travel to Europe to study French, Spanish and Italian. When he returned to the United States in 1836, Longfellow took up the professorship at Harvard University. He began publishing his poetry, including Voices of the Night in 1839 and Ballads and Other Poems, which included his famous poem The Village Blacksmith, in 1841. His other works include Paul Revere's Ride, A Psalm of Life, The Song of Hiawatha, Evangeline and Christmas Bells.

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    It includes selections from many of the most celebrated poets in world literature, including William Shakespeare, Percy Bysshe Shelley, Lord Byron, John Keats, Elizabeth Barrett Browning, Edgar Allan Poe, and Emily Dickson.

    His most recent volumes of poetry are Rooms Are Never Finished and The Country Without a Post Office. He is also the editor of Ravishing Disunities: Real Ghazals in English.

    The full range of his poetry—from classical rhymed alexandrines to "cubist" modernism, and from feverish, even visionary, depression to airy good humor—offers a challenge no translator has accepted until now.Here, for the first time in English translation, is the complete poetry of a legendary twentieth-century French writer. Cendrars, born Frederick Louis Sauser in 1887, invented his life as well as his art. His adventures took him to Russia during the revolution of 1905 (where he traveled on the Trans-Siberian Railway), to New York in 1911, to the trenches of World War I (where he lost his right arm), to Brazil in the 1920s, to Hollywood in the 1930s, and back and forth across Europe.With Guillaume Apollinaire and Max Jacob he was a pioneer of modernist literature, working alongside artist friends such as Chagall, Delaunay, Modigliani, and Léger, composers Eric Satie and Darius Milhaud, and filmmaker Abel Gance. The range of Cendrars's poetry—from classical rhymed alexandrines to "cubist" modernism, and from feverish, even visionary, depression to airy good humor—offers a challenge no translator has accepted until now.

    Although he is best remembered for his revolutionary verses that decried tyranny and called for justice, his oeuvre also extended to scintillating, soulful poems of love. In this remarkable selection of Faiz’s most memorable poems and ghazals, readers will be able to experience a new dimension of the great poet’s genius. Along with popular favourites like ‘Subh-e Azadi’, with its anguished evocation of the horror and pain of the Partition, The Colours of My Heart also introduces readers to little-known gems that display Faiz’s extraordinary flair for tender hope and quiet longing. A rich cornucopia of delights, The Colours of My Heart celebrates Faiz’s greatest work. Baran Farooqi’s superb translation is accompanied by an illuminating introduction to Faiz’s incredible life and enduring legacy.

    A potpourri of musings assembled with a hint of practical spirituality, to be savoured passably as an oracle of hearts to the many answers, whose questions our minds are yet to comprehend. Ivory Gleam is split into three chapters of learning, longing and loving. Each chapter is a journey traversing a different road to the ultimate destination of self-reflection.

    These have been separated into chapters based on the books in which they were originally published, and are as follows:Drum-TapsLeaves of GrassThe Patriotic Poems of Walt WhitmanThe Complete Prose WorksThe Wound DresserThe Letters of Anne Gilchrist and Walt Whitman.This beautifully designed ebook has an interactive table of contents for ease of navigation, carefully formatted texts and chapter illustrations.

    Sara Peters combines poetry and short prose vignettes to create a singular, unflinching portrait of a Town in which the lives of girls and women are shaped by the brutality meted upon them and by their acts of defiance and yearning towards places of safety and belonging. Through lucid detail, sparkling imagery and illumination, Peters' individual characters and the collective of The Town leap vividly, fully formed off the page. A hybrid in form, I Become a Delight to My Enemies is an awe-inspiring example of the exquisite force of words to shock and to move, from a writer of exceptional talent and potential.

    This volume encapsulates the finest work from Seeing Things (1991) with its lines of loss and revelation; The Spirit Level (1996) where we experience "the poem as ploughshare that turns time / Up and over."; the landmark translation of Beowulf (1999); Electric Light (2001), a book of origins and oracles; and his final collections, District and Circle (2006) and Human Chain (2010), which limn the interconnectedness of being, our lifelines to our inherited past.

    I love how thick this writing is, sublimely claustrophobic yet expansive, like a child's nightmare of scale."—Dodie Bellamy"Autodidact and knight-errant, Ward often betrays the procedural forms he tries to impose on his labyrinthine ruminations in order to remain faithfully engaged to the traditional task of the post-Romantic poet, an 'ecstatic commingling' of okay-you know and 'starry anaphor.'"—Tyrone Williams"I should write a real blurb with real blurb-like things in it, but TCOIW, a kind of lullaby arranging the psychic terrain of my future prosodically, is saving my stupid ass."—Anselm Berrigan