Wallace's best poems, contained within this collection, have been described as the work of someone sympathetic, magnanimous, brightly and deeply intelligent.

    Pound's lyric genius, his superb technique, and his fresh insight into literary problems make him one of the small company of men who through the centuries have kept poetry alive, and one of the great innovators.This book offers a compact yet representative selection of Ezra Pound's poems and translations. The span covered is Pound's entire writing career, from his early lyrics and the translations of Provençal songs to his English version of Sophocles' Trachiniae. Included are parts of his best known works—the Chinese translations, the sequence called Hugh Selwyn Mauberly, the Homage to Sextus Propertius. The Cantos, Pound's major epic, are presented in generous selections, chosen to emphasize the main themes of the whole poem.

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

    A collection of astonishing originality and intensity, it spoke of politics, sexual emancipation, and what it meant to be an American. From the joyful “Song of Myself” and “I Sing the Body Electric” to the elegiac “When Lilacs Last in the Dooryard Bloom’d,” Whitman’s art fuses oratory, journalism, and song in a vivid celebration of humanity. Containing all Whitman’s known poetic work, this edition reprints the final, or “deathbed,” edition of Leaves of Grass (1891–92). Earlier versions of many poems are also given, including the 1855 “Song of Myself.”Features a completely new—and fuller—introduction discussing the development of Whitman's poetic career, his influence on later American poets, and his impact on the American cultural sensibilityIncludes chronology, updated suggestions for further reading, and extensive notes

    Poemland alternates brilliantly between the deadpan, the spectacular, and the outrageous.If you open your mouth to start to complain I will fill it with whipped cream . . .There is a floating sadness nearby . . .Chelsey Minnis is the author of three previous collections. A graduate of the University of Colorado at Boulder and the Iowa Writers' Workshop, she currently lives in Boulder, Colorado.

    The poems are written in clear, straightforward free verse. Here is an example of his style from "The Chinese Checker Players": "When I was six years old/I played Chinese checkers/with a woman/who was ninety-three years old."Recurrent themes in the book include love, sex, loss & loneliness. Incorporated throughout are an intriguing mix of pop & 'high' culture references: Jefferson Airplane, Ophelia, the New York Yankees, John Donne etc. The book often has an earthy flavor. He writes about such topics as his own penis or the smell of a fart. Some particularly memorable poems include the following:"All Watched Over by Machines of Loving Grace," a sci-fi vision of a "cybernetic meadow"; the open-ended "Karma Repair Kit: Items 1-4"; "Discovery," a joyful poem about sexual intimacy; the surreal "The Pumpkin Tide"; the funny, haiku-like "November 3"; & "A Good-Talking Candle," which invites readers into altered states of perception. Altho most of the poems are very short, there is one longer poem: the 9-part, 9-page "the Galilee Hitch-hiker," which chronicles the surreal adventures of Baudelaire — among other experiences, he opens an unconventional hamburger stand in San Francisco. If you only know Brautigan from his weird & wonderful novels, read this collection.-Michael Mazza (edited)

    Spontaneous poetry by the author of On the Road, gathered from underground and ephemeral publications; including “San Francisco Blues,” the variant texts of “Pull My Daisy,” and American haiku.HERE DOWN ON DARK EARTH before we all go to Heaven VISIONS OF AMERICA All that hitchhikin All that railroadin All that comin back to America —Jack Kerouac

    And few episodes in postwar literature have the legendary stature of Hughes's romance with, and marriage to, the great American poet Sylvia Plath.The poems in Birthday Letters are addressed (with just two exceptions) to Plath, and were written over a period of more than twenty-five years, the first a few years after her suicide in 1963. Some are love letters, others haunted recollections and ruminations. In them, Hughes recalls his and Plath's time together, drawing on the powerful imagery of his work--animal, vegetable, mythological--as well as on Plath's famous verse.Countless books have discussed the subject of this intense relationship from a necessary distance, but this volume--at last--offers us Hughes's own account. Moreover, it's a truly remarkable collection of poems in its own right.

    The poems in this collection reach dazzling heights while being firmly grounded in the everyday. Traveling by train, lying on a beach, and listening to jazz on the radio are the seemingly ordinary activities whose hidden textures are revealed by Collins's poetic eye. With clarity, precision, and enviable wit, Collins transforms those moments we too often take for granted into brilliant feats of creative imagination. Nine Horses is a poetry collection to savor and to share.

    In such classics as "The Beekeeper's Daughter," "The Disquieting Muses," "I Want, I Want," and "Full Fathom Five," she writes about sows and skeletons, fathers and suicides, about the noisy imperatives of life and the chilly hunger for death. Graceful in their craftsmanship, wonderfully original in their imagery, and presenting layer after layer of meaning, the forty poems in The Colossus are early artifacts of genius that still possess the power to move, delight, and shock.

    In this, her thirteenth book of verse, the author of "The Dream of a Common Language" and "Snapshots of a Daughter-in-Law" writes of war, oppression, the future, death, mystery, love and the magic of poetry.

    H. Auden’s Selected Poems adds twenty poems to the hundred in the original edition, broadening its focus to better reflect the enormous wealth of form, rhetoric, tone and content in Auden’s work. Newly included are such favorites as “Funeral Blues” and other works that represent Auden’s lighter, comic side, giving a fuller picture of the range of his genius. Also new are brief notes explaining references that may have become obscure to younger generations of readers and a revised introduction that draws on recent additions to knowledge about Auden.As in the original edition, the new Selected Poems makes available the preferred original versions of some thirty poems that Auden revised later in life, making it the best source for enjoying the many facets of Auden’s art in one volume.

    And from the beginning, her practice placed her at the vanguard of American writing. Guest's poetry, saturated in the visual arts, extended the formal experiments of modernism, and played the abstract qualities of language against its sensuousness and materiality. Now, for the first time, all of her published poems have been brought together in one volume, offering readers and scholars unprecedented access to Guest's remarkable visionary work. This Collected Poems moves from her early New York School years through her more abstract later work, including some final poems never before published. Switching effortlessly from the real to the dreamlike, the observed to the imagined, this is poetry both gentle and piercing seemingly simple, but truly and beautifully dislocating.

    Chamber Music is a collection of poems by James Joyce.The collection originally comprised thirty-four love poems, but two further poems were added before publication ("All day I hear the noise of waters" and "I hear an army charging upon the land").

     Bishop was unforgiving of fashion and limited ways of seeing and feeling, but cast an even more trenchant eye on her own work. One wishes this volume were thicker, though the perfections within mark the rightness of her approach. The poems are sublimely controlled, fraught with word play, fierce moral vision (see her caustic ballad on Ezra Pound, "Visits to St. Elizabeths"), and reticence. From the surreal sorrow of the early "Man-Moth" (leaping off from a typo she had come across for "mammoth"), about a lonely monster who rarely emerges from "the pale subways of cement he calls his home," to the beauty of her villanelle "One Art" (with its repeated "the art of losing isn't hard to master"), the poet wittily explores distance and desolation, separation and sorrow.