Their principal themes are the stasis, both stultifying and provocative, of midsummer in the tropics; the pull of the sea, family, and friendship on one whose circumstances lead to separation; the relationship of poetry to painting; and the place of a poet between two cultures. Walcott records, with his distinctive linguistic blend of soaring imagery and plainly stated facts, the experience of a mid-life period--in reality and in memory or the imagination. As Louis Simpson wrote on the publication of Wacott's The Fortunate Traveller, "Walcott is a spellbinder. Of how many poets can it be said that their poems are compelling--not a mere stringing together of images and ideas but language that delights in itself, rhythms that seem spontaneous, scenes that are vividly there?...The poet who can write like this is a master."

    The semi-autobiographical book is divided into two parts and takes place between two countries; Part I, “is a cloud a living thing?”, takes place during the Author’s tumultueuse teen years with tropical Florida as a backdrop. Part II, “Inside my Shell”, explores themes of transformation as the Author creates a new life in Paris, France. ​The poems in this collection explore the surreal rollercoaster of youth, the performance of identity, being an outsider and the tension between romantic idealism and the dystopic world in which the author finds herself. Her approach to her work as a visual artist is mirrored in her poetry style, which is accompanied by all original illustrations by the Author.

    Truthful and tender, profoundly aware of the possibility of magic and the miraculous, these poems are beautiful, informed, and, even at their darkest moments, filled with courage and hope. Alongside old favorites, this edition will contain a selection of new, unpublished poems. This is a must for poetry lovers.

    In this rare volume of poetry, Aldous Huxley is characteristically, uncompromisingly erudite; yet surprisingly forceful, passionate, and erotic.

    The wit and wisdom of the West, as documented by Dalton Wilcox, poet laureate of the West.

    The Weary Blues announced the arrival of a rare voice in American poetry. A literary descendant of Walt Whitman ("I, too, sing America," Hughes wrote), he chanted the joys and sorrows of black America in unprecedented language. A gifted lyricist, he offered rhythms and cadences that epitomized the particularities of African American creativity, especially jazz and the blues. His second volume, steeped in the blues and controversial because of its frankness, confirmed Hughes as a poet of uncompromising integrity. Then in the 1930s came Dear Lovely Death (1931) and the radical A New Song (1938). Poems such as "Good Morning Revolution" and "Let America Be America Again" made his pen one of the most forceful in America during the Great Depression.

    Having given birth to daughter after daughter after daughter, she becomes desperate and turns to the first of her mystical advisors, Msgr. Philippe, who persuades her, among other things, that she is invisible.And then comes the moment of her greatest triumph with the birth of her son and the heir to the throne of all the Russias, the Tsarevich Alexei.All four volumes are (planned) as follows:1. 'The Funeral Bride' 1884-1894 - published November 20152. 'The Empress of Tears' 1895-1904 - published March 20163. 'The Pride of Eagles' 1905-1914 - to be published by November 20164. 'No Greater Crown' 1914-1918 - to be published by April 2017

    26 poems: Tunnel, Dark Corners, Parallel, Press Play, Mundane, Walls, Sunbathing, Broken, Space Traveler, Brilliant, Gloom, Harbor, Fallen, Words, Stargazing, That Great Night, These Eyes, What Defines Me, Screams from Outer Space, Crosshairs, Eclipse, Peace of Mind, Drowning, Corpses, Before I Go, Journey

    It is an acquired taste, for those who do not mind profanity and dishevelled emotions.

    She has a fine ear, a fine eye, and a magician's impeccable timing."—Judith Foosaner, Los Angeles Times"The day-to-day lives in The Lover of Horses are mined wth small, extraordinary moments of epiphany and unsettling insight."—Elizabeth Alexander, Washington Post Book WorldTess Gallagher's previous publications include Amplitude: New and Selected Poems, A Concert of Tenses (essays on poetry), and Moon Crossing Bridge. She lives in Port Angeles, Washington, where she has recently completed the introduction to No Heroics, Please, the first of two volumes of The Uncollected Works of Raymond Carver, edited by William Stull.

    An intricate fusion of music, dance, mask, costume and language, the dramas address many subjects, but the idea of form is more central than meaning and their structure is always ritualized. Selected for their literary merit, the twenty-four plays in this volume dramatize such ideas as the relationship between men and the gods, brother and sister, parent and child, lover and beloved, and the power of greed and desire. Revered in Japan as a cultural treasure, the spiritual and sensuous beauty of these works has been a profound influence for English-speaking artists including W. B. Yeats, Ezra Pound and Benjamin Britten.

    Written as a catharsis in the months following the loss of her father in late 2016, Jessica has taken pen to page to say things he and others will never read, either because they can't, or just won't. Containing entirely new works, this is a can't miss release.

    "While the new sentence--the prose wing of Language writing--strips narrative down to pointed sets of shifting referents, Lu, in her debut, knowingly resuscitates it, creating a precise and humorous elegy to the self, and to its self-subversions. This quasi-bildungsroman charts the emergence of an 'I' (not 'P' and not 'Pamela, ' though the three characters do appear together) into a 20-something Bay Area, with memories of a suburban childhood close on her heels.... This is a book of extraordinary philosophical subtlety and clarity, one that manages to tell a beautiful story in spite of itself"--Publishers Weekly.

    Any form of heartbreak is one of the worst things one can encounter. Some say heartbreak is inevitable whereas some may disagree. However, almost every individual will probably experience some sort of heartbreak throughout their lives.We all have our own ways of healing but throughout this book, I have written in such a way that hopefully, most people can relate; the pain is printed- in black and white (literally!)I hope you can relate to my words- I tried to keep the poetry as simplistic as possible- as described by some readers, 'the words speak for themselves.'I hope my words have a didactic element- which not only teach but remind you that you are not alone.I hope you enjoy 'Good morning to Goodnight.'Lots of love, Eleni S Kau

    Proposing models of hybridity, each of the book's major sequences develops a unique subject, rhythm, and form. Bringing to light the molten potential at the core of personality, the poems illuminate ways that language, as history read by anthropologists, discourse between lovers, gestures between parent and child, graffiti in temples, or even language as an event in itself (the very experience of words at play), incarnates presence. Addressing father and son relationships, and venerating erotic love, Gander's poems surge with vitality: the energy of active discovery.