Reflecting a new editorial approach, this volume demonstrates the breadth of Ted Berrigan's poetic accomplishments by presenting his most celebrated, interesting, and important work. This major second-wave New York School poet is often identified with his early poems, especially "The Sonnets, " but this selection encompasses his full poetic output, including the later sequences "Easter Monday" and "A Certain Slant of Sunlight, " as well as many of his uncollected poems. The Selected Poems of Ted Berrigan provides a new perspective for those already familiar with his remarkable wit and invention, and introduces new readers to what John Ashbery called the "crazy energy" of this iconoclastic, funny, brilliant, and highly innovative writer.Praise for" The Collected Poems of Ted Berrigan: ""This is a great, great book for all seasons of the mind and heart."--Robert Creeley"Thanks to this invaluable "Collected Poems, " one can hear, as never before, Ted Berrigan dreaming his dream."--"The Nation"""The Collected Poems of Ted Berrigan "is not only one of the most strikingly attractive books recently published, but is also a major work of 20th-century poetry. . . . It is a book that will darken with the grease of my hands. There is no better way to praise it than by saying, 'If you enjoy poetry, you should have it.'" --"Bloomsbury Review ""It's a must-have, a poetic knockout."--"Time Out New York"

    Beauty isn't fair;" So, in part, states an epigraph for this stunning new collection, his thirteenth, by the Pulitzer Prize winner for Poetry (2000). First traversing betrayal and loss, Stephen Dunn then moves to speak of new love, with its attendant pleasures and questioning. The title poem, perhaps emblematic of the book as a whole, is evocative of beauty's often surprising manifestations even in the light of tragedy; as on that terrible day "when those silver planes came out of the perfect blue." Because beauty jars us, makes us look twice, it is as startling as a good poem, and as insistent. Fortunately, it is never too late to search for the right words for what we've seen, felt, endured. With quiet authority Dunn enacts what it feels like to be a particular man at a particular juncture of his life; struggling not to deny, but to name, then rename.

    Matt McRaid, whose ancestors left the island more than a century before, joins a team of ruthless treasure hunters in search of untold wealth. One of their number is killed within hours and others soon follow. At first their deaths are put down to freak accidents but after only a couple of days in this mysterious place it becomes apparent to Matt that the true cause is far more strange ... and much more dangerous both to them and the whole of humanity.

    This small collection of poems explores how time influences loving another, loving yourself and loving the life you own. This quick but fulfilling read, explores these topics in three sections: the head, the heart and the lungs.

    . . . By turns clowning, worshipful, heartbroken, and Faulknerian, these lyrics transport the reader to a familiar place made utterly strange.”—Srikanth Reddy Kiki Petrosino earned graduate degrees from both the University of Chicago and the Iowa Writers’ Workshop. Her poem, “You Have Made a Career of Not Listening,” was featured in the anthology Best New Poets 2006. She lives in Iowa City.

    Robin Robertson has written a book of remarkable cohesion and range that calls on his knowledge of folklore and myth to fuse the old ways with the new. From raw, exposed poems about the end of childhood to erotically charged lyrics about the end of desire, from a brilliant retelling of the metamorphosis and death of Actaeon to the final freeing of the waters in "Holding Proteus," these are close examinations of nature--of the bright epiphanies of passion and loss.At times sombre, at times exultant, Robertson's poems are always firmly rooted in the world we see, the life we experience: original, precise, and startlingly clear.

    Moving between dramatic and interior monologue, and moving through intersecting histories, the ambiguities of inwardness and the eros of wakeful existence, these poems search for relationships with self, others, the world and God that are authentic—however quirky or strange."This is poetry of a rare fine delicacy. Its very modesty testifies to a great ambition—to overcome by the quietest of means."—Donald JusticeIn Tennessee I Found a FireflyFlashing in the grass; the mouth of a spider clungto the dark of it: the legs of the spiderheld the tucked wings close,held the abdomen still in the midst of callingwith thrusts of phosphorescent light—When I am tired of being human, I try to rememberthe two stuck together like burrs. I try to place themcentral in my mind where everything else mustsurround them, must see the burr and the barb of them.There is courtship, and there is hunger. I supposethere are grips from which even angels cannot fly.Even imagined ones. Luciferin, luciferase.When I am tired of only touching,I have my mouth to try to tell youwhat, in your arms, is not erased"This is poetry of a rare fine delicacy. Its very modesty testifies to a great ambition—to overcome by the quietest of means."—Donald Justice

    The book and the dream are the poet’s primary objects of investigation here. Through deft, quietly authoritative lyrics, Fisher meditates on the problems and possibilities—the frail craft—of perception for the reader, the dreamer, maintaining that “if the eye can love—and it can, it does—then I held you and was held.” In her foreword to the book, Louise Glück writes that Fisher’s poetry is “haunting, elusive, luminous, its greatest mystery how plain-spoken it is. Sensory impressions, which usually serve as emblems of or connections to emotion, seem suddenly in this work a language of mind, their function neither metonymic nor dramatic. They are like the dye with which a scientist injects his specimen, to track some response or behavior. Fisher uses the sense this way, to observe how being is converted into thinking.”

    Starting there, this extended poem—part art criticism, part history—considers the phenomenon of glass, revealing the strength and fragility of our age in the minimalist style that has won Cole Swensen such acclaim.

    That Wagner is in love with the world and its transactions--perceptions, superficial and otherwise; childbearing, painful and otherwise; gains, financial and otherwise--allows for a poetry that is full of song yet brazenly topical.

    But his resilient voice and consistent perspective is neither blaming nor didactic, and ultimately enlightening. From the shadowed corners into which we dare not look clearly, Hicok makes us witness and hero of The Legend of Light.

    We find her awake in the middle of the night, contemplating love and heartbreak in all their exhilarating and anguished specifics. With astonishing openness, in language both passionate and enchanting, she offers us an intimate map of a troubled and far-flung heart: “Can you believe I thought that?” she asks, “That we would always go/roaming brave and dangerous/on wild unlit roads?”At once witty and tender, with Dorothy Parker–like turns of the knife and memorable partings from lovers in New York, London, Rome and beyond, these poems capture a restless movement through loves and locales, and charm us at every turn with their forthrightness.From the Hardcover edition.

    Through ‘A Rustic Mind’ I aim to provide a thoughtful take on such actions and incidents. Poetic in its expression, these words will strike a chord which is not only deep but relatable on many levels.

    Speaking in the unique lyrical voice that he called his "Ohioan," Wright created poems of immense sympathy for sociey's alienated and outcast figures and also of ardent wonder at the restorative power of nature.Selected Poems fills a significant gap in Wright's bibliography: that of an accessible, carefully chosen collection to satisfy both longtime readers and those just discovering his work. Edited and with an introduction by Wright's widow, Anne, and his close friend the poet Robert Bly, who also wrote an introduction, Selected Poems is a personal, deeply considered collection of work with pieces chosen from all of Wright's books. It is an overdue--and timely--new view of a poet whose life and work encompassed the extremes of American life.

    THE SINGING KNIVES, originally published in 1971 by Broughton's Mill Mountain Press, is Frank Sanford's first collection of poetry. Reprinted by his own press, Lost Roads Publisher, after his death, THE SINGING KNIVES, debuts the work of a twenty-something year old boy way ahead of his time and in a state of unrest, capturing "poetry's more primal and mysterious possibilities"-David Clewell. "It is astonishing to me that I was not even aware of this superbly accomplished and moving poet. There is a great deal of pain in the poems, but it is a pain that makes sense, a tragic pain whose meaning rises from the way the poems are so firmly molded and formed from within"- James Wright.