An ode to the power that resides in us all to overcome the most difficult circumstances, this poem is truly an inspiration and affirmation of the faith that restores and nourishes the soul. Entwined with the vivid paintings of Diego Rivera, the renowned Mexican artist, Angelou's words paint a portrait of the amazing human spirit, its quiet dignity, and pools of strength and courage. An ideal gift for a friend, lover, or family member, this special edition will be treasured by all who receive it.

    Bachmann is considered one of the most important poets to emerge in postwar German letters, and this volume represents the largest collection available in English translation. Influencing numerous writers from Thomas Bernhard to Christa Wolf to Elfriede Jelinek (winner of the 2004 Nobel Prize in Literature), Bachmann’s poetic investigation into the nature and limits of language in the face of historical violence remains unmatched in its ability to combine philosophical insight with haunting lyricism.Bachmann was born in 1926 in Klagenfurt, Austria. She studied philosophy at the universities of Innsbruck, Graz, and Vienna. In 1953 she received the poetry prize from Gruppe 47 for her first volume, Borrowed Time (Die gestundete Zeit). Her second collection, Invocation of the Great Bear (Anrufung des großen Bären), appeared in 1956. Her various awards include the Georg Büchner Prize, the Berlin Critics Prize, the Bremen Award, and the Austrian State Prize for Literature. Writing and publishing essays, opera libretti, short stories, and novels as well, she divided her time between Munich, Zurich, Berlin, and Rome, where she died from a fire in her apartment in 1973.Peter Filkins has published two volumes of poetry, What She Knew (1998) and After Homer (2002), and has translated Bachmann’s The Book of Franza and Requiem for Fanny Goldmann. He is the recipient of an Outstanding Translation Award from the American Literary Translators Association and the Berlin Prize from the American Academy in Berlin. He teaches at Simon’s Rock College of Bard in Great Barrington, Massachusetts.

    With language delicate, smooth, and wryly funny, Louise is on a voyage without destination, traveling with a cast of enigmatic others, including her lover, Ham. Louise is as musical as she is mysterious and the reader is invited to listen. In her world, anything goes, provided it is breathtaking. Bang, whose first collection was the prize-winning Apology for Want, both parodies and pays homage to the lyric tradition, borrowing its lush music and dramatic structure to give new voice to the old concerns of the late Romantic poets. Louise in Love is a dramatic postmodern verse-novel with an eloquent free-floating narration. The poems, rife with literary allusion, take journeys to distant lands. And, like anyone on a voyage without a destination, they are endlessly questioning of the enigmatic world around them.

    "Ginsberg is both tragic and dynamic, a lyrical genius, con-man extraordinaire and probably the single greatest influence on American poetical voice since Walt Whitman."--Bob Dylan

    The themes in White Buildings are abstract and metaphysical, but Crane's associations and images spring from the American scene. Eugene O'Neill wrote: "Hart Crane's poems are profound and deep-seeking. In them he reveals, with a new insight and unique power, the mystic undertones of beauty which move words to express vision." "Genius is a mystery resistant to reductive analysis, whether sociobiological, psychological, or historical. Like Milton, Pope, and Tennyson, the youthful Crane was a consecrated poet before he was an adolescent."—Harold Bloom "Crane's poems are as distinct from those of other contemporary American poets as one metal from another. This man is a mystical maker: he belongs to a group of poets who create their world, rather than arrange it, and who employ the idiom of their fellows with divine arbitrariness to model the vision of themselves."—The New Republic "In single lines of arresting and luminous quality and in whole poems Mr. Crane reveals that his originality is profound."—Times Literary Supplement  "The line structure is so beautiful in itself, the images so vividly conceived, and the general aura of poetry so indelibly felt that the intelligent reader will move pleasurably among the impenetrable nuances."—New York Times

    the princess, the damsel, & the queen piece together the life of the author in three stages, while you serves as a note to the reader & all of humankind. Explores life & all of its love, loss, grief, healing, empowerment, & inspirations.

    They are truly delightful and robustly original—a poetic joy."—Tony HoaglandSelected by Bernadette Mayer for the National Poetry Series, these poems engage the structures of family and intimacy, exposing the viscera of the everyday, all its frailties and familiarity rendered absurd and remade through language.Outside there's a world where every love-scenebegins with a man in a doorway;he walks over to the woman and says "Open your mouth."Hannah Gamble has received fellowships from Rice University, The University of Houston, and The Edward F. Albee Foundation. She teaches literature and writing at Prairie State College and is the poet-in-residence at Children's Memorial Hospital in Chicago, Illinois.

    Collins’ emotional complexity and uncommon range make this debut both thrillingly imaginative and ethical in its uncompromising attention to detail. In her Foreword, contest judge Louise Glück observes, “I know no poet whose sense of fraud, the inflated emptiness that substitutes for feeling, is more acute.” Glück calls Collins’ volume “savage, desolate, brutally ironic . . . a book of astonishing originality and intensity, unprecedented, unrepeatable.”

    However, her Collected Poems (1951) omits twenty years of later beauties. And her inaccurately titled Complete Poems (1967) is likewise incomplete, leaving out nearly half of her body of verse and giving readers only a partial view of her work. This complete collection of Moore's poetry, lovingly edited by the prizewinning poet Grace Schulman, for the first time contains all of Moore's poems, including 120 previously uncollected and unpublished ones. Organized chronologically to allow readers to follow Moore's development as a poet, the volume includes an introduction, all of Moore's original notes to the poems, along with Schulman's notes, attributions, and some variants. This long-needed volume will reveal to Moore's admirers the scope of her poetic voice and will introduce new generations of readers to her great achievement. The Poems of Marianne Moore is a must have both for Moore devotees and any reader seeking an introduction to the work of one of America's greatest poets.

    Like it or not, it outwits whatever I then thought to say and gains thereby whatever I was in saying it. Thankfully, I was never what I thought I was, certainly never enough. Otherwise, when it came time to think specifically of this collection and of what might be decorously omitted, I decided to stick with my initial judgments, book by tender book, because these were the occasions most definitive of what the poems might mean, either to me or to anyone else. To define their value in hindsight would be to miss the factual life they had either made manifest or engendered. So everything that was printed in a book between the dates of 1945 and 1975 is here included as are also those poems published in magazines or broadsides. In short, all that was in print is here. I'm delighted that they are all finally together, respected, included, each with their place--like some ultimate family reunion! I feel much relieved to see them now as a company at last. I'm tempted to invoke again those poets who served as a measure and resource for me all my life as a poet. But either they will be heard here, in the words and rhythms themselves, or one will simply know the. This time I am, in this respect, alone these are my poems. We are a singular compact. Finally, there's no end to any of it, or none we'll know that simply. But I'm very relieved that this much, like they say, is done. So be it.

    The result is a poetry that upends the deeply and dangerously assumed concepts of such a culture—that new knowledge is always better knowledge, that history is a steady progress, that humans are in control of the natural order. Nick Lantz’s poems hurtle through time from ancient theories of physics to the CIA training manual for the practice of torture, from the history of the question mark to the would-be masterpieces left incomplete by the deaths of Leonardo da Vinci, Nikolai Gogol, Bruce Lee, and Jimi Hendrix. Selected by Linda Gregerson for the esteemed Bakeless Prize for Poetry, We Don’t Know We Don’t

    In a recent profile, The New York Times Magazine paid tribute to her amazing ability to combine the classical and the modern, the mundane and the surreal, in a body of work that is sure to endure.In Men in the Off Hours, Carson offers further proof of her tantalizing gifts. Reinventing figures as diverse as Oedipus, Emily Dickinson, and Audubon, Carson sets up startling juxtapositions: Lazarus among video paraphernalia, Virginia Woolf and Thucydides discussing war, Edward Hopper paintings illuminated by St. Augustine. And in a final prose poem, she meditates movingly on the recent death of her mother. With its quiet, acute spirituality and its fearless wit and sensuality, Men in the Off Hours shows us a fiercely individual poet at her best.

    In this new collection, human desire pulls with the force and rhythm of a sea tide, emerging from and receding into mysteries larger than any individual life. The book begins with the reverential title poem and concludes with four works that reflect the power of place to shape revelation; the way stone and sky and birdsong can point the way home. Whether tracing the sensual devotion of bodily presence or the painful heartbreak of impermanence, the poems keep faith with love's appearances and disappearances, and the promises we make and break on its behalf.

    From Bosworth Field to Beijing, the Boyne to Bull Run, from a series of text messages to the nineteenth-century Irish poet Tom Moore to an elegy for Warren Zevon, and from post-Agreement Ireland to George W. Bush's America, this book presents us with fields of battle and fields of debate, in which we often seem to have come to a standstill, but in which language that has been debased may yet be restruck and made current to our predicament. "Horse Latitudes "is a triumphant new collection by one of the most esteemed poets of our time.