She had a play that was to be produced at the New York International Fringe Festival and a job waiting for her at the New Yorker. Tragically, five days after graduation, Marina died in a car crash.As her family, friends, and classmates, deep in grief, joined to create a memorial service for Marina, her unforgettable last essay for the Yale Daily News, “The Opposite of Loneliness,” went viral, receiving more than 1.4 million hits. She had struck a chord.Even though she was just twenty-two when she died, Marina left behind a rich, expansive trove of prose that, like her title essay, captures the hope, uncertainty, and possibility of her generation. The Opposite of Loneliness is an assem­blage of Marina’s essays and stories that, like The Last Lecture, articulates the universal struggle that all of us face as we figure out what we aspire to be and how we can harness our talents to make an impact on the world.

    In these highly individual, penetrating essays he has exposed 'the American whole soul' within some of that continent's major works of literature. In seeking to establish the status of writings by such authors as Poe, Melville, Fenimore Cooper and Whitman, Lawrence himself has created a classic work. Studies in Classic American Literature is valuable not only for the light it sheds on eighteenth- and nineteenth-century American consciousness, telling 'the truth of the day', but also as a prime example of Lawrence's learning, passion and integrity of judgement.

    This compelling collection showcases Brooks's technical mastery, her warm humanity, and her compassionate and illuminating response to a complex world. This edition also includes a special PS section with insights, interviews, and more—including a short piece by Nikki Giovanni entitled "Remembering Gwen."By 1963 the civil rights movement was in full swing across the United States, and more and more African American writers were increasingly outspoken in attacking American racism and insisting on full political, economic, and social equality for all. In that memorable year of the March on Washington, Harper & Row released Brooks’s Selected Poems, which incorporated poems from her first three collections, as well as a selection of new poems.This edition of Selected Poems includes A Street in Bronzeville, Brooks's first published volume of poetry for which she became nationally known and which led to successive Guggenheim fellowships; Annie Allen, published one year before she became the first African American author to win the Pulitzer Prize in any category; and The Bean Eaters, her fifth publication which expanded her focus from studies of the lives of mainly poor urban black Americans to the heroism of early civil rights workers and events of particular outrage—including the 1955 Emmett Till lynching and the 1957 school desegregation crisis in Little Rock, Arkansas.

    Kafka's Czech translator, she was uniquely able to recognize his complex genius and his even more complex character. For the thirty-six-year-old Kafka, she was "a living fire, such as I have never seen." It was to her that he revealed his most intimate self. It was to her that, after the end of the affair, he entrusted the safekeeping of his diaries.Newly translated, revised, and expanded, this edition contains material previously omitted because of its extreme sensitivity. Also included for the first time are letters and essays by Milena Jesenská, herself a talented writer as well as the recipient of these documents of Kafka's love, anxiety, and despair.

    Kennedy, Groucho Marx, Charles Dickens, Katharine Hepburn, Mick Jagger, Steve Martin, Clementine Churchill, Ray Bradbury, Kurt Vonnegut and many more.

    Siken writes with ferocity, and his reader hurtles unstoppably with him. His poetry is confessional, gay, savage, and charged with violent eroticism. In the world of American poetry, Siken's voice is striking. In her introduction to the book, competition judge Louise Glück hails the “cumulative, driving, apocalyptic power, [and] purgatorial recklessness” of Siken’s poems. She notes, “Books of this kind dream big. . . . They restore to poetry that sense of crucial moment and crucial utterance which may indeed be the great genius of the form.”

    "The Portable Jack Kerouac" is an essential introduction to one of this country's most important modern writers.

    Like many an Alger, Lemuel Pitkin leaves his home on the farm to seek his fortune in the Big City. By the time he is through, he has been robbed, bilked, thrown in jail, has lost his teeth, his eye, a leg, his scalp, and has witnessed a remarkable number of rapes and political riots. Others in the cast: an ex-president of the United States (just released from jail); Lem's childhood sweetheart (now working in a Mott Street bordello); an oil-rich Indian; a Western desperado; and assorted agents and thugs of the Communists, Fascists and International Bankers. Through the story of Lemuel Pitkin, the four-square, All-American hero, and his sad fate at the hands of rabble-rousers and charlatans, West etched a classic parable of America in the chaotic Thirties.

    In it, Roger Housden offers us poems on life and death, happiness, seeing ourselves in relation to the world, and, of course, the ineffable--the things that really matter when the chips are down. He describes these passionate poems as "bread for the soul and fire for the spirit."The poets Housden has chosen are Billy Collins, Hayden Carruth, Dorianne Laux, James Wright, Naomi Shihab Nye, and Mary Oliver from the United States, D. H. Lawrence and John Keats from England, Rainer Maria Rilke from Germany, Fleur Adcock from New Zealand, and Seng-Ts'an from sixth-century China. And yes, that adds up to eleven, not ten. Housden decided to include a bonus poem for his faithful readers in this, the final volume of the series. As before, Housden's luminous essays provide an elegant and easy passage into the sometimes daunting world of poetry, enabling readers to feel that in him they have found a trusted guide and mentor.

    His poems are widely considered the most important contribution to Italian literature since Montale and, along with the work of Brecht and Neruda, represent the most powerful political poetry of the century. This dual-language book presents his major poems as well as an autobiographical essay, which together make for an outstanding introduction to Pasolini's exceptional gifts as a poet.

    Warren wrote enduring fiction as well as influential works of literary criticism and theory. Yet, as this variorum edition of his published poems suggests, it is his poetry - spanning sixty years, sixteen volumes of verse, and a wide range of styles - that places Warren among America's foremost men of letters. In this volume, John Burt, Warren's literary executor, has gathered together every poem Warren ever published (with the exception of Brother to Dragons), including the many poems he published in The Fugitive and other magazines, as well as those that appeared in his small press works and broadsides. Burt has also exhaustively collated all of the published versions of Warren's poems - in some cases, a poem appeared as many as six different times with substantive revisions in every line - as well as the author's typescripts and proofs. And since Warren never seemed to reread any of his books without a pencil in hand, Burt has referred to Warren's personal library copies. A record of Burt's comprehensive analysis is found in this edition's textual notes, list of emendations, and explanatory notes.

    Included are the leading Beat and New York School poets, the Projectivists, and "Deep Image" poets. Included, too, is the rich array of poetry written since 1975-language and performance poetry, the work of African American, Hispanic, Asian American, gay and lesbian, and women experimentalists. In addition, a final section of poetics-with writings by Frank O Hara, Denise Levertov, Jerome Rothenberg, Amiri Baraka, and Charles Bernstein, among others-provides valuable contexts for reading the poems.

    In the fall of 2012, she went through a harrowing cycle of panic attacks and dread that wouldn't abate for months. So she began @sosadtoday, an anonymous Twitter feed that allowed her to express her darkest feelings, and which quickly gained a dedicated following. In So Sad Today, Broder delves deeper into the existential themes she explores on Twitter, grappling with sex, death, love, low self-esteem, addiction, and the drama of waiting for the universe to text you back. With insights as sharp as her humor, Broder explores—in prose that is both gutsy and beautiful, aggressively colloquial and achingly poetic—questions most of us are afraid to even acknowledge, let alone answer, in order to discover what it really means to be a person in this modern world.

    

    Now he gives birth to a cast of gruesomely sympathetic children – misunderstood outcasts who struggle to find love and belonging in their cruel, cruel worlds. His lovingly lurid illustrations evoke both the sweetness and the tragedy of these dark yet simple beings – hopeful, hapless heroes who appeal to the ugly outsider in all of us, and let us laugh at a world we have long left behind (mostly anyway).