The Beats helped make literature a democracy. All one needed, they believed, was passion and a love of the written word. The names of Jack Kerouac, Allen Ginsberg, Neal Cassady, and William Burroughs and their friends are well known to the reading public at large, and on its face the beat movement appears to have been an exclusively male phenomenon. But the Beat movement's publicity did not necessarily reflect the reality of its literature and spirit. This singular book is devoted to contributions of women to the body and spirit of the Beat revolution.The women included in this anthology run the gamut from the famous---Carolyn Cassady and Jan Kerouac-to the relatively undiscovered-Mary Fabilli and Helen Adam. The art, prose, and poetry selected represent the full range and development of their work. The women whose work is featured in this anthology were talented rebels with enough courage and creative spirit to turn their backs on "the good life" that the fifties promised and forge their way to San Francisco and Greenwich Village. They dared to attempt to create lives of their own and make their own way. Today an unprecedented amount of brilliant, imaginative and highly experimental writing by women is being recognized and applauded. This anthology looks back to the antecedents for this greater liberty of expression. It is a testament to the lives of the women who helped shape the Beat era. Together, their voices form an energetic force field of consciousness that manifested at a rich and difficult time in cultural history.Women of the Beat Generation profiles 40 women --Precursors, MusesWriters, and Artists-including Elise Cowen, Diane di Prima, Hettie Jones, Joan Vollmer Burroughs, Jan Kerouac, Jane Bowles, Carolyn Cassady, Edie Parker KerouacEileen Kaufman, Joyce Johnson, Denise Levertov, Brenda Frazer, Anne Waldman, Jay DeFeo, Joan Brown, and many othersWomen of the Beat Generation highlights the lives and work of these female iconoclasts, and ensures the world will not forget their contributions to its transformation.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    Gioia has published five volumes of poetry, served as the Chairman of the National Endowment for the Arts, and currently sits as the Poet Laureate of California, but he is also a graduate of Stanford Business School and was once a Vice President at General Foods. He has studied opera and is a published librettist, in addition to his prolific work in critical essay writing and editing literary anthologies. Having lived several lives, Gioia brings an insightful, varied, eclectic eye to this year’s Best American Poetry. With his classic essay “Can Poetry Matter?”, originally run in The Atlantic in 1991, Gioia considered whether there is a place for poetry to be a part of modern American mainstream culture. Decades later, the debate continues, but Best American Poetry 2018 stands as evidence that poetry is very much present, relevant, and finding new readers.

    Camille Pissarro, born in 1830, leaves his native St. Thomas to follow his vocation as a painter in Paris. The poet himself hunts for a detail -- a slash of pink on the inner thigh/of a white hound -- of a Venetian painting encountered on an early visit from St. Lucia to New York. Both journeys take us through a Europe of the mind's eye, in search of a connection between the lost, actual landscape of a childhood and the mythical landscape of empire. Published with twenty-six of Derek Walcott's own paintings, the poem is at once the spiritual biography of a great artist in self-exile, a history in verse of Impressionist painting, and a memoir of the poet's desire to catch the visual world in more than words.

    Henry, throughout its history this annual collection has consistently offered a remarkable sampling of contemporary short stories. Each year, stories are chosen from large and small literary magazines, and a panel of distinguished writers is enlisted to award top prizes. The result is a superb collection of seventeen inventive, full-bodied stories representing the very best in American and Canadian fiction. And in celebration of this distinguished literary form, Prize Stories 2001 a Special Award for Continuing Achievement is presented to Alice Munro.FIRST PRIZEMARY SWANThe DeepSECOND PRIZEDAN CHAONBig MeTHIRD PRIZEALICE MUNROFloating BridgeFRED G. LEEBRONThat WinterT.CORAGHESSAN BOYLEThe Love of My LifeJOYCE CAROL OATESThe Girl with the Blackened EyeDAVID SCHICKLERThe SmokerANTONYA NELSONFemale TroubleELIZABETH GRAVERThe Mourning DoorPICKNEY BENEDICTZog-19: A Scientific RomanceRON CARLSONAt the Jim BridgerLOUISE EDRICHRevival RoadWILLIAM GAYThe PaperhangerDALE PECKBlissMURAD KALAMBow DownGEORGE SAUNDERSPastoraliaANDREA BARRETTServants of the Map

    From illusions of permanence and ownership to the pain of estrangement, Liar masterfully explores feelings familiar to anyone who has ever loved — and lost. Crosbie also goes beyond this territory, examining the lover’s own complicity in her joy and suffering. Liar is a grotesque, beautiful meditation on the nature of love.

     They weren't supposed to fall in love...at least that's what the agreement said. Marrying a Cowboy Emma George seems destined to be the perpetual bridesmaid. She's constantly on the receiving end of every do-gooder matchmaker. Austin Maverick must marry to inherit his grandfather's ranch. A chance meeting at a friends wedding throws these two together. What starts out as a mutually advantageous idea slowly morphs into something more. Marrying an Athlete Anna Short's pretty sure that her life can't get any lower. After loosing her job and getting dumped, she's beginning to think that happiness with never happen. Defenseman, Micheal Jones, is the life of the party. Until he mistakenly proposes to the mayor's daughter. Instead of facing his mistake, he flees town to spend time with his sister, McKenna, and her adorable best friend, Anna. After picking Anna up, they discover that McKenna's marriage is in shambles. After Michael and Anna agree to fake a marriage so they can go to a marriage counseling resort with McKenna and her husband, the lines become blurred between fake and real. Marrying a Billionaire Lillian Brunette is desperate for a job not only for herself but for the baby growing in her stomach. Recently divorced and alone, she thinks fate is smiling on her when her best friend gets her a job interview with Reed Williamson. Billionaire, Reed Williamson, will do anything to keep hold of his grandfather's company. If that means agreeing to the will stipulation that he must be married to inherit, he will. After an episode of mistaken identity, Lillian finds herself contractually obligated to marry Reed. Which is the perfect relationship for her. No feelings involved. Until she discovers that Reed is kind and incredibly handsome. And just might be what she wants in a family. If only he could accept the secret she's so desperate to hide. The FIRST three books of A Fake Marriage series!

    May of these stories are from the pages of Weird Tales and other classic magazines which brought the work of masters like H.P. Lovecraft, Seabury Quinn, Clark Ashton Smith, August Derleth, Robert E. Howard, and many others to the public. Includes an active table of contents.

    As much as one wants to give Acker the benefit of a fair reading, it's hard not to be bored by the lengthy repetitions, the obscure plotlines, the complete disregard (deliberate, of course) for conventional notions of time. In The Childlike Life of the Black Tarantula, the fictional ``I'' decides to become various murderesses from history, as well as Yeats and Sade. Speaking in a cacophony of voices, she ``can't handle her own horniness,'' though ``sexual ecstasies become mystic communion.'' I Dreamt I Was a Nymphomaniac, another historical hallucination, further emphasizes Acker's sense of the self in disintegration--the reason one assumes the roles of so many other characters from history and literature. Here, a story of sexual obsession somehow transforms into a bland litany of case histories of prisoners whose rights have been abused. This political dimension to Acker's porno-anarcho prose becomes most explicit in The Adult Life of Toulouse-Lautrec, which begins by imagining the artist as a sex-starved, deformed woman. A murder plot sort of develops, to be solved by Hercule Poirot; van Gogh's daughter is actually Janis Joplin, who becomes the lover of James Dean. A profile of Henry Kissinger illustrates how society is corrupted, and individuals like Toulouse-Lautrec/Joplin/Dean suffer. A long political speech, full of half-digested left-wing notions, demonstrates America's decline into ``friendly fascism.'' All of which leads to the facile equation, dramatized in the last section, that the CIA and the Mob are like-minded institutions of repression. The sexual details of Henry Miller, the numbing prose cutups of William Burroughs, the relentless assault on the senses of thrash music--to point out the excess of Acker's entire enterprise only serves her sense of striking out against the bourgeoisie. But it is possible to understand exactly what she's trying to do, and still find it a worthless exercise. -- Copyright ©1992, Kirkus Associates, LP. All rights reserved. --This text refers to an out of print or unavailable edition of this title.

    Yoel Hoffmann explores the attitudes and customs surrounding death in historical and present-day Japan and gives examples of how these have been reflected in the nation's literature in general. The development of writing jisei is then examined—from the poems of longing of the early nobility and the more "masculine" verses of the samurai to the satirical death poems of later centuries. Zen Buddhist ideas about death are also described as a preface to the collection of Chinese death poems by Zen monks that are also included. Finally, the last section contains three hundred twenty haiku, some of which have never been assembled before, in English translation and romanized in Japanese.

    Thanks. is an innovative book based on the recorded improvised poetic collaborations between two award-winning poets, Joshua Beckman and Matthew Rohrer. Nice Hat. Thanks. is a collection of transcriptions of these collaborations, with poems ranging from a few words to several pages.

    New to this edition are comics adaptations of "King Pest", "The Imp of the Perverse", and "The Premature Burial". Plus a newly-illustrated version of "The Raven" by ten great artists. Returning from the previous edition are "The Tell-Tale Heart", "The Fall of the House of Usher" and six more thrilling stories.

    The silence is so heavy that you can hear your blood thundering through your veins. The stir of dry leaves in the darkness could be your friend finding his way back, but it sounds more like a primordial monster stalking its prey. And the lights between the trees? And the haunting songs which lure you ever deeper?  It's time to admit that you aren't afraid of being alone in the woods. You're afraid of not being alone.  Journey through the minds of 22 horror authors who have teamed up to reveal the most terrifying aspects of the forest. Over 400 pages of original supernatural and psychological horror stories include: ghosts, demons, serial-killers, true stories and unsolved mysteries, unique monsters, classic myths and legends, and above all else, a profound respect for the terror hidden within the mysterious trees. About Haunted House Publishing: We're passionate about publishing horror stories for adults, scary books for teens, and all sorts of dark fiction. We've got new horror kindle books every month, specializing in supernatural stories, supernatural book collections, and paranormal books for adults. We've got zombie books, demonic horror, ghosts and specters, angels and demons, gothic novels, and haunted houses and ghosts novels. We promise some of the top horror books 2018.

     Move in closer. That's it. We'll all share our stories together, like a group of close friends. Stories of heartbreak and redemption—trouble and overcoming—questioning our faith and embracing it—and, most of all, finding hope at the end of every path. There's just nothing like a circle of warm friends to share life with. All 15 of us will take turns opening up our hearts to you—sharing little pieces of ourselves. Come join us. We'll even include discussion questions so you can reflect on our stories or explore the themes with a group. Our first two Hot Apple Cider anthologies won a number of awards and have nearly 90,000 print copies in circulation. They’re also now available as ebooks. Table of Contents “Subway Surprise” by A. A. Adourian “Love Has No Limits” by Donna Fawcett “Something to Crow About” by David Kitz “Desperate Missionary in Trouble with the Law” by Don Ranney, M. D. “A Time to Have Tea” by Vilma Blenman “In His Shoes” by Keturah Harris “The Ring” by Angelina Fast-Vlaar “The Right Thing to Do” by Ruth Smith Meyer “Everybody Needs a Friend Who’ll Tell It Like It Is” by Heidi McLaughlin “Picture This!” by Kimberley Payne “My Love Affair with Gym” by Glynis Belec “My Journey to Joy” by Dorene Meyer “Loving Play” by Vilma Blenman “Conversations in Baby Blue” by N. J. Lindquist “From Hard Places” by Carmen Wittmeier "Boulderdash” by Heather McGillivray-Seers

    In collections such as Will You Please Be Quiet, Please? and What We Talk About When We Talk About Love, Carver wrote with unflinching exactness about men and women enduring lives on the knife-edge of poverty and other deprivations. Beneath his pared-down surfaces run disturbing, violent undercurrents. Suggestive rather than explicit, and seeming all the more powerful for what is left unsaid, Carver’s stories were held up as exemplars of a new school in American fiction known as minimalism or “dirty realism,” a movement whose wide influence continues to this day. Carver’s stories were brilliant in their detachment and use of the oblique, ambiguous gesture, yet there were signs of a different sort of sensibility at work. In books such as Cathedral and the later tales included in the collected stories volume Where I’m Calling From, Carver revealed himself to be a more expansive writer than in the earlier published books, displaying Chekhovian sympathies toward his characters and relying less on elliptical effects.In gathering all of Carver’s stories, including early sketches and posthumously discovered works, The Library of America’s Collected Stories provides a comprehensive overview of Carver’s career as we have come to know it: the promise of Will You Please Be Quiet, Please? and the breakthrough of What We Talk About, on through the departures taken in Cathedral and the pathos of the late stories. But it also prompts a fresh consideration of Carver by presenting Beginners, an edition of the manuscript of What We Talk About When We Talk About Love that Carver submitted to Gordon Lish, his editor and a crucial influence on his development. Lish’s editing was so extensive that at one point Carver wrote him an anguished letter asking him not to publish the book; now, for the first time, readers can read both the manuscript and published versions of the collection that established Carver as a major American writer. Offering a fascinating window into the complex, fraught relationship between writer and editor, Beginners expands our sense of Carver and is essential reading for anyone who cares about his achievement.Contents--What We Talk About When We Talk About LoveWhy Don’t You Dance?ViewfinderMr. Coffee and Mr. FixitGazeboI Could See the Smallest ThingsSacksThe BathTell the Women We’re GoingAfter the DenimSo Much Water So Close to HomeThe Third Thing That Killed My Father OffA Serious TalkThe CalmPopular MechanicsEverything Stuck to HimWhat We Talk About When We Talk About LoveOne More ThingStories from FiresThe LieThe CabinHarry’s DeathThe PheasantCathedralFeathersChef’s HousePreservationThe CompartmentA Small, Good ThingVitaminsCarefulWhere I’m Calling FromThe TrainFeverThe BridleCathedralFrom Where I’m Calling FromBoxesWhoever Was Using This BedIntimacyMenudoElephantBlackbird PieErrandOther FictionThe HairThe AficionadosPoseidon and CompanyBright Red ApplesFrom The Augustine NotebooksKindlingWhat Would You Like to See?DreamsVandalsCall If You Need MeSelected EssaysMy Father’s LifeOn WritingFiresAuthor’s Note to Where I’m Calling FromBeginners (The Manuscript Version of What We Talk About When We Talk About Love)Why Don’t You Dance?ViewfinderWhere Is Everyone?GazeboWant to See Something?The FlingA Small, Good ThingTell the Women We’re GoingIf It Please YouSo Much Water So Close to HomeDummyPieThe CalmMineDistanceBeginnersOne More Thing--loa.org