And few episodes in postwar literature have the legendary stature of Hughes's romance with, and marriage to, the great American poet Sylvia Plath.The poems in Birthday Letters are addressed (with just two exceptions) to Plath, and were written over a period of more than twenty-five years, the first a few years after her suicide in 1963. Some are love letters, others haunted recollections and ruminations. In them, Hughes recalls his and Plath's time together, drawing on the powerful imagery of his work--animal, vegetable, mythological--as well as on Plath's famous verse.Countless books have discussed the subject of this intense relationship from a necessary distance, but this volume--at last--offers us Hughes's own account. Moreover, it's a truly remarkable collection of poems in its own right.

    Collected Poems brings together not only all his books--The North Ship, The Less Deceived, The Whitsun Weddings, and High Windows--but also his uncollected poems from 1940 to 1984.This new edition reflects Larkin's own ordering for his poems and is the first collection to present the body of his work with the organization he preferred. Preserving everything he published in his lifetime, the new Collected Poems is an indispensable contribution to the legacy of an icon of twentieth-century poetry.

    Included here is some of the most celebrated verse in modern literature-”The Love Song of J. Alfred Prufrock,” “Gerontion,” “The Waste Land,” “The Hollow Men,” and “Ash Wednesday”-as well as many other fine selections from Eliot’s early work.

    It includes Emily's verse from Poems by Currer, Ellis and Acton Bell, as well as 200 works collected from various manuscript sources after her death in 1848.

    An alternate cover edition of this ISBN can be found here.Features 104 of Blake's poems: "A Song of Liberty," "The Argument," "Proverbs of Hell," "The Mental Traveller," "The Land of Dreams," "To the Evening Star" and many more.

    H. Auden’s Selected Poems adds twenty poems to the hundred in the original edition, broadening its focus to better reflect the enormous wealth of form, rhetoric, tone and content in Auden’s work. Newly included are such favorites as “Funeral Blues” and other works that represent Auden’s lighter, comic side, giving a fuller picture of the range of his genius. Also new are brief notes explaining references that may have become obscure to younger generations of readers and a revised introduction that draws on recent additions to knowledge about Auden.As in the original edition, the new Selected Poems makes available the preferred original versions of some thirty poems that Auden revised later in life, making it the best source for enjoying the many facets of Auden’s art in one volume.

    This edition brings together, in a form he himself sanctioned, his Collected Poems of 1928, the unexpurgated version of Pansies, and Nettles, adding to these volumes the contents of the two notebooks in which he was still writing poetry when he died in 1930.It therefore allows the reader to trace the development of Lawrence as a poet and appreciate the remarkable originality and distinctiveness of his achievement. Not all the poems reprinted here are masterpieces but there is more than enough quality to confirm Lawrence's status as one of the greatest English writers of the twentieth century.

    Winner of the Nobel Prize in LiteratureFrom Pulitzer Prize-winning poet Louise Glück, a stunningly beautiful collection of poems that encompasses the natural, human, and spiritual realmsBound together by the universal themes of time and mortality and with clarity and sureness of craft, Louise Glück's poetry questions, explores, and finally celebrates the ordeal of being alive.

    No reading of nineteenth century poetry can be complete without attention to this prolific and popular poet. Rossetti's inner life dominates her poetry, exploring loss and unattainable hope. Her divine poems have a freshness and toughness of thought, while many of her love poems are erotic, and as often express love for women as for men. The varied threads of Rossetti's concerns are drawn together in what is perhaps her greatest poem, the strange and ambiguous Goblin Market.304

    Understandable perhaps from the point of view of the poet: readers on the other hand might wish to demur. The poems gathered here and chronologically ordered, thereby tracing the course of the war, are an extraordinary testimony to the almost unimaginable experiences of a combatant in that bitter conflict. Moving from the patriotic optimism of the first few poems (" ... fighting for our freedom, we are free") to the anguish and anger of the later work (where "hope, with furtive eyes and grappling fists / Flounders in mud ... "), there comes a point when the reality of trench-warfare and its aftershocks move beyond comprehension: Sassoon knows this, and it becomes a powerful element in his art. As a book, the images have a cumulative relentlessness that make it almost impossible to read more than a few poems in one sitting. Unlike the avant-garde experiments developing in Europe in the first decades of this century, Sassoon's verse is formally conservative--but this was perhaps necessary, for as one reads the poems, one feels that the form, the classically inflected tropes, the metre and rhyme, apart from ironising the rhetoric of glory and battle were necessary techniques for containing the emotion (and indeed, a tone of barely controlled irony may have been the only means by which these angry observations would have been considered publishable at the time). When Sassoon's line begins to fragment, as it does in several of the later poems, it is under the extreme pressure to express the inexpressible. Compassion and sympathy are omnipresent here, in their full etymological sense of suffering with or alongside others--something the higher echelons of command (those " ... old men who died / Slow, natural deaths--old men with ugly souls") were never able or willing to contemplate. But Sassoon intuited the future of warfare, could sense that this was not "the war to end all wars": the mock-religious invocation of the final poem prefigures the vicious euphemisms of more recent conflicts: "Grant us the power to prove, by poison gases, / The needlessness of shedding human blood." Sassoon's bile-black irony signals a deep-felt pessimism: it was with good reason. --Burhan Tufail

    They were written chiefly with a view to ascertain how far the language of conversation in the middle and lower classes of society is adapted to the purposes of poetic pleasure - William Wordsworth, from the Advertisment prefacing the original 1798 edition. When it was first published, Lyrical Ballads enraged the critics of the day: Wordsworth and Coleridge had given poetry a voice, one decidedly different to what had been voiced before. For Wordsworth, as he so clearly stated in his celebrated preface to the 1800 edition (also reproduced here), the important thing was the emotion aroused by the poem, and not the poem itself. This acclaimed Routledge Classics edition offers the reader the opportunity to study the poems in their original contexts as they appeared to Coleridge's and Wordsworth's contemporaries, and includes some of their most famous poems, including Coleridge's Rime of the Ancyent Marinere.

    Within its golden gates, death, American-style, is wrapped up and sold like a package holiday. There, Dennis enters the fragile and bizarre world of Aimée, the naïve Californian corpse beautician, and Mr Joyboy, the master of the embalmer's art...A dark and savage satire on the Anglo-American cultural divide, The Loved One depicts a world where love, reputation, and death cost a very great deal.This is an alternate cover edition: https://www.goodreads.com/book/show/3....

    An unusually rich selection from Byron's letters and journals accompanies the poems. The critical essays offer an integrated view of Byron's achievement as well as analyses of its different facets. Published for the first time is Bergen Evans's general essay Lord Byron's Pilgrimage; other essays are by John D. Jump, Michael G. Cooke, Francis Berry, Robert F. Gleckner, James R. Thompson, Frank D. McConnell, Leslie A. Marchand, and E. D. Hirsch, Jr. A special section, Images of Byron, presents 26 views of Byron as artist and as the epitome of the Romantic hero, ranging from the perspectives of his contemporaries to those of such modern writers as James Joyce, Virginia Woolf, T. S. Eliot, and Albert Camus. A Chronology sets forth the main events of Byron's life, and a Selected Bibliography lists sources for further study.

     It's you I love, perfect man, Greek God, my own; but I know you'll go, betray me, strayfrom home.So better by far for me if you were stone.—from "Medusa"Stunningly original and haunting, the voices of Mrs. Midas, Queen Kong, and Frau Freud, to say nothing of the Devil's Wife herself, startle us with their wit, imagination, and incisiveness in this collection of poems written from the perspectives of the wives, sisters, or girlfriends of famous—and infamous—male personages. Carol Ann Duffy is a master at drawing on myth and history, then subverting them in a vivid and surprising way to create poems that have the pull of the past and the crack of the contemporary.

    He browbeats his flatmate, terrorizes his wife, and is not above sleeping with her best friend-who loathes Jimmy almost as much as he loathes himself. Yet this working-class Hamlet, the original Angry Young Man, is one of the most mesmerizing characters ever to burst onto a stage, a malevolently vital, volcanically articulate internal exile in the dreary, dreaming Siberia of postwar England.First produced in 1956, Look Back in Anger launched a revolution in the English theater. Savagely, sadly, and always impolitely, it compels readers and audiences to acknowledge the hidden currents of rottenness and rage in what used to be called "the good life."