Great Freedom, whereby you are not bound by the life you live in.The writings of Truth that guides you to the life of wisdom, cleanses your mind and leads you to the true and eternal world.

    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.”

    As Aeneas journeys closer to his goal, he must first prove his worth and attain the maturity necessary for such an illustrious task. He battles raging storms in the Mediterranean, encounters the fearsome Cyclopes, falls in love with Dido, Queen of Carthage, travels into the Underworld and wages war in Italy.

    This volume takes as its subject the troubled sleep of late modernity, from the grandeur and failure of megacities to the retreats and displacements of the suburbs. The power of crowds and architecture commingles with the alienation and idleness of the observer, caught between “the brutal red dream/Of the collective” and “the parade/Of the ideal citizen.” The book’s action takes place in these gaps, “dead spaces beside the endlessly grieving stream.” The frozen tableau of the spectacle meets its double in the sense that something is always about to happen. Political furies and erotic imaginings coalesce and escape within a welter of unmoored allusions, encounters, citations, and histories, the dreams possible within the modern’s excess of signification—as if to return revolutionary possibility to the regime of information by singing it its own song.

    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.

    

    You are one of the 84 million Americans who volunteer with a charity. You are part of a national donor pool that contributes nearly $200 billion to good causes every year. But you wonder: Why don't your efforts seem to make a difference?Fifteen years ago, Robert Egger asked himself this same question as he reluctantly climbed aboard a food service truck for a night of volunteering to help serve meals to the homeless. He wondered why there were still people waiting in line for soup in this day and age. Where were the drug counselors, the job trainers, and the support team to help these men and women get off the streets? Why were volunteers buying supplies from grocery stores when restaurants were throwing away unused fresh food every night? Why had politicians, citizens, and local businesses allowed charity to become an end in itself? Why wasn't there an efficient way to solve the problem?Robert knew there had to be a better way. In 1989, he started the D.C. Central Kitchen by collecting unused food from local restaurants, caterers, and hotels and bringing it back to a central location where hot, nutritious meals were prepared and distributed to agencies around the city. Since then, the D.C. Central Kitchen has been named one of President Bush Sr.'s Thousand Points of Light and has become one of the most respected and emulated nonprofit agencies in the world, producing and distributing more than 4,000 meals a day. Its highly successful 12-week job-training program equips former homeless transients and drug addicts with culinary and life skills to gain employment in the restaurant business.In Begging for Change, Robert Egger looks back on his experience and exposes the startling lack of logic, waste, and ineffectiveness he has encountered during his years in the nonprofit sector, and calls for reform of this $800 billion industry from the inside out. In his entertaining and inimitable way, he weaves stories from his days in music, when he encountered legends such as Sarah Vaughan, Mel Torme, and Iggy Pop, together with stories from his experiences in the hunger movement -- and recently as volunteer interim director to help clean up the beleaguered United Way National Capital Area. He asks for nonprofits to be more innovative and results-driven, for corporate and nonprofit leaders to be more focused and responsible, and for citizens who contribute their time and money to be smarter and more demanding of nonprofits and what they provide in return. Robert's appeal to common sense will resonate with readers who are tired of hearing the same nonprofit fund-raising appeals and pity-based messages. Instead of asking the "who" and "what" of giving, he leads the way in asking the "how" and "why" in order to move beyond our 19th-century concept of charity, and usher in a 21st-century model of change and reform for nonprofits.Enlightening and provocative, engaging and moving, this book is essential reading for nonprofit managers, corporate leaders, and, most of all, any citizen who has ever cared enough to give of themselves to a worthy cause.

    Little is known of her but she was probably the Abbess of the abbey at Shaftesbury in the late 12th century, illegitimate daughter of Geoffrey Plantagenet and hence the half-sister of Henry II of England. It was to a king, and probably Henry II, that she dedicated these poems of adventure and love which were retellings of stories which she had heard from Breton minstrels. She is regarded as the most talented French poet of the medieval period.

    Her poems are sculptures pieced together from bits of memory and a montage of American detritus. This cinematic and wildly original collection asks the big questions as it documents our private selves, playing out our lives in public.Before becoming a poet, Brenda Coultas was a farmer, a carny, a taffy maker, a park ranger, a waitress in a disco ballroom, and the second woman welder in Firestone Steel’s history. Her poetry has appeared in numerous publications, including Conjunctions, Epoch, Fence, and Open City. She lives one block from the Bowery in New York City.

    The poem is a discussion about the number of brothers and sisters who dwell with a little girl, and whether to count two dead siblings.

    Impelled by metaphor and lilting repetition, Mulberry seeks a sense of the world, and ultimately, finds a sense of the Infinite. Affording continual discoveries, Mulberry is a major work for the new century by an assured and lavishly gifted poet. Dan Beachy-Quick is the author of North True South Bright and Spell, He is chair of the MFA Writing Program at the School of the Art Institute of Chicago and recipient of a Lannan Foundation Residency.

    Individually, Jake Adam York’s poems are elegies for individuals; collectively, they consider the violence of a racist culture and the determination to resist that racism. York follows Sun Ra, a Birmingham jazz musician whose response to racial violence was to secede from planet Earth, considers the testimony in the trial of J. W. Milam and Roy Bryant for the murder of Emmet Till in 1955, and recreates events of Selma, Alabama, in 1965. Throughout the collection, an invasion of starlings images the racial hatred and bloodshed. While the 1950s spawned violence, the movement in the early 1960s transformed the language of brutality and turned the violence against the violent, says York. So, the starlings, first produced by violence, become instruments of resistance.York’s collection responds to and participates in recent movements to find and punish the perpetrators of the crimes that defined the civil rights movement. A Murmuration of Starlings participates in the search for justice, satisfaction, and closure.

    All three are unblinking portraits of the complexities of evil in everyday life, exhibiting LaBute’s signature raw lyrical intensity.

    To make Oedipus more accessible for the modern reader, our Prestwick House Literary Touchstone Classics includes a glossary of the more difficult words, as well as convenient sidebar notes to enlighten the reader on aspects that may be confusing or overlooked. We hope that the reader may, through this edition, more fully enjoy the beauty of the verse, the wisdom of the insights, and the impact of the drama.

    Linda Pastan writes, "the art that mattered / was the life led fully / stanza by swollen stanza." That life is portrayed here, from memories of the poet's earliest childhood and the ambiguities of marriage and love to the surprises that come with age, always with a consciousness of what is happening in the larger world.