When her husband, Ted Hughes, first brought this collection to life, it garnered worldwide acclaim, though it wasn't the draft Sylvia had wanted her readers to see. This facsimile edition restores, for the first time, Plath's original manuscript—including handwritten notes—and her own selection and arrangement of poems. This edition also includes in facsimile the complete working drafts of her poem "Ariel," which provide a rare glimpse into the creative process of a beloved writer. This publication introduces a truer version of Plath's works, and will no doubt alter her legacy forever.

    New Collected Poems now brings the record of her achievement up to date, adding material from her subsequent volumes and filling out key poems from the early years. Following the chronology of publication, the reader experiences the exhilarating sense of development, now incremental, now momentous. Boland’s work traces a measured process of emancipation from conventions and stereotypes, writing now in a space she has cleared not by violent rejection, but by dialogue, critical engagement, and patient experimentation with form, theme, and language.

    In formally ambitious poems and lyric essays, Sun in Days gives voice to the experience of illness, the permanence of loss, and invigorating moments of grace. Wresting a recuperative beauty from one’s days, O’Rourke traces an arc from loss and illness to the life force of pregnancy and motherhood. Along the way, she investigates a newfound existential awareness of all that vanishes. This is O’Rourke’s most ambitious book to date: unsentimental yet deeply felt, and characterized by the lyric precision and force of observation for which her work is known.From “Idiopathic Illness”What can be said? I came w/o a warranty,Stripped of me—or me-ish-ness—I was a will in a subpar body.I waxed toward all that waned inside.

    The work interrogates the social and linguistic space between regimes of power enacted on the body, and thereby the soul.

    There are conquerors, slaves, and rebels from Caribbean history; the "Mayan astronomer" calmly smoking a cigarette in the middle of a New York tenement fire; a nun staging a White House vigil to protest her torture; a man on death row mourning the loss of his books; and even Carmen Miranda.

    This is a theatrical book of dilapidated houses and overgrown gardens, of passageways and thresholds, edges, prosceniums, unearthings, and root systems. The unstable property lines here rove from heaven to hell, troubling proportion and upsetting propriety in the name of unfathomable propagation. Are all the gates in this book folly? Are the walls too easily scaled to hold anything back or impose self-confinement? What won't a poem do to get to the other side?

    The poet has faith in economy and trusts in images to transfer knowledge that speech cannot. In Curses and Wishes the short, simple lines add up to a thoughtful book possessed with lyrical melancholy, a harmony of sadness and joy that sings: May happiness be a wheel, a lit throne, spinning / in the vast pinprick of darkness. By the close of this ambitious work the poet has inspired readers to see the multifaceted effects of our human connections.

    Snyder reveals the roots of community in the family and explores the transmission of cultural values and knowledge. "In making the handle of an axe by cutting wood with an axe the model is indeed near at hand." In exploring this axiom of Lu Ji’s, Gary Snyder continues:I am an axeAnd my son a handle, soonTo be shaping again, modelAnd tool, craft of culture,How we go on.This is a collection of discovery, of insight, and of vision. These poems see the roots of community in the family, and the roots of culture and government in the community.Formally, the 71 poems in Axe Handles range from lyrics to riddles to narratives. The collection is divided into three parts, called "Loops," "Little Songs for Gaia," and "Nets," each containing poems of disciplined clarity. Gary Snyder knows well the great power of silence in a poem, silence that allows the mind space enough to discover the magic of song.

    It is, to begin with, a book which gives prominence to poems rather than to the poets who wrote them. It is truly international, bringing together poems not just from these islands but from many parts of the English-speaking world. It is the first book to identify a strain in the poetry of the last half-century which is characteristic of the 'strange times' we live in - an age when, as the editors note, scientific discovery itself has encouraged us to 'make free with the boundaries of realism'. It values imagination, surprise, vivid expression, the outlandish and the playful above ideology and sententiousness. It is, in short, living proof that poetry in the English language continues to thrive and to matter.

    With each successive book her drive to leave behind what came before has grown more fierce, the force of her gaze fixed on what has yet to be imagined. She invented a form to accommodate this need, the book-length sequence of poems, like a landscape seen from above, a novel with lacunae opening onto the unspeakable. The reiterated yet endlessly transfigured elements in this landscape—Persephone, a copper beech, a mother and father and sister, a garden, a husband and son, a horse, a dog, a field on fire, a mountain—persistently emerge and reappear with the dark energy of the inevitable, while at the same time are shot through with the bright aspect of things new-made.              From the outset (“Come here / Come here, little one”), Gluck’s voice has addressed us with deceptive simplicity, the poems in lines so clear we “do not see the intervening fathoms.”  From within the earth’sbitter disgrace, coldness and barrennessmy friend the moon rises: she is beautiful tonight, but when is she not beautiful?To read these books together is to understand the governing paradox of a life lived in the body and of the work wrested from it, the one fated to die and the other to endure.

    The brokenness and loss of the fragmented queen—seeming to rise up through centuries—is their tutelary spirit.

    A large and important collection by one of Eastern Europe's major contemporary poets.

    A rich collection of ten poems, two essays, and two dozen of Mary Oliver's classic works on flowers, trees, and plants of all sorts, elegantly illustrated, Blue Iris is the essential companion to Owls and Other Fantasies, one of the best-selling volumes of poetry of 2003 and a Book Sense 76 selection.

    The voice is consistently spare, honest, understated, and eccentric.

    They’re humorous, odd, and full of all the unreasonable truth of love. This book is the real thing.” —Publishers Weekly Weise’s collection “examines the daily life and consciousness of a speaker with a disability willing to confront all taboos associated with sex, intimacy, identity, gender, and love.” - Coldfront MagazineThe Los Angeles Times described Jillian Weise's debut poetry collection as "a fearless dissection of the taboo and the hidden." In this second collection she forwards her bold, sexy poetics by chronicling an affair with a man she names "Big Logos." These poems throw into question sex, the law, identity, sentiment, and power, shifting between lyric and narrative, hyper-realism and magical realism, fact and fiction.I've Been Waiting All NightI reckon you were asleep with your girlbefore the phone rang. Make something up.I've been waiting all night to tell youabout the couple in post-War France,the woman fresh in her graveand the man who didn't like his mistress dead,no sir, and so exhumed her, to the dismayof his wife, who had him arrestedfor the stink he made.She was reburied, returned to the dead.After jail, he dug her up to fuck again.Attached suction cups and crafteda wig from a broom. You can go now.I'm more in the mood than you're used to.Jillian Weise—an above-the-knee amputee with a computerized prosthetic—identifies as a cyborg and has discussed the identity in essays for the New York Times and Drunken Boat. Her books include The Amputee's Guide to Sex (Soft Skull Press, 2007) and The Colony (Counterpoint/Soft Skull Press, 2010). She is an assistant professor at Clemson University, a contributing editor at the South Carolina Review, and co-director of the Annual Clemson Literary Festival.