Beata is a 20-year-old drop-out and daughter of Denis Kral (i.e., King), a Czech "new millionaire" of dubious connections. Beata embraces lover after lover as well as causes new to Eastern Europe: the environment, animal rights, feminism, consumerism, new-age religion.This satirical look at Prague today by the best of the new Czech writers entertains with a parade of unnforgettable characters, the new mafiosi and their ex-secret police bodyguards, the expatriate Americans, and many an extraordinary Czech, from a cremation enthusiast to a hopelessly na�ve sex-education teacher.The novel is also a serious exploration of the role of the writer in post-communist Central Europe. The narrator, himself a writer and teacher who is in love with Beata, must portray her fate in terms that explain her nihilism without losing faith in his own positive craft of story- telling. His hard-won credo as artist is to be an entertainer in a world of newly felt cruelty and suffering.

    Clover fuses formal control, a solid grounding in poetic tradition (his allusions range from Shakespeare to Dickinson to John Cale), and sheer visionary exhilaration into a technical, moral, aesthetic, and imaginative lexicon that irradiates each page.The eerie cyberglow of Clover's lines illuminates a pageant of blurred and fragmented desolation: the Bomb, death camps, the Persian Gulf War, the beating of Rodney King, the whole numbing litany of modern horrors. Clover is a master of poetic shorthand, of the stark, unnerving image as immediate as yellow tape at a crime scene.Madonna anno domini is a sacrament for the twilight of the atomic age, a hellish Interzone with "God in abeyance" where dazed speakers search through the vertigo of negation for love and belief. And here. in this utterly convincing vision of a world whose center has long since lost its hold, we see the life on whose brink we, at the end of the millennium, find ourselves poised.

    To Rilke himself the Sonnets to Orpheus were "perhaps the most mysterious in the way they came up and entrusted themselves to me, the most enigmatic dictation I have ever held through and achieved; the whole first part was written down in a single breathless act of obedience, between the 2nd and 5th of February, without one word being doubtful or having to be changed." With facing-page German.

    May, his epic masterpiece, was published in April 1836, just seven months before his death. Considered the "pearl" of Czech poetry, it is a tale of seduction, revenge, and patricide. A paean as well to nature, the beauty of its music and its innovative use of language, expertly captured in this new translation by Marcela Sulak, has ensured the poem's lasting popularity. Scorned at first by the national revivalists of the 19th century for being "un-Czech," Mácha was held up as a "national" poet by later generations, a fate which the interwar Czech avant-garde, who considered him a precursor, took it upon themselves to reverse.Unlike the other seminal 19th-century European poets, Mácha's work has been largely ignored in English translation. The present volume, the only available in English, provides the original Czech text in parallel and includes a series of illustrations by Jindřich Štyrský specifically created for the poem.

    Her works range from short lyric love poetry to longer, more complex cycles, such as Requiem, a tragic depiction of the Stalinist terror. One of the forefront leaders of the Acmeism movement, which focused on rigorous form and directness of words, she was a master of conveying raw emotion in her portrayals of everyday situations. During the time of heavy censorship and persecution, her poetry gave voice to the Russian people. Anna Akhmatova published the collection "White Flock" in 1917. Joseph Brodsky later described this volume as writing of personal lyricism tinged with the "note of controlled terror." Today, it remains among her most celebrated publications. It is presented here in full, in a dual-language book, translated by Andrey Kneller.

    Drawing from his eleven collections and including twenty-three previously unpublished poems, Search Party is the essential compilation of this beloved poet's work. Edited by his son, Sebastian Matthews, and William Matthews's friend and fellow poet Stanley Plumly (who also introduces the book), Search Party is an excellent introduction to the poet and his glistening riffs on twentieth-century topics from basketball to food to jazz.

    This edition, which first appeared in 1977, was revised by the author: there are additions, deletions, and a change in sequence in the Dolphin section; the five poems in the title sequence from Near the Ocean are now uncut; and a new poem is added to the "Nineteen Thirties."

    But, there’s a discrepancy between what is being confiscated and what is being returned to the bank, and our hero is beginning to fear that a secret circulation is developing, one that could undermine the whole economy.Meanwhile, the clerk and his family begin to keep guinea pigs, and at night, when everyone is asleep, our hero begins to conduct experiments with the pets, teaching them tricks, testing their intelligence and endurance, and using some rather questionable methods to encourage the animals to befriend him.

    A beloved and gifted artist, Ashbery takes his place beside Whitman, Dickinson, Stevens, and Hart Crane in the canon of great American poets. With Quick Question, a new collection of poems published in time for his 85th birthday, John Ashbery proves that his creative power has only grown stronger with age.

    Their killers were the Olives’ 16-year-old daughter and her 20-year-old lover.This is the story of that shocking murder and the appalling events that led up to it. It is the story of the middle-class dream turned into a nightmare, of parents and children living in mutually alien and hostile worlds, and of a youth culture for which promiscuous sex and every kind of drug are no longer enough.It is a story that cuts to the bone of American life – and strikes inescapably close to home. 

    It assures you that tomorrow will be a better day and encourages you to realise your potential and achieve your aspirations. Petit à Petit is centred on themes like self-love, self-confidence and taking life into your own hands.No matter how far-away and impossible your dreams seem, don't be afraid to reach for them.

    “Disappearance Approach,” an essay about the sudden death of the author’s husband (“land of darkness or darkness itself you shadow mouth”), begins the book with paintings by Poussin, an autopsy, Sarah Edwards and her sister-in-law Hannah, phantoms, elusive remnants, and snakes. “Frolic Architecture,” the second section — inspired by visits to the vast 18th-century Jonathan Edwards archives at the Beinecke and accompanied by six black-and-white photograms by James Welling — presents hauntingly lovely, oblique text-collages that Howe (with scissors and “invisible” Scotch Tape and a Canon copier) has twisted, flattened, and snipped into “inscapes of force.” The final section, “That This,” delivers beautiful short squares of verse that might look at home in a hymnal, although their orderly appearance packs startling power: That this book is a history of a shadow that is a shadow of Me mystically one in another another another to subserve

    The Dead Sea Poems, his fourth collection, culminates in a long visionary poem, 'Five Eleven Ninety Nine'. Elsewhere, questions of belief and trust, of identity and knowledge, dealt with as they occur in everyday domestic life, contribute to a picture of our contemporary world that is at once realistic and touched with a unique imaginative intensity.

    He attended Harvard University where he published his first poems in magazines such as Harvard's Wake and Cid Corman's Origin. During the 1950s, after dropping out of Harvard, he taught at Black Mountain College in North Carolina and was an editor of its innovative literary journal, the Black Mountain Review. He received his B.A. from Black Mountain College in 1955. Robert Creeley was one of the originators of the "Black Mountain" school of poetry, along with Charles Olsen, Robert Duncan, and Denise Levertov. In 1962, he received his first widespread recognition with For Love: Poems 1950-1960 and he went on to teach at several universities across the country. In 1978 he was named David Gray Professor of Poetry and Letters at the State University of New York, and presently he is their Samuel P. Capen Professor of Poetry and the Humanities. Creeley has received many awards for his work including the Levinson prize, two Guggenheim fellowships, the Shelley Memorial Award and the Robert Frost Medal, both from the Poetry Society of America, and The American Awards for Echoes. He was elected to the American Academy and Institute of Arts and Letters in 1987 and received a Distinguished Fulbright Fellowship to serve as the Bicentennial chair in American Studies at the University of Helsinki, Finland, for 1988-89, and another Fulbright for the University of Auckland, New Zealand, in 1995. He served as New York State Poet from 1989-1991. In 1995 he was a winner of the Lila Wallace-Reader's Digest Writers' Award. His most recent poetry books are Memory Gardens (1986), Windows (1990), Echoes (1994), So There: Poems 1976-83 (1998), and Life & Death (1998), all published by New Directions.

    Allied forces liberate Nazi-occupied Brno, Moravia. For Gerta Schnirch, daughter of a Czech mother and a German father aligned with Hitler, it’s not deliverance; it’s a sentence. She has been branded an enemy of the state. Caught in the changing tides of a war that shattered her family—and her innocence—Gerta must obey the official order: she, along with all ethnic Germans, is to be expelled from Czechoslovakia. With nothing but the clothes on her back and an infant daughter, she’s herded among thousands, driven from the only home she’s ever known. But the injustice only makes Gerta stronger, more empowered, and more resolved to seek justice. Her journey is a relentless quest for a seemingly impossible forgiveness. And one day, she will return.Spanning decades and generations, Kateřina Tučková’s breathtaking novel illuminates a long-neglected episode in Czech history. One of exclusion and prejudice, of collective shame versus personal guilt, all through the eyes of a charismatic woman whose courage will affect all the lives she’s touched. Especially that of the daughter she loved, fought for, shielded, and would come to inspire.