A collection of Native American poetry.

    Here the Irish experience is refracted through images drawn from different parts of the Northern European experience, and the idea of the north allows the poet to contemplate the violence on his home ground in relation to memories of the Scandinavian and English invasions which have marked Irish history so indelibly.

    Written during the 2020 COVID-19 quarantine, the book is a reflection of what it means to yearn for people who are unavailable and how important it is to focus on self-love and healing.

    Speaking in the unique lyrical voice that he called his "Ohioan," Wright created poems of immense sympathy for sociey's alienated and outcast figures and also of ardent wonder at the restorative power of nature.Selected Poems fills a significant gap in Wright's bibliography: that of an accessible, carefully chosen collection to satisfy both longtime readers and those just discovering his work. Edited and with an introduction by Wright's widow, Anne, and his close friend the poet Robert Bly, who also wrote an introduction, Selected Poems is a personal, deeply considered collection of work with pieces chosen from all of Wright's books. It is an overdue--and timely--new view of a poet whose life and work encompassed the extremes of American life.

    This extended satiric poem assesses the growing economic, political, and familial constraints of late 18th-century Catholic Ireland under British colonial rule, while subversively playing on the tradition of the aisling (or vision) poem in which a beautiful woman represents Ireland’s threatened sovereignty.At the beginning of The Midnight Court, a dreadful female envoy from the fairies appears in a dream to the unmarried poet. She summons him before the court of Queen Aoibheall in order to answer charges of wasting his manhood while women are dying for want of love. He listens to complaints that vary from the celibacy of the clergy to marriages performed between old and young for purely economic reasons. In all their bawdy tales, the female courtiers praise fertility, as well as sexual fulfillment, and condemn the conventions of the day. At last the Queen pronounces judgment on the poet, who awakens as he is being severely chastised by all of the women of the court.While containing many insights into 18th-century social conditions, The Midnight Court is also an exuberant, even jaunty work of the comic imagination. As the translator Ciaran Carson states in his foreword: “The protagonists of the ‘Court,’ including ‘Merriman’ himself, are ghosts, summoned into being by language; they are figments of the imagination. In the ‘Court’ the language itself is continually interrogated and Merriman is the great illusionist, continually spiriting words into another dimension.”

    Predator, the debut collection by Michael Robbins, became one of the hottest and most celebrated works of poetry in the country, winning acclaim for its startling freshness and originality, and leading critics to say that it was the most likely book in years to open up poetry to a new readership.   Robbins’s poems are strange, wonderful, wild, and irrationally exuberant, mashing up high and low culture with “a sky-blue originality of utterance” (The New York Times). The thirty-six new poems in The Second Sex carry over the music, attitude, hilarity, and vulgarity of Alien vs. Predator, while also working deeper autobiographical and political veins.

    The miracle in the mundane.One day, while browsing an antique store in Helena, Montana, photographer Tyler Knott Gregson stumbled upon a vintage Remington typewriter for sale. Standing up and using a page from a broken book he was buying for $2, he typed a poem without thinking, without planning, and without the ability to revise anything.He fell in love.Three years and almost one thousand poems later, Tyler is now known as the creator of the Typewriter Series: a striking collection of poems typed onto found scraps of paper or created via blackout method. Chasers of the Light features some of his most insightful and beautifully worded pieces of work—poems that illuminate grand gestures and small glimpses, poems that celebrate the beauty of a life spent chasing the light.

    His third book in a decade, Some Values of Landscape and Weather revives poetic architectures such as elegy, song and litany, to build what he calls "a comprehensive music." Here musical and pictorial values perform against a backdrop of political, social and ethical values. These intense and exacting poems traverse a landscape of cultural memory that opens into the explosive, vibrant registers of the now. John Ashbery has written that Gizzi's poems are "simultaneously all over the page and right on target. He is the most exciting poet to come along in quite a while."

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    Driven by obsession—in particular, obsession with the legendary French poet, Robert Desnos—Muench’s identification with a true self beyond the self’s known truth is startling.—from the introduction by Carol Muske-Dukes“Simone’s poems have a confidence and sophistication of what I like to call intentionality. Also wit, grace, poise, and a relationship to writing beyond self-referential feeling.”—Anne Waldman“Lush, sprouting, sensuous images line-by-line, adopting myth freely, Muench’s poems are volatile explosives, circling beauty.”—James Tate

    It's a book about a mother's death, and admitting that Michael Jordan pushed off, about forgiveness, and how none of the author's black friends wanted to listen to "Don't Stop Believin'." It's about wrestling with histories, personal and shared. Abdurraqib uses touchstones from the world outside—from Marvin Gaye to Nikola Tesla to his neighbor's dogs—to create a mirror, inside of which every angle presents a new possibility.

    Here is a literary love song that will entrance anyone who has lived in—or spent time—in the greatest of American cities. A masterful evocation of the city that never sleeps, The Colossus of New York captures the city’s inner and outer landscapes in a series of vignettes, meditations, and personal memories. Colson Whitehead conveys with almost uncanny immediacy the feelings and thoughts of longtime residents and of newcomers who dream of making it their home; of those who have conquered its challenges; and of those who struggle against its cruelties. Whitehead’s style is as multilayered and multifarious as New York itself: Switching from third person, to first person, to second person, he weaves individual voices into a jazzy musical composition that perfectly reflects the way we experience the city. There is a funny, knowing riff on what it feels like to arrive in New York for the first time; a lyrical meditation on how the city is transformed by an unexpected rain shower; and a wry look at the ferocious battle that is commuting. The plaintive notes of the lonely and dispossessed resound in one passage, while another captures those magical moments when the city seems to be talking directly to you, inviting you to become one with its rhythms. The Colossus of New York is a remarkable portrait of life in the big city. Ambitious in scope, gemlike in its details, it is at once an unparalleled tribute to New York and the ideal introduction to one of the most exciting writers working today.From the Hardcover edition.

    "Contexts" provides readers with invaluable materials on The Waste Land's sources, composition, and publication history. "Criticism" traces the poem's reception with twenty-five reviews and essays, from first reactions through the end of the twentieth century. Included are reviews published in the Times Literary Supplement, along with selections by Virginia Woolf, Gilbert Seldes, Edmund Wilson, Elinor Wylie, Conrad Aiken, Charles Powell, Gorham Munson, Malcolm Cowley, Ralph Ellison, John Crowe Ransom, I. A. Richards, F. R. Leavis, Cleanth Brooks, Delmore Schwartz, Denis Donoghue, Robert Langbaum, Marianne Thormählen, A. D. Moody, Ronald Bush, Maud Ellman, and Tim Armstrong. A Chronology and Selected Bibliography are included.

     Worlds of achievement out of mind and remembering,           just as the poem lasts. In the concert of being present.                                                           —from “Arriving” Linda Gregg’s abiding presence in American poetry for more than thirty years is a testament to the longevity of art and the spirit. All of It Singing: New and Selected Poems for the first time collects the ongoing work of Gregg’s career in one book, including poetry from her six previous volumes and thirty remarkable new poems.

    This set includes Singing And Swinging And Getting Merry, I Know Why The Caged Bird Sings, Maya Angelou: Poems and Wouldn't Take Nothing For My Journey Now.