However, her Collected Poems (1951) omits twenty years of later beauties. And her inaccurately titled Complete Poems (1967) is likewise incomplete, leaving out nearly half of her body of verse and giving readers only a partial view of her work. This complete collection of Moore's poetry, lovingly edited by the prizewinning poet Grace Schulman, for the first time contains all of Moore's poems, including 120 previously uncollected and unpublished ones. Organized chronologically to allow readers to follow Moore's development as a poet, the volume includes an introduction, all of Moore's original notes to the poems, along with Schulman's notes, attributions, and some variants. This long-needed volume will reveal to Moore's admirers the scope of her poetic voice and will introduce new generations of readers to her great achievement. The Poems of Marianne Moore is a must have both for Moore devotees and any reader seeking an introduction to the work of one of America's greatest poets.

    Despite divergent lives, the two men spend their nights together, establishing a deep connection. When loyalties are tested, Handong is left questioning his secrets, his choices, and his very identity.Beijing Comrades is the story of a torrid love affair set against the sociopolitical unrest of late-eighties China. Due to its depiction of gay sexuality and its critique of the totalitarian government, it was originally published anonymously on an underground gay website within mainland China. This riveting and heartbreaking novel, circulated throughout China in 1998, quickly developed a cult following, and remains a central work of queer literature from the People's Republic of China. This is the first English-language translation of Beijing Comrades.Bei Tong is the anonymous author of Beijing Comrades. The author's real-world identity has been a subject of ongoing debate since the novel was first published.

    This is a book of letting go, of wild avowals, unabashed eroticism; at the same time it is a work of integral imagination, steeped in the light of Greek myth that is part of the poet's heritage and imbued with an intuitive sense of dramatic conflicts and resolutions, high style, and musical form.

    Responding differently to their common times, Wang Wei, Li Bai, and Du Fu crystallize the immense variety of China and the Chinese poetic tradition and, across a distance of twelve hundred years, move the reader as it is rare for even poetry to do.

     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.

    In the hands of Jean de Meun, who continued de Lorris's work, it assumed vast proportions and embraced almost every aspect of medieval life from predestination and optics, to the Franciscan controversy and the right way to deal with premature hair-loss.

    debut of internationally acclaimed poet and performance artist Shailja Patel, Migritude is a tour-de-force hybrid text that confounds categories and conventions. Part poetic memoir, part political history, Migritude weaves together family history, reportage and monologues to create an achingly beautiful portrait of women's lives and migrant journeys undertaken under the boot print of Empire. Patel, who was born in Kenya and educated in England and the U.S., honed her poetic skills in performances of this work that have received standing ovations throughout Europe, Africa and North America. She has been described by the Gulf Times as -the poetic equivalent of Arundhati Roy- and by CNN as -the face of globalization as a people-centered phenomenon of migration and exchange.- Migritude includes interviews with the author, as well as performance notes and essays.

    One by one, over a hundred men and women are forced by the harsh feudal officialdom to take to the hills. They band together and defeat every attempt of the government troops to crush them. Within this framework we find intrigue, adventure, murder, warfare, romance ... in a connected series of fascinating individual tales, told in the suspenseful manner of the traditional storyteller.

    China's top martial arts novelist tells a thrilling story of an infamous bandit who allegedly kills without blinking, accentuated with a problematical romance filled with moral dilemmas.

    During the next four decades, Wang Qiyao indulges in the decadent pleasures of pre-liberation Shanghai, secretly playing mahjong during the antirightist Movement and exchanging lovers on the eve of the Cultural Revolution. Surviving the vicissitudes of modern Chinese history, Wang Qiyao emerges in the 1980s as a purveyor of "old Shanghai"--a living incarnation of a new, commodified nostalgia that prizes splendor and sophistication--only to become embroiled in a tragedy that echoes the pulpy Hollywood noirs of her youth.From the violent persecution of communism to the liberalism and openness of the age of reform, this sorrowful tale of old China versus new, of perseverance in the face of adversity, is a timeless rendering of our never-ending quest for transformation and beauty.

    The mistakes of Mao Zedong's later years have been officially acknowledged, and the infamous Gang of Four publicly tried and sentence for their crimes. But on the cultural front the thaw had no sooner come than gone. A campaign against what is regarded as "spiritual pollution" is being waged to inhibit free expression among creative writers.Thousands of scholars, authors, respected professors and academicians, who as a class were the most persecuted in what some observers called China's "holocaust," are back at their respective stations, bent over the task of modernization. For understandable reasons, few have written candidly about their experiences during the Cultural Revolution. Yang Jiang is an outstanding exception.In this memoir she give a poignant account of the more than two years she and her husband were sent "downunder" to the barren countryside for reeducation through labor. Yang Jiang touches upon any horrendous acts only in passing, or by indirection; mainly she relates in well-tempered tones the everyday incidents at their "cadre school" which add up to a harrowing tale.Patterned after Shen Fu's "Six Chapters of a Floating Life," a minor classic of the Qing dynasty, Six Chapters form My Life 'Downunder' is a testimony of remarkable sophistication, and at the same time a powerful indictment of the madness of ignorant, totalitarian rule.. The author writes in a subtle, almost allegorical style, letting the reader share in her skepticism, disappointment, and frustration with the people, or the system, responsible for what was done to her family and her fellow victims. More in sorrow than in anger, here and there with a touch of wry humor, she records the backwardness and distrust of the peasants who were their "masters"; the utter waste of human resources; the vicious nature of political campaigns and the people involved in them; and, above all, the devotion between husband and wife which kept them going throughout their ordeal. While describing a society in one of its darkest moments, Yang Jiang reaffirms the endurance of humanity.Although Yang Jiang lives in Beijing, Six Chapters from My Life 'Downunder' first appeared in a Hong Kong magazine in April 1981, and was published in book form there in the following month, attracting wide attention. it was published in the People's Republic of China later that year. The edition sold out quickly and no subsequent printings have been available. The present English translation, first published in the journal "Renditions," is issued here in slightly revised form and with the addition of footnotes and background notes.

    Vievee Francis’s poems engage many of the same concerns as her poetic predecessors—faith in a secular age, the city and nature, aging, and beauty. Words certainly do not fail as Francis sets off into the wild world promised in the title. The wild here is not chaotic but rather free and finely attuned to its surroundings. The reader who joins her will emerge sensitized and changed by the enduring power of her work. Winner, 2016 Hurston/Wright Legacy Award in the Poetry category Finalist, 2015 Balcones Poetry Prize Shortlist finalist, 2015 PEN Open Book Award for an exceptional book by an author of color

    Instead, she created at home small handmade books. When, in her later years, she stopped producing these, she was still writing a great deal, and at her death she left behind many poems, drafts, and letters. It is among the makeshift and fragile manuscripts of Dickinson’s later writings that we find the envelope poems gathered here. These manuscripts on envelopes (recycled by the poet with marked New England thrift) were written with the full powers of her late, most radical period. Intensely alive, these envelope poems are charged with a special poignancy—addressed to no one and everyone at once.Full-color facsimiles are accompanied by Marta L. Werner and Jen Bervin’s pioneering transcriptions of Dickinson’s handwriting. Their transcriptions allow us to read the texts, while the facsimiles let us see exactly what Dickinson wrote (the variant words, crossings-out, dashes, directional fields, spaces, columns, and overlapping planes).

    Repeatedly confronting the darkness, his own sense of godlessness (“Forgive me, faith, for never having any”), he also struggles with the unlikely presence of the divine, the power of art to redeem human transience, and the complexity of relationships. Throughout the collection, his own life trajectory enriches the poems; he is the “skinny, long-beaked boy / who perched in the branches of the old branch library,” as well as the passionate middle-aged man who tells his lover, “I wish I could paint you— / . . . / I need a brush for your hard angles / and ferocious blues and reds. / . . . / I wish I could paint you / from the waist down.”Grieving for the losses occasioned by our mortality, Hirsch’s ultimate impulse as a poet is to praise—to wreathe himself, as he writes, in “the living fire” that burns with a ferocious intensity.

    His poems were at once deeply personal and passionately engaged in the political turmoil of his country. In 1949, after his homosexuality led the Italian Communist Party to expel him on charges of "moral and political unworthiness," Pasolini fled to Rome. This selection of poems from his early impoverished days on the outskirts of Rome to his last (with a backward longing glance at his native Friuli) is at the center of his poetic and filmic vision of modern Italian life as an Inferno."From all these refusals, we know what Pasolini stood against—political ideologies of all kinds, the complacency inherent in the established social order, the corruption of the institutions of church and state. If Pasolini could be said to have stood for anything it was for the struggles of Italy’s working class—both the rural peasants and those barracked in the urban slums at the edges of Italian cities—whose humanity he evoked with great eloquence and nuance. But it is his refusals that animate his legacy with an incandescent rage, a passionate and profound fury that did not, as Zigaina suggests, cry out for death—but for just the opposite." —Nathaniel Rich, The New York Review of BooksPier Paolo Pasolini was born in 1922 in Bologna. In addition to the films for which he is world famous, he wrote novels, poetry, and social and cultural criticism, and was an accomplished painter. He was murdered in 1975 at Ostia, near Rome.