With their elegant prose, witty wordplay and subtle charm, the 104 stories in this selection reveal a world in which nothing is as it seems.

    And few episodes in postwar literature have the legendary stature of Hughes's romance with, and marriage to, the great American poet Sylvia Plath.The poems in Birthday Letters are addressed (with just two exceptions) to Plath, and were written over a period of more than twenty-five years, the first a few years after her suicide in 1963. Some are love letters, others haunted recollections and ruminations. In them, Hughes recalls his and Plath's time together, drawing on the powerful imagery of his work--animal, vegetable, mythological--as well as on Plath's famous verse.Countless books have discussed the subject of this intense relationship from a necessary distance, but this volume--at last--offers us Hughes's own account. Moreover, it's a truly remarkable collection of poems in its own right.

    It is said that he was a contemporary of Mencius, an official in the Lacquer Garden of Meng in Honan Province around the 4th century b.c. Chuang Tsu was to Lao Tsu as Saint Paul was to Jesus and Plato to Socrates.While the other philosophers were busying themselves with the practical matters of government and rules of conduct, Chuang Tsu transcended the whang cheng, the illusory dust of the world—thus anticipating Zen Buddhism’s emphasis on a state of emptiness or ego transcendence. With humor, imagery, and fantasy, he captures the depth of Chinese thinking. The seven “Inner Chapters” presented in this translation are accepted by scholars as being definitely the work of Chuang Tsu. Another twenty-six chapters are of questionable origin; they are interpretations of his teaching and may have been added by later commentators.      This is an updated version of the translation of Chuang Tsu: Inner Chapters that was originally published in 1974. Like the original Chinese, this version uses gender-neutral language wherever possible. This edition includes many new photographs by Jane English and an introduction by Tai Ji master Chungliang Al Huang, who has been highly successful in bringing to the West the wisdom of the East.

    Written more than two thousand years ago, the Tao Teh Ching, or -The Classic of the Way and Its Virtue, - is one of the true classics of the world of spiritual literature. Traditionally attributed to the legendary -Old Master, - Lao Tzu, the Tao Teh Ching teaches that the qualities of the enlightened sage or ideal ruler are identical with those of the perfected individual. Today, Lao Tzu's words are as useful in mastering the arts of leadership in business and politics as they are in developing a sense of balance and harmony in everyday life. To follow the Tao or Way of all things and realize their true nature is to embody humility, spontaneity, and generosity. John C. H. Wu has done a remarkable job of rendering this subtle text into English while retaining the freshness and depth of the original. A jurist and scholar, Dr. Wu was a recognized authority on Taoism and the translator of several Taoist and Zen texts and of Chinese poetry. This book is part of the Shambhala Pocket Library series. The Shambhala Pocket Library is a collection of short, portable teachings from notable figures across religious traditions and classic texts. The covers in this series are rendered by Colorado artist Robert Spellman. The books in this collection distill the wisdom and heart of the work Shambhala Publications has published over 50 years into a compact format that is collectible, reader-friendly, and applicable to everyday life.

    Its author Gu Hua was brought up in the Wuling Mountains of south Hunan. He presents the ups and downs of some families in a small mountain town there during the hard years in the early sixties, the "cultural revolution," and after the downfall of the "gang of four." He shows the horrifying impact on decent, hard-working people of the gang's ultra-Left line, and retains a sense of humor in describing the most harrowing incidents. In the end wrongs are righted, and readers are left with a deepened understanding of this abnormal period in Chinese history and the sterling qualities of the Chinese people.

    Moments of grace, eros, and beauty are braided with shudders of terror and threats of ecological destruction, as Sze moves nimbly through intersections of the disparate and divergent. Using formal disruption, legible erasure, and a diversity of voices—lichen on a ceiling, salt on the table, a man behind on his rent—each page transmutes simplicity into simultaneity, and chaos into compelling song. Sze is a Pulitzer finalist and a widely-revered poet, whose exquisite craft continues to expand our view: there are “so many / worlds to this world.”

    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.

    Where the other Confucian classics treat “outward things: deeds, moral precepts, the way the world works,” as Stephen Owen tells us in his foreword, The Book of Songs is “the classic of the human heart and the human mind.”

    Here are all the lyrics, series, and narratives that established Wakoski as a mythologizer of sex and self, a fierce free-verse imagist, and one of the most important and controversial poets in the United States today (Contemporary Poets). About these poems, Wakoski writes: My themes are loss, justice, truth, transformation, the duality of the world, the possibilities of magic, and the creation of beauty out of ugliness. My language is dramatic, oral, and as American as I can make it. I am impatient with stupidity, bureaucracy, and organizations. Poetry, for me, is the supreme art of the individual using language to show how special, different, and wonderful his perceptions are. With verve and finesse. With discursive precision. Arid with utter contempt for pettiness of imagination or spirit. Emerald Ice is a contemporary classic, the essential poems of a uniquely American female sensibility..

    What Would your life say if it could talk?                                                            —from “No Fly Zone”With allusions to David Bowie and interplanetary travel, Life on Mars imagines a soundtrack for the universe to accompany the discoveries, failures, and oddities of human existence. In these new poems, Tracy K. Smith envisions a sci-fi future sucked clean of any real dangers, contemplates the dark matter that keeps people both close and distant, and revisits the kitschy concepts like “love” and “illness” now relegated to the Museum of Obsolescence. These poems reveal the realities of life lived here, on the ground, where a daughter is imprisoned in the basement by her own father, where celebrities and pop stars walk among us, and where the poet herself loses her father, one of the engineers who worked on the Hubble Space Telescope.

    Haunted by their childhoods of material and emotional poverty, Jimmy and Rita float through days in urban San Francisco.

    Expertly translated, the poem is divided into four parts -- Europe at the turn of the century, the condition of Polish culture between the two world wars, the harsh reality of World War II, and the role of the poet in the postwar world. Here Milosz addresses the failure of early-20th-century Polish poetry. With vast historical sweep and in language that enables readers to see "as if in a flash of summer lighting", Milosz offers a fascinating account of the mysterious art of poetry.

    Mosquito blends autobiography and poetry, bearing witness to a young man’s journey through serious illness and his emergence into a world where eroticism, hope, and wisdom allow him to see life in a wholly new way. Mosquito is a resilient meditation that is as much Zen as it is explosive, as clinical as it is philosophical and lyrical.

    In BREAKING POEMS Suheir Hammad departs from her previous poetry books with a bold and explosive style to do what the best poets have always done: create a new language. Using "break" as a trigger for every poem, Hammad destructs, constructs, and reconstructs the English language for us to hear the sound of a breath, a woman's body, a land, a culture, falling apart, broken, and put back together again. "Suheir Hammad's BREAKING POEMS introduces English to an Arabic vernacular that startles into being an altogether new language, bridging the archipelago of a Palestine under siege to the diaspora and beyond, breaking through convention, breaking open locks on mind and heart, breaking into a music inspired by the Coltranes, Sun Ra and free jazz, Lee Scratch Perry and Ravi Shankar, a music that is at once a joyous celebration of survival and a poignant cri de Coeur that cannot be ignored and that Mahmoud Darwish should have lived to see. This is a poetry written for people who have endured the winds of hurricanes and invasions. What wisdom, energy, joy and poignancy Hammad brings to the page for all of this, and for teaching me a new speaking, I give her my thanks" Carolyn Forche."

    Women's Studies. INDICTUS re-imagines various creation myths to bear the invisible and unsaid assaults of women. In doing so, it subverts notions of patriarchal power into a genre that can be demolished and set again. INDICTUS is a Latin word, from which other words like "indict" and "indicate" are born. It translates literally as "to write the unsaid." There is an effort in this book to create the supernatural through the utterance of violence, because jurisdiction fails in real time. That sexual assault can so easily become a science fiction when power is rearranged to serve the victim speaks to the abject lack of control within victims to ever be redeemed. Crimes resolve to misdemeanors. In a world without my abusers, how can I soon become myself? Combining the mythological and autobiographical, this book attempts to indict us, so that the wounded might one day be free.