Simic is a master of the absurd and unexpected.

    Winner of the 1989 Pulitzer Prize and the Los Angeles Times Book Award for Poetry.

    Summer Knowledge won for him both the prestigious Bollingen Prize in Poetry and the Poetry Society of America’s Shelley Memorial Award. lronically, indeed tragically, the praise and prizes Schwartz's poems received did not forestall his decline, and this, his poetic testament, proved to be a final one as well. Overcome by mental illness, alienated from his friends and supporters, he disappeared from the literary scene, in the end to die in 1966 in an obscure Broadway hotel. The tragedy of his life pales before the triumph of his art and craft. Selected Poems clearly places him among the foremost poets of his generation.

    . . . It helps us to go on, having Gary Snyder in our midst."--Los Angeles Times. Snyder is the author of many volumes of poetry and prose, including The Practice of the Wild and the Pulitzer Prize-winning Turtle Island. Reading tour.

    This book is his most experimental work, but a work no less tradition-saturated than Eliot's. As poet, private individual, and "good European", Montale's way of dealing with his difficulties was to seize the occasions offered him by writing poetry in which the lover's passions for his beloved country would convey the truth of both his public and his private situations.

    Throughout his writing life, Levi also produced poetry and this volume collects together all his poems, including eighteen that have not previously appeared in book form. Short and spare, the poems employ the same courageous and steady gaze at the worst that can happen that illuminates his prose.

    For this new paperback edition, Mr. Burke continues his "curve of development" in an Addendum which surveys the course of his though in subsequent books (up to the publication of his Collected Poems, 1915 - 1967) and work-in-progress.

    "On gray days when most modern poetry seems one dull colorless voice speaking through a hundred rival styles, one turns to Stevie Smith and enjoys her unique and cheerfully gruesome voice. She is a charming and original poet," commented Robert Lowell about the book that introduced Stevie to American readers, her Selected Poems (New Directions, 1964). The Selected won her many enthusiasts, but it was not until the release of Hugh Whitemore’s film Stevie in 1981 that her poetry found a wider audience and sent that little book repeatedly back to press. The title of Miss Smith’s first published collection (London, 1937) was A Good Time Was Had By All, and indeed that is what her poetry, embroidered by her delightful, apposite doodles, provides. It brings us too into the company of wit, irony, and, as Brendan Gill remarked, "images of joy and terror." A Newsweek reviewer wrote, "Even in the lightest of her verse, the briefest epigram, there is a resonance, the reverberation of a triangle, if not a gong."

    Major Jackson, through both formal and free verse poems, renders visible the spirit of resilience, courage, and creativity he witnessed among his family, neighbors, and friends while growing up in Philadelphia. His poems hauntingly reflect urban decay and violence, yet at the same time they rejoice in the sustaining power of music and the potency of community. Jackson also honors artists who have served as models of resistance and maintained their own faith in the belief of the imagination to alter lives. The title poem, a dramatic monologue in the voice of the American jazz composer and bandleader Sun Ra, details such a humane program and serves as an admirable tribute to the tradition of African American art. Throughout, Jackson unflinchingly portrays our most devastated landscapes, yet with a vividness and compassion that expose the depth of his imaginative powers.

    With both the general reader and the student in mind, editor Louis L. Martz of Yale University (who also edited H.D.'s Collected Poems 1912-1944) has provided generous examples of H.D.'s work. From her early "Imagist" period, through the "lost" poems of the thirties where H.D. discovered her unique creative voice, to the great prophetic poems of the war years combined in Trilogy, the selection triumphantly concludes with portions of the late sequences Helen in Egypt and Hermetic Definition which focus on rebirth, reconciliation, and the reunion of the divided self.

    The present edition offers the complete poems together with detailed editorial apparatus in what has become acknowledged as the standard edition by R. George Thomas. It also includes Thomas's remarkable prose War Diary of 1917.

    But those who seek instead a true widening of the horizons of meaning, coupled with a sure-handed mastery of the craft of poetry, will find this latest collection satisfying indeed.Here is a man who matches superb gifts with a truly subtle imagination, into whose depths he is courageously traveling--pioneering--in exploratory penetrations into areas of life that are too often evaded or denied. "The Firebombing," "Slave Quarters," "The Fiend"--these poems, with the others that comprise the present volume, show a mature and original poet at his finest.

    Previously published in the following books: Poems (1935), Out of the Picture (1937), Letters from Iceland (1937), The Earth Compels (1938), Autumn Journal (1939), Plant and Phantom (1941), Springboard (1944), Holes in the Sky (1948) and Blind Fireworks (1929). Compiled by the author.

    . . Reality has put itself so solidly before methere's little need for mystery . . . Except for us, for how we take the worldto us, and make it more, more than we are, more even than itself.--from "The World"The awards given to C.K. Williams' two most recent books--a National Book Award for The Singing and a Pulitzer Prize for Repair--complete the process by which Williams, long admired for the intensity and formal daring of his work, has come to be recognized as one of the few truly great living American poets. Williams treats the characteristic subjects of a poet's maturity--the loss of friends, the love of grandchildren, the receding memories of childhood, the baffling illogic of current events--with an intensity and drive that recall not only his recent work but also his early books, published forty years ago. The Singing is a direct and resonant book: searing, hearfelt, permanent.The Singing is the winner of the 2003 National Book Award for Poetry.

    With the first thirty poems of "Passages," which form the structural base in Bending the Bow, he has begun a second open series––a multiphasic projection of movements in a field, an imagined universe of the poem that moves out to include all the terms of experience as meaning. Here Duncan draws upon and in turn contributes to a mode in American poetry where Pound’s Cantos, Williams’s Paterson, Zukofsky’s “A,” and Olson’s Maximus Poems have led the way. The chronological composition of Bending the Bow emphasizes Duncan’s belief that the significance of form is that of an event in process. Thus, the poems of the two open series belong ultimately to the configuration of a life in poetry in which there are forms moving within and interpenetrating forms. Versions of Verlaine’s Saint Graal and Parsifal and a translation of Gérard de Nerval’s Les Chimeres enter the picture; narrative bridges for the play Adam’s Way have their place in the process; and three major individual poems––"My Mother Would Be a Falconress," "A Shrine to Ameinias," and "Epilogos"––among others make for an interplay of frames of reference and meaning in which even such resounding blasts of outrage at the War in Vietnam as "Up Rising" and "The Soldiers" are not for the poet things in themselves but happenings in a poetry that involve all other parts of his experience.