Herter Norton offer Rilke's work to the English-speaking world in an accurate, sensitive, modern version.

    "Merwin writes, " J.D. McClatchy has said in THE NEW YORKER, "with one of the most distinctive and original voices in American poetry."

    Self and it (word and particle) are ritual and rigmarole, song-and-dance and long distance call into whatever dark matter might exist. How could a self not be selfish? Armantrout accesses the strangeness of everyday occurrence with wit, sensuality, and an eye alert to underlying trauma, as in the poem Price Points where a man conducts an imaginary orchestra but gets no points for originality. In their investigations of the cosmically mundane, Armantrout's poems use an extraordinary microscopic lens--even when she's glancing backwards from the outer reaches of space. An online reader's companion is available at http: //raearmantrout.site.wesleyan.edu.

    Here are more than 700 of Isaac Asimov's favorite jokes, cleverest limericks and funniest stories.

    The subject of that love is Matilde Urrutia de Neruda, Pablo's 'beloved wife'.

    Everytime, he looked at me, it broke my heart a little bit more.Everytime he went away, I wrote.When he came back, I lived again.And in the end it fell apart.

    Austin Freeman was an early 20th century British writer of detective stories. . Freeman first used the inverted detective plot in which the commission of the crime is described at the beginning, usually including the identity of the perpetrator, with the story then describing the detective's attempt to solve the mystery. Many of these stories include arcane scientific knowledge on such topics as tropical medicine, toxicology and metallurgy. The Red Thumb Mark, written in 1907 is the first of the Dr Throndkye novels. Dr Thorndyke was a medical/legal forensic investigator. The Uttermost Farthing, an unusual tale begins, "It is not without some misgivings that I at length make public the strange history communicated to me by my lamented friend Humphrey Challoner. The outlook of the narrator is so evidently abnormal, his ethical standards are so remote from those ordinarily current, that the chronicle of his life and actions may not only fail to secure the sympathy of the reader but may even excite a certain amount of moral repulsion. But by those who knew him, his generosity to the poor, and especially to those who struggled against undeserved misfortune, will be an ample set-off to his severity and even ferocity towards the enemies of society.'

    The poems also explore the darker aspects of humanity—personal, cultural, historical and environmental violence—all of which are handled with compassion and grace. Bass’s poetic gift is her ability to commiserate with others afflicted by similar hungers and grief. Her poem "Insomnia" concludes: "may something/ comfort you—a mockingbird, a breeze, rain/ on the roof, Chopin’s Nocturnes, the thought/ of your child’s birth, a kiss,/ or even me—in my chilly kitchen/ with my coat on—thinking of you."Marketing Plans: • National advertising • National media campaign • Advance reader copies • Course adoption mailingAuthor Tour: • Berkeley • Boston • Minneapolis • San Francisco • Santa CruzEllen Bass is co-author (with Laura Davis) of the best-selling The Courage to Heal: A Guide for Women Survivors of Child Sexual Abuse (HarperCollins 1988, 1994), which has sold more than one million copies and has been translated into nine languages. She has also published several volumes of poetry, and her poems have appeared in hundreds of journals and anthologies, including The Atlantic Monthly, Ms., Double Take, and Field. In 1980, Ms. Bass was awarded the Elliston Book Award for Poetry from the University of Cincinnati. Last year, she won Nimrod/Hardman’s Pablo Neruda Prize for Poetry, judged by Thomas Lux. She was nominated for a 2001 Pushcart Prize. She lives in Santa Cruz, where she has taught creative writing for 25 years. She has also taught writing workshops at many conferences nationally and in Mallorca, Spain.

    The popular tellings of the Mahabharata are about Duryodhana'sdeviousness, obstinacy and greed for power that would bring about thebattle of Kurukshetra between the Kauravas and the Pandavas, and hisown downfall. But was there more to him? Was he all black, or was it a matter ofshades of grey? What was he? True heir or pretender to the throne?Arch villain or brave prince defending his rajadharma?Ace strategist or wicked schemer? History, they say, is written by the victors. So we have never heard theside that Duryodhana presents. The epic's enigmatic villain finally hashis say -- on people, their motives and their machinations. For the firsttime we read a different meaning into episodes we may be familiar with --be it the attempted killing of Bhima, the burning of the wax house, thefamous game of dice or even Draupadi's vastraharan -- and get insightsinto the story we may not have come across before. Here is the crownprince of Hastinapura as we have never known him, adding yet anotherdimension to the labyrinth that is the Mahabharata.

    But like his celebrated teacher, Elizabeth Bishop, Gioia is meticulously painstaking and self-critical about his own poems. In an active 25-year career he has published only two previous volumes of poetry. Although Gioia is often recognized as a leading force in the recent revival of rhyme and meter in American poetry, his own work does not fit neatly into any one style.Interrogations at Noon displays an extraordinary range of style and sensibility—from rhymed couplets to free verse, from surrealist elegy to satirical ballad. What unites the poems is not a single approach but their resonant musicality and powerful but understated emotion. This new collection explores the uninvited epiphanies of love and marriage, probing the quiet mysteries of a seemingly settled domestic life. Meditating on the inescapable themes of lyric poetry—time, mortality, nature, and the contradictions of the human heart—Gioia turns them to provocative and unexpected ends.

    The words are redolent with his Cuban heritage: Marina making mole sauce; Tía Ida bitter over the revolution, missing the sisters who fled to Miami; his father, especially, “his hair once as black as the black of his oxfords…” Yet this is a volume for all who have longed for enveloping arms and words, and for that sanctuary called home. “So much of my life spent like this-suspended, moving toward unknown places and names or returning to those I know, corresponding with the paradox of crossing, being nowhere yet here.” Blanco embraces juxtaposition. There is the Cuban Blanco, the American Richard, the engineer by day, the poet by heart, the rhythms of Spanish, the percussion of English, the first-world professional, the immigrant, the gay man, the straight world. There is the ennui behind the question: why cannot I not just live where I live? Too, there is the precious, fleeting relief when he can write "…I am, for a moment, not afraid of being no more than what I hear and see, no more than this:..." It is what we all hope for, too.

    Her fears are confirmed when a youth fires a gun at the administrator, but that isn't the only shooting!

    AFTER FIVE YEARS OF SILENCE, HE IS BACK AGAIN, SEEKING HIS NEXT VICTIM. ONLY ONE MAN CAN STOP HIM - PROFESSOR BLACK. Maher was found unconscious in the middle of the highway and later, in the hospital, she revealed that she had escaped from a killer's house. All the details and patterns matched the serial killer 'Kansa,' who had disappeared five years ago after murdering forty pregnant women. ACP Saargi Desai was assigned to the case. She appealed to her department to bring back Professor Black to help her catch the killer. The Professor, who had a haunting past that had kept him away from the world of crime and investigation for several years, was not willing to take on this case. But the ACP managed to convince him to get on board just for this one last time. Soon after agreeing to help, the Professor realized that for the first time in his life, he had met his match. As he dug deeper into the case, everything got dirtier, the stakes went higher, and nothing was what it seemed.

    Eliot, published individually from 1936 to 1942, and in book form in 1943; it was considered by Eliot himself to be his finest work. Each of the quartets has five "movements" and each is titled by a place name -- BURNT NORTON (1936), EAST COKER (1940), THE DRY SALVAGES (1941), and LITTLE GIDDING (1942). Eliot's insights into the cyclical nature of life are revealed through themes and images woven throughout the four poems. Spiritual, philosophical, and personal themes emerge through symbolic allusions and literary and religious references from both Eastern and Western thought. The work addresses the connections of the personal and historical present and past, spiritual renewal, and the very nature of experience; it is considered the poet's clearest exposition of his Christian beliefs. (The Merriam-Webster Encyclopedia of Literature)