He is best known for writing the famous war poem In Flanders Fields. In Flanders Fields has been labeled the most popular poem written during World War 1. McCrae wrote this poem in 1915 the day after his friend, Lieutenant Alexis Helmer died. The poppies referred to in the poem grew in abundance in Flanders Field where many war casualties had been buried. Now the poppy is a symbol of remembrance.

    In his haunted, brief life, Crane fashioned a distinctively modern idiom that fused the ornate rhetoric of the Elizabethans, the ecstatic enigmas of Rimbaud, and the prophetic utterances and cosmic sympathy of Whitman, in a quest for wholeness and healing in what he called "the broken world." White Buildings, perhaps the greatest debut volume in American poetry since Leaves of Grass, is but an exquisite prelude to Crane's masterpiece The Bridge, his magnificent evocation of America from Columbus to the Jazz Age that countered the pessimism of Eliot's The Waste Land and became a crucial influence on poets whose impact continues to this day. This edition is the largest collection of Crane's writings ever published. Gathered here are the complete poems and published prose, along with a generous selection of Crane's letters, several of which have never before been published. In his letters Crane elucidates his aims as an artist and provides fascinating glosses on his poetry. His voluminous correspondence also offers an intriguing glimpse into his complicated personality, as well as his tempestuous relationships with family, lovers, and writers such as Allen Tate, Waldo Frank, Yvor Winters, Jean Toomer, Marianne Moore, E. E. Cummings, William Carlos Williams, and Katherine Anne Porter. Several letters included here are published for the first time. This landmark 850-page volume features a detailed and freshly-researched chronology of Crane's life by editor Langdon Hammer, chair of the English Department at Yale University and a biographer of Crane, as well as extensive explanatory notes, and over fifty biographical sketches of Crane's correspondents.

    From his earliest songs of the 1960s to his years with Island Records, these are the potent lyrics to the international reggae sound that was to make Bob Marley an unforgettable music legend.

    And in the process of building myself back up, I learned that you are allowed to leave some pieces behind-you are allowed to become the person you design yourself to be.'A collection of notes and poetic reflections, journaling how April learned to let go of everything that was holding her back in order to grow into the person she deserved to become.Bloom for Yourself II is a book you can plant in your soul and return to each time you feel ready to let go and grow.April Green's second book in the 'Bloom for Yourself' series gives readers even more help and guidance in overcoming pain and heartache. Her words are shared by thousands of people all over the world, including Jenna Dewan and Shantel Vansanten.The 'Bloom for Yourself' books are written for anyone feeling lost, alone, depressed or unworthy. They are books to be read many times over as you come to experience April's extraordinary gift for helping you understand that you are never truly alone.

    Some of them deal with the imaginations of death and home while still others the idea of loss and coming to terms with gradual wasting of life. Many aspects of human life and commonplace human impulses are examined and brought to life through a range of imaginations and varied metaphorical associations. The poems are sure to delight the readers and generate a whole range of emotions among them.

    Fried's poetry holds some of the most tender lines of poetry in any language. The universal theme of humanity and the various issues that perplex the human race are all presented in these works. A stoic who could find humor and an optimistic message in every aspect of human life, Fried's depth of vision and humility is both refreshing and consoling.

    Beam Piper with active table of contents.Works include:The AnswerThe Cosmic ComputerCrossroads of DestinyDay of the MoronDearestThe Edge of the KnifeFlight From TomorrowFour-Day PlanetGenesisGraveyard of DreamsHe Walked Around the HorsesThe KeeperLast EnemyLittle FuzzyThe MercenariesMinistry of DisturbanceMurder in the GunroomNaudsonceNull-ABCOomphel in the SkyOmnilingualOperation R.S.V.P.PatrolPolice OperationRebel RaiderThe ReturnA Slave is a SlaveSpace VikingTemple TroubleTime and Time AgainTime CrimeUllr Uprising

    P. Lovecraft is best known for his fiction, but he spent a great portion of his creative energy on his poetry. The Ancient Track collects the complete poetry of one of the twentieth centuries most iconic writers. The great majority of these poems were written between 1914, and 1920, the period of Lovecraft's heaviest concentration on poetry.Lovecraft's poetry may be regarded as the lesser of is literary output, but it merits collection precisely because it is an important ancillary to his other more well known forms of creative endeavor. Prior to the publication of The Ancient Track, Lovecraft's poetry had been scattered across several different volumes whose textual accuracy has not always been exemplary, while several poems had been uncollected."The Ancient Track"By H. P. LovecraftThere was no hand to hold me backThat night I found the ancient trackOver the hill, and strained to seeThe fields that teased my memory.This tree, that wall-I knew them well,And all the roofs and orchards fellFamiliarly upon my mindAs from a past not far behind.I knew what shadows would be castWhen the late moon came up at lastFrom back of Zaman's Hill, and howThe vale would shine three hours from now.And when the path grew steep and high,And seemed to end against the sky,I had no fear of what might restBeyond that silhouetted crest.Straight on I walked, while all the nightGrew pale with phosphorescent light,And wall and farmhouse gable glowedUnearthly by the climbing road.There was the milestone that I knew-"Two miles to Dunwich"-now the viewOf distant spire and roofs would dawnWith ten more upward paces gone. . . .There was no hand to hold me backThat night I found the ancient track,And reached the crest to see outspreadA valley of the lost and dead:And over Zaman's Hill the hornOf a malignant moon was born,To light the weeds and vines that grewOn ruined walls I never knew.The fox-fire glowed in field and bog,And unknown waters spewed a fogWhose curling talons mocked the thoughtThat I had ever known this spot.Too well I saw from the mad sceneThat my loved past had never been-Nor was I now upon the trailDescending to that long-dead vale.Around was fog-ahead, the sprayOf star-streams in the Milky Way. . . .There was no hand to hold me backThat night I found the ancient track.Skyhorse Publishing, under our Night Shade and Talos imprints, is proud to publish a broad range of titles for readers interested in science fiction (space opera, time travel, hard SF, alien invasion, near-future dystopia), fantasy (grimdark, sword and sorcery, contemporary urban fantasy, steampunk, alternative history), and horror (zombies, vampires, and the occult and supernatural), and much more. While not every title we publish becomes a New York Times bestseller, a national bestseller, or a Hugo or Nebula award-winner, we are committed to publishing quality books from a diverse group of authors.

    Mad Woman, Anchors & Vacancies, Redamancy, and most of Throes are sectioned here to take you on a journey. From madness to love and the heartache in between, it's all here.

    From the ancient world right up to the present day, it includes poems on wanderlust, travel, daydreams, flights of fancy, escaping into books, tranquillity, courage, hope and resilience. From frustrated housewives to passionate activists, from servants and suffragettes to some of today’s most gifted writers, here is a bold choir of voices demanding independence and celebrating their hard-won power.Immerse yourself in poems by Carol Ann Duffy, Christina Rossetti, Stevie Smith, Sarah Crossan, Emily Dickinson, Salena Godden, Mary Jean Chan, Charly Cox, Nikita Gill, Fiona Benson, Hollie McNish and Grace Nichols to name but a few

    Yet for all their metaphorical suggestiveness, Dickinson’s and Whitman’s poems about the natural world neither preclude nor erase nature’s relevance as an actual living environment. In their respective poetic projects, the earth matters both figuratively, as a realm of the imagination, and also as the physical ground that is profoundly affected by human action. This double perspective, and the ways in which it intersects with their formal innovations, points beyond their traditional status as curiously disparate icons of American nature poetry. That both of them not only approach nature as an important subject in its own right, but also address human-nature relationships in ethical terms, invests their work with important environmental overtones. Dickinson and Whitman developed their environmentally suggestive poetics at roughly the same historical moment, at a time when a major shift was occurring in American culture’s view and understanding of the natural world. Just as they were achieving poetic maturity, the dominant view of wilderness was beginning to shift from obstacle or exploitable resource to an endangered treasure in need of conservation and preservation.A Place for Humility examines Dickinson’s and Whitman’s poetry in conjunction with this important change in American environmental perception, exploring the links between their poetic projects within the context of developing nineteenth-century environmental thought. Christine Gerhardt argues that each author's poetry participates in this shift in different but related ways, and that their involvement with their culture’s growing environmental sensibilities constitutes an important connection between their disparate poetic projects. There may be few direct links between Dickinson’s “letter to the World” and Whitman’s “language experiment,” but via a web of environmentally-oriented discourses, their poetry engages in a cultural conversation about the natural world and the possibilities and limitations of writing about it—a conversation in which their thematic and formal choices meet on a surprising number of levels.

    52 laws of love by Himanshu Goel (author of A Rational Boy in Love) is a journey of love in 52 poems through all its aspects, from the honeymoon, to the sacrifices, to the bitter end and forever after.

    This collection suggests that a person is like a world, full of mysteries and wonders–and equally in need of an encyclopedia, a compendium of everything known. The long title sequence offers entries such as “The Sun” (“There is one mind in all of us, one soul, / who parches the soil in some nations / but in others hides perpetually behind a veil”), “The Elephant” (“How to explain my heroic courtesy?”), “The Pigeon” (“Once startled, you shall feel hours of weird sadness / afterwards”), and “Randall Jarrell” (“If language hurts you, make the damage real”). The mysteriously emotional individual poems coalesce as a group to suggest that our natural world is populated not just by fascinating creatures–who, in any case, are metaphors for the human as Chiasson considers them– but also by literature, by the ghosts of past poetries, by our personal ghosts. Toward the end of the sequence, one poem asks simply, “Which Species on Earth Is Saddest?” a question this book seems poised to answer. But Chiasson is not finally defeated by the sorrows and disappointments that maturity brings. Combining a classic, often heartbreaking musical line with a playful, fresh attack on the standard materials of poetry, he makes even our sadness beguiling and beautiful.

    With 12 terrifically spine chilling short stories, this anthology contains contributions from some of the best young horror writing talent out there, and was curated by the editors of the PlayWithDeath.com, the premier destination for online horror entertainment. If you're searching for stories that will frighten you to your very core, look no further. List of Short Story Authors Tom Wortman M. B. Vujačić Manen Lyset Jenny Ashford Kyle Yadlosky G. T. Montgomery Ari Drew Patrick Winters Trevor James Zaple John Teel Dexter Findley Kyle Rader

    One of the original Beat poets (the coinage "beatnik" is his), Kaufman’s work has always been essentially improvisational, often done to jazz accompaniment. And he became something of a legendary figure at the poetry readings in the early days of the San Francisco renaissance of the 1950s. With his extemporaneous technique, akin in many ways to Surrealist automatic writing, he has produced a body of work ranging from a visionary lyricism infused with satirical, almost Dadaistic elements to a prophetic poetry of political and social protest. Born in New Orleans of mixed Black and Jewish parentage, Kaufman was one of fourteen children. During twenty years in the Merchant Marine, he cultivated an intense taste for literature on his long sea voyages. Settling in California, in the ’50s, he became active in the burgeoning West Coast literary scene. Disappointment, drugs, and imprisonment led him to take a ten-year vow of complete silence that lasted until 1973. The present volume includes previously uncollected poems written prior to his pledge and newer work composed in the years 1973-1978, before the poet once again lapsed into silence.