Selected by a team of poets and prominent Neruda scholars in both Chile and the United States, this is a definitive selection that draws from the entire breadth and width of Neruda’s various styles and themes. An impressive group of translators that includes Alaistair Reid, Stephen Mitchell, Robert Hass, Stephen Kessler and Jack Hirschman have come together to revisit or completely retranslate the poems. A bilingual edition, with English on one side of the page, the original Spanish on the other. This selection sets the standard for a general, high--quality introduction to Neruda’s complete oeuvre. Pablo Neruda was born in Chile in 1904. He received the Nobel Prize for Literature in 1971.

    Because his poems were often ecstatic love songs from God to his beloved world, many have called Hafiz the "Tongue of the Invisible."With this stunning collection of 250 of Hafiz's most intimate poems, Daniel Ladinsky has succeeded brilliantly in capturing the essence of one of Islam's greatest poetic and religious voices. Each line of THE GIFT imparts the wonderful qualities of the spiritual teacher: an audacious love that empowers lives, profound knowledge, wild generosity, and a sweet, playful genius unparalleled in world literature.

    Fierce and visceral, Advice from 1 Disciple of Marx to 1 Heidegger Fanatic is canonical to Infrarealism, a poem that renders poetry inseparable from politics. It was published originally as part of the posthumous collection Jeta de Santo: Antología Poética, 1974–1997. This is the first widely available English translation of Santiago Papasquiaro's work.the thesis & antithesis of the world meetlike 1 white-hot meteor & 1 UFO in distress& inexplicably they greet each other:I'm the 1 who embossed on the back of his denim jacketthe sentence: The nucleus of my solar system is AdventureMario Santiago Papasquiaro founded the radical Infrarealist poetry movement with Roberto Bolaño. During his lifetime, Santiago published two books of poetry, Beso eterno (1995) and Aullido de Cisne (1996). He died in Mexico City, Mexico, in 1998.Cole Heinowitz is an associate professor of literature at Bard College.Alexis Graman is a painter and translator living in New York.

    On days when there’s no sprinkler to comb through her curls, no rain pouring in glorious torrents from the gutters, no dew in the grass for her to nuzzle with her nose, not even a mud puddle in the kiddie pool, she wonders how much longer she can bear this life. The front yard thud of the newspaper every morning. Singing songs to the unresponsive push mower in the garage. Wriggling under fence after fence to reach the house four down which has an aquarium in the back window. She wants to get lost in that sad glowing square of blue. Don’t you?            —from “The Backyard Mermaid”Prose poems introduce deeply untraditional mermaids alongside mer-tool silhouettes. A text by Ray Bradbury is erased into a melancholy meeting with a Martian. The Michelin Man is possessed by William Shakespeare. Antonio Meucci’s invention of the telephone is chronicled next to embroidered images of his real and imagined patents. If the Tabloids Are True What Are You? combines Matthea Harvey’s award-winning poetry with her fascinating visual artwork into a true hybrid book, an amazing and beautiful work by one of our most ingenious creative artists.

    the book is meant to be read straight through and takes you into the rabbit hole of falling in love.

    Awarded a coveted Churchill Fellowship, her work expresses the intricacies of love and loss. Beautifully illustrated and thoughtfully conceived, Love and Misadventure will take you on a rollercoaster ride through an ill-fated love affair- from the initial butterflies to the soaring heights- through to the devastating plunge. Lang Leav has an unnerving ability to see inside the hearts and minds of her readers. Her talent for translating complex emotions with astonishing simplicity has won her a cult following of devoted fans from all over the world.

    Faizullah’s new work extends and transforms her powerful accounts of violence, war, and loss into poems of many forms and voices—elegies, outcries, self-portraits, and larger-scale confrontations with discrimination, family, and memory. One poem steps down the page like a Slinky; another poem responds to makeup homework completed in the summer of a childhood accident; other poems punctuate the collection with dark meditations on dissociation, discipline, defiance, and destiny; and the near-title poem, “Register of Eliminated Villages,” suggests illuminated texts, one a Qur’an in which the speaker’s name might be found, and the other a register of 397 villages destroyed in northern Iraq. Faizullah is an essential new poet, whose work only grows more urgent, beautiful, and—even in its unsparing brutality—full of love.

    Donika Kelly's Bestiary is a catalogue of creatures--from the whale and ostrich to the pegasus and chimera to the centaur and griffin. Among them too are poems of love, self-discovery, and travel, from "Out West" to "Back East." Lurking in the middle of this powerful and multifaceted collection is a wrenching sequence that wonders just who or what is the real monster inside this life of survival and reflection. Selected and with an introduction by the National Book Award winner Nikky Finney, Bestiary questions what makes us human, what makes us whole.

    His poems combine 'karumi', or lightness of touch, with the Zen ideal of oneness with creation. Each poem evokes the natural world - the cherry blossom, the leaping frog, the summer moon or the winter snow - suggesting the smallness of human life in comparison to the vastness and drama of nature. Basho himself enjoyed solitude and a life free from possessions, and his haiku are the work of an observant eye and a meditative mind, uncluttered by materialism and alive to the beauty of the world around him.

    In America she has been posthumously launched as the electric-age Blake, she has been translated into French and Italian to great acclaim, and in the Times Literary Supplement Thom Gunn compared her to the great Augustan satirists. Her reclamation as an English poet is long overdue.Pound, Moore and Williams valued her work, while British critics openly scorned it. Not only were her futurist techniques unlike anything they had encountered before, but her subjects -- procreation, parturition, prostitution, suicide, addiction, retardation -- were considered shocking even by some modernists.She vanished from the literary scene just as dramatically as she had arrived on it, and for much of the century her bold experiments remained a well-kept secret. Carcanet first introduced her work to British readers in 1985 in Roger Conover's The Last Lunar Baedeker, a collected writings. This new edition updates our earlier volume and presents more reliable texts of the essential Loy poems. It includes more extensive notes and apparatus, and features a number of previously unknown works rescued from Dada archives and obscure avant-garde little magazines. All of Loy's canonical Futurist and feminist satires are included, as are the celebrated poems from her Paris and New York periods, the complete cycle of `Love Songs', and her famous portraits-in-verse which define the trajectory of her favoured company and geography -- from fellow modernists Joyce and Brancusi in Paris in the 1920s to fellow destitutes in New York's Lower East Side in the 1940s.

    The poems are mercilessly recursive, placing pressure on the lyric as a mode of both the elegiac and the ecstatic. The result is an enforced silence, urgent with grief.

    Based on interviews with Nobel Prize winner Czeslaw Milosz, My Century describes the artistic, sexual, and political experimentation --in which Wat was a major participant-- that followed the end of World War I: an explosion of talent and ideas which, he argues, in some ways helped to open the door to the destruction that the Nazis and Bolsheviks soon visited upon the world. But Wat's book is at heart a story of spiritual struggle and conversion. He tells of his separation during World War II from his wife and young son, of his confinement in the Soviet prison system, of the night when the sound of far-off laughter brought on a vision of "the devil in history." "It was then," Wat writes, "that I began to be a believer."

    “All moments will shine if you cut them open. / Will glisten like entrails in the sun.” With figurative language that makes long, associative leaps, and with metaphors and images that continually resurrect themselves across poems, the collection builds and transforms its world through a locomotive echo—a regenerative force—that comes to parallel the psychic quest for redemption that unfolds in its second half. The result is a deeply affecting composition that will establish the already decorated young author as an important and vital new voice in American poetry.

    These interlocking works speak to the substance and essence of what is said, transmitted, transacted, "communicated" between persons. Reines proposes that substance and essence are opposites, and explores this in contexts including commercial cinema and internet porn.Your music makes me feel lonelyYour music makes me feel lonelyYour musicMakes me feel lonelyPicking a lemonLate at nightMy heart tightensI fear natureYour music makes me feel lonelyI must be responsible for itI’m aliveI have this hair helmet onI’m so aliveI say yes to the megaplexYou say it’s awful isn’t it awfulI say yeahSo what. Something sentimentalThis placeI agreeHugeWe’re gonna go into the movie. . .The day is long enoughThe day is long enoughThe day is so long enoughTo contain all this and more

    Or a prediction comes true and I couldn't do anything to stop it, so it seems like a kind of useless magic."