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    Vincent Millay to Edward Lear's whimsical "The Owl and the Pussycat" and James Whitcomb Riley’s homespun "When the Frost Is on the Punkin." Famous poets such as Wordsworth, Tennyson, Whitman, and Frost are well-represented, as are less well-known poets such as John McCrae ("In Flanders Fields") and Ernest Thayer ("Casey at the Bat"). Includes 10 selections from the Common Core State Standards Initiative: "The Owl and the Pussycat," "Casey at the Bat," "Jabberwocky," "O Captain! My Captain!," "Paul Revere's Ride," "Ozymandias," "The Raven," "Because I Could Not Stop for Death," "Mending Wall," and "Ode on a Grecian Urn."

    The book draws upon the wisdom of foolishness and the logic of glee, while simultaneously exploring the suffering inherent to embodied consciousness. Speakers play out moments of bravado and fear, love and mortality, disappointment and desire. They socialize incorrigibly with lakes, lovers, fire, and readers, reasoning their way to unreasonable conclusions. These poems try to understand how it is that we come to recognize and differentiate objects and beings, how wholly each is attached to its name, and which space reveals them. What Is Amazing delights in fully inhabiting its varied forms and voices, singing worlds that often coincide with our own.

    Her voice is generous; her vision true; her subjects ordinary people, and ordinary situations which, when rendered through her language, become remarkable. In this, her fourth full collection of poetry, we see with new eyes-a grandmother's scarf, an alarm clock, a man carrying his son on his shoulders.Valentine for Ernest MannYou can’t order a poem like you order a taco.Walk up to the counter and say, "I’ll take two"and expect it to handed back to youon a shiny plate.Still, I like you spirit.Anyone who says, "Here’s my address,write me a poem," deserves something in reply.So I’ll tell a secret instead:poems hide. In the bottoms of our shoes,they are sleeping. They are the shadowsdrifting across our ceilings the momentbefore we wake up. What we have to dois live in a way that lets us find them.Once I knew a man who gave his wifetwo skunks for a valentine.He couldn’t understand why she was crying."I thought they had such beautiful eyes."And he was serious. He was a serious manwho lived in a serious way. Nothing was uglyjust because the world said so. He reallyliked those skunks. So, he re-invented themas valentines and they became beautiful.At least, to him. And the poems that had been hidingin the eyes of skunks for centuriescrawled out and curled up at his feet.Maybe if we re-invent whatever our lives give uswe find poems. Check your garage, the odd sockin your drawer, the person you almost like, but not quite.And let me know.

    These are the engines, like poetry, that propel both our comprehension and misunderstanding. "If you're lucky," Harvey writes, "after a number of / revolutions, you'll / feel something catch."

    This collection takes you through a night of insomnia, ruminating on ideas of self-doubt, loss, and hope for the future.

    We find her awake in the middle of the night, contemplating love and heartbreak in all their exhilarating and anguished specifics. With astonishing openness, in language both passionate and enchanting, she offers us an intimate map of a troubled and far-flung heart: “Can you believe I thought that?” she asks, “That we would always go/roaming brave and dangerous/on wild unlit roads?”At once witty and tender, with Dorothy Parker–like turns of the knife and memorable partings from lovers in New York, London, Rome and beyond, these poems capture a restless movement through loves and locales, and charm us at every turn with their forthrightness.From the Hardcover edition.

    Not since Saint Augustine wrote "Give me chastity, Lord -- but not yet!" has anyone brought such smart-assed hilarity to a conversion story.Karr's battle is grounded in common loss (a bitter romance, friends' deaths, a teenage son's leaving home) as well as in elegies for a complicated mother. The poems disarm with the arresting humor familiar to readers of her memoirs, The Liars' Club and Cherry. An illuminating cycle of spiritual poems have roots in Karr's eight-month tutelage in Jesuit prayer practice, and as an afterword, her celebrated essay on faith weaves the tale of how the language of poetry, which relieved her suffering so young, eventually became the language of prayer. Those of us who fret that poetry denies consolation will find clear-eyed joy in this collection.

    Editor Faubion Bowers provides a foreword and many informative notes to the poems.

    Brute arises, brave and furious, from the dissolution of a relationship, showing how such endings necessitate self-discovery and reinvention. The speaker of these poems is a sorceress, a bride, a warrior, a lover, both object and agent, ricocheting among ways of knowing and being known. Each incarnation squares itself up against ideas of feminine virtue and sin, strength and vulnerability, love and rage, as it closes in on a hard-won freedom. Brute is absolutely sure of its capacity to insist not only on the truth of what it says but on the truth of its right to say it. "What am I supposed to say: I'm free?" the first poem asks. The rest of the poems emphatically discover new ways to answer. This is a timely winner of the Walt Whitman Award, and an introduction to an unforgettable voice.

    The volume responds primarily to the twenty-first century's inescapable evidence of the terms of black life--not so much new as newly visible. The poems trace a whole web of connections between the kinds of violence that affect people across the racial, ethnic, gender, class, sexual, national, and linguistic boundaries that do and do not divide us. How do we protect our humanity, our ability to feel deeply and think freely, in the face of a seemingly endless onslaught of physical, social, and environmental abuses? Where do we find language to describe, process, and check the attacks and injuries we see and suffer? What actions can break us out of the soul-numbing cycle of emotions, moving through outrage, mourning, and despair, again and again? In poems that span fragment to narrative and quiz to constraint, from procedure to prose and sequence to song, semiautomatic culls past and present for guides to a hoped-for future.Hardcover is un-jacketed.

    The 2009 Sawtooth Poetry Prize, selected by Rae Armantrout, is Julie Carr's provocative 100 NOTES ON VIOLENCE. Carr obsessively researches intimate terrorism, looking everywhere from Whitman and Dickinson to lists of phobias and weapon-store catalogs for answers. This book is a dream-document both of light and innocence babies and the urge to protect them and of giving in to a wrenching darkness, where despair lies in the very fact that no single factor is to blame."

    This definitive collection includes short verse published between 1913 and 1922 by Ezra Pound, D. H. Lawrence, H. D. (Hilda Doolittle), James Joyce, Wallace Stevens, William Carlos Williams, and many others.

    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

    At once dramatic and witty, his poems lay bare the loneliness and despair of life in genteel small towns ("Tilbury Down" and "The Mill"), the tyranny of love ("Eros Turrannos" and "The Unforgiven"), and unspoken, unnoticed suffering ("The Wandering Jew", and "Isaac and Archibald"). In addition, the fictional characters he created in "Reuben Bright", "Miniver Cheevy", "Richard Cory", and the historical figures he brought to life -- Lincoln in "The Master" and the great painter in "Rembrandt to Rembrandt" -- harbor demons and passions the world treats with indifference or cruelty. With an Introduction that sheds light on Robinson's influence on poets from Eliot and Pound to Frost and Berryman, this collection brings an unjustly neglected poet to new readers.