Stephen Dobyns, author of the classic book on the beauty of poetry, Best Words, Best Order, moves into new terrain in this remarkable book. Bringing years of experience to bear on issues such as subject matter, the mechanics of poetry, and the revision process, Dobyns explores the complex relationship between writers and their work. From Philip Larkin to Pablo Neruda to William Butler Yeats, every chapter reveals useful lessons in these renowned poets' work. Both enlightening and encouraging, Next Word, Better Word demystifies a subtle art form and shows writers how to overcome obstacles in the creative process.

    What's unnecessary is best of all, says Rainer, who wants to go on fighting. We agreed on that.' It is the late 1950s. A man is out walking in a park in Vienna. He will be beaten up by four teenagers, not for his money, he has an average amount ? nor for anything he might have done to them, but because the youths are arrogant and very pleased with themselves. Their arrogance is their way of reacting to the maggot?ridden corpse that is Austria where everyone has a closet to hide their Nazi histories, their sexual perversions and their hatred of the foreigner. Elfriede Jelinek, who writes like an angel of all that is tawdry, shows in Wonderful, Wonderful Times how actions of the present are determined by thoughts of the past

    According to author David Wojahn, a three-time winner of the Pushcart Prize, this collection of poetry “is the best collection yet by a poet who has become one of the most individual and necessary voices of his generation. An almost prophetic rage seems to inhabit these poems, which present us with a speaker who is tender and brutally rueful by turns. Bob Hicok asks to be a voice of conscience in a conscience-less world. And, like all true prophets, his rage and consternation in the end transform themselves into a form of prayer, what one of his poems calls a ‘mad . . . devotion.’ Hicok is able to instruct and console us, and that is a very rare thing indeed.”

    They make Eckhart clear, concise, and very compelling!" —Richard Rohr, OFM, bestselling author of Falling UpwardAn elegant rendering of the great mystic's thoughts on the mysteries of the authentic lifeThis is a little book about soul freedom. It is a book about discovering the secret to all the things we most desire: contentment, meaning, peace of mind, and true freedom. This skillfully edited translation of selections from the writings of Meister Eckhart provides a roadmap to the spiritual life for contemporary seekers. Eckhart takes us on a journey of discovery; a journey in which we learn to let go, relinquish our need to know everything, and lose those things that we think are important for a life of worth. And in the end he shows us that the true secret is this: to find yourself, you must lose yourself.Here is timeless wisdom from a medieval mystic who has influenced a wide range of spiritual teachers and mystics both inside and outside the Christian tradition. Erich Fromm, Arthur Schopenhauer, Dag Hammarskjöld, Eckhart Tolle, Richard Rohr, D. T. Suzuki, Rudolf Steiner, and Matthew Fox have all credited Eckhart as being an important influence on their thought. In addition, his work has influenced the development of 20th-century American Buddhism and the Theosophical tradition.Divided into five sections—Seeking the Light, Facing Darkness, Risking Love, Knowing Nothing, and Embracing Everything—the book leads readers on the path to an authentic spiritual life.

    

    The title, Regarding Wave,reflects "a half-buried series of word origins dating back through theIndo-European language: intersections of energy, woman, song and 'GoneBeyond Wisdom.'" Central to the work is a cycle of songs for Snyder'swife, Masa, and their first son, Kai. Probing even further than Snyder'sprevious collection of poems, The Back Country, this newvolume freshly explores "the most archaic values on earth… the fertilityof the soil, the magic of animals, the power-vision in solitude, theterrifying initiation and rebirth, the love and ecstasy of the dance,the common work of the tribe…”

    From the high art of the famous title novella ("A story," Mann said, "of death...of the voluptuousness of doom"), to the irony of "Felix Krull," the early story on which he later based his comic novel The Confessions of Felix Krull, they are stunning testimony to the mastery and virtuosity of a literary giant.Translated from the German by H.T. Lowe-Porter.

    The poems in this book are polyphonic: they juxtapose the discourses of science and religion, Hollywood and the occasional psychotic stranger. The title poem, which appears in Best American Poetry 2002, leads off with a "sphinx" asking "Does a road / run its whole length / at once? / Does a creature / curve to meet / itself?" Armantrout's work, with its careful syntax bordering on plain speech and meticulously scored short lines, is always struggling with the problem of consciousness, its blindspots and double-binds. The poems whirl like shifting and scattered pieces of the present moment. They attempt to "make sense" of our lives while acknowledging the depth of our self-deception and deception.

    But this play-within-a-play is not historical drama. Its thought is as modern as today's police states and The Bomb; its theatrical impact has everywhere been called a major innovation. It is total theatre: philosophically problematic, visually terrifying. It engages the eye, the ear, and the mind with every imaginable dramatic device, technique, and stage picture, even including song and dance. All the forces and elements possible to the stage are fused in one overwhelming experience. This is theatre such as has rarely been seen before. The play is basically concerned with the problem of revolution. Are the same things true for the masses and for their leaders? And where, in modern times, lie the borderlines of sanity?

    The red-headed prostitute Rosina; the junk-dealer Aaron Wassertrum; puppeteers; street musicians; and a deaf-mute silhouette artist.Lurking in its inhabitants’ subconscious is the Golem, a creature of rabbinical myth. Supposedly a manifestation of all the suffering of the ghetto, it comes to life every 33 years in a room without a door. When the jeweller Athanasius Pernath, suffering from broken dreams and amnesia, sees the Golem, he realises to his terror that the ghostly man of clay shares his own face...The Golem, though rarely seen, is central to the novel as a representative of the ghetto's own spirit and consciousness, brought to life by the suffering and misery that its inhabitants have endured over the centuries. Perhaps the most memorable figure in the story is the city of Prague itself, recognisable through its landmarks such as the Street of the Alchemists and the Castle.

    It provoked a vast number of imitations and remained steadily in print through the eighteenth century (with sporadic reprints after that). It still possesses an enormous vigor and vitality.The book owes its long life to an imagination, wit, and humor rich with insights into human nature, yet neither bitter nor namby pamby. Its commentary on the boasting, pedantry, false learning, gambling, gluttony, medical folly, adultery, greed, envy, hatred, pride and other failings that mark humanity are sharp and telling, and, sadly, as relevant today as they were 450 years ago.This translation by Professor Edwin H. Zeydel is the only accurate English translation ever published. (Barclay's version is really a pastiche written in imitation of Brant.) The form Professor Zeydel uses is verse, like the original, and he even retains the original rhyme scheme and meter. The achievement is remarkable, for it captures all the charm and movement of the original German while sacrificing nothing to readability and fluidity.Published now with the 114 original Renaissance woodcuts and with Professor Zeydel's annotations, a biography of Brant, a publishing history, and a survey of the work's influence, this will unquestionably remain the definitive edition of The Ship of Fools in English. The illustrations are part of Dover's Pictorial Archive Series and may be used by commercial artists free of charge.

    Andrew Hudgins imagines himself in the life of a now largely forgotten poet, Sidney Lanier, who served as a soldier for the Confederacy.

    In The Lightning Should Have Fallen on Ghalib: Selected Poems of Ghalib, poet Robert Bly and Urdu scholar Sunil Dutta collaborate to bring the delicacy and intensity of Ghalib's poetry to readers of English. This collection of thirty ghazals by Ghalib also serves as an introduction to the ghazal, the elegant and amazing poetic form revered for centuries in the Muslim world.

    While Gottfried adheres faithfully to the events as set down by Thomas, his chosen source, he is correct over questions of Chrisianity and religion, but no more.In fact his persona as narrator is oddly elusive and engaging. A virtuoso stylist, adept in irony and wit, he is subtle and almost unmedieval in putting across his own impressions of a love that transcends the bounds advocated by Church or society.

    While some of these narratives are loosely based in fact, they are written with a large dollop of literary license. The characters are not "politically correct" in today's parlance and speak in the vernacular of their time and culture. Some of them you will like ...others you may not. No disrespect or offense is intended in the telling. These are their stories.The lead story "Fat of The Land" was a past runner-up in the national Raymond Carver short story awards.