An admired contemporary of Rilke, Akhmatova, and Mandelstam, Russian poet Marina Tsvetayeva bore witness to the turmoil and devastation of the Revolution, and chronicled her difficult life in exile, sustained by the inspiration and power of her modern verse.The poems in this selection are drawn from eleven volumes published over thirty years.

    The aim of the present complete edition, which contains a numbered sequence of the 224 poems written after 1956 together with a further 50 poems chosen from her pre-1956 work, is to bring Sylvia Plath's poetry together in one volume, including the various uncollected and unpublished pieces, and to set everything in as true a chronological order as is possible, so that the whole progress and achievement of this unusual poet will become accessible to readers.

    Compiled by her sister after the poet's death and originally published in 1956, this is the definitive edition of Millay, right up through her last poem, Mine the Harvest.

    For the first time, the complete collection of Maya Angelou's published poems-including "On the Pulse of Morning"-in a permanent collectible, handsome hardcover edition.

    Early posthumously published collections-some of them featuring liberally “edited” versions of the poems-did not fully and accurately represent Dickinson’s bold experiments in prosody, her tragic vision, and the range of her intellectual and emotional explorations. Not until the 1955 publication of The Complete Poems of Emily Dickinson, a three-volume critical edition compiled by Thomas H. Johnson, were readers able for the first time to assess, understand, and appreciate the whole of Dickinson’s extraordinary poetic genius.This book, a distillation of the three-volume Complete Poems, brings together the original texts of all 1,775 poems that Emily Dickinson wrote.

    A daughter tends to aging parents. A woman struggles with infertility—“What if, instead of carrying / a child, I am supposed to carry grief?”—and a body seized by pain and vertigo as well as ecstasy. A nation convulses: “Every song of this country / has an unsung third stanza, something brutal.” And still Limón shows us, as ever, the persistence of hunger, love, and joy, the dizzying fullness of our too-short lives. “Fine then, / I’ll take it,” she writes. “I’ll take it all.”In Bright Dead Things, Limón showed us a heart “giant with power, heavy with blood”—“the huge beating genius machine / that thinks, no, it knows, / it’s going to come in first.” In her follow-up collection, that heart is on full display—even as The Carrying continues further and deeper into the bloodstream, following the hard-won truth of what it means to live in an imperfect world.

    In I Would Leave Me If I Could, she reveals never-before-seen poetry of longing, love, and the nuances of bipolar disorder.

    With the turn of every page, Sea of Strangers invites you to go beyond love and loss to explore themes of self-discovery and empowerment as you navigate your way around the human heart.

    it contains black & white photographs paired with poetry pieces; giving it a photo diary feels.

    Swan, her twentieth volume, shows us that, though we may be “made out of the dust of stars,” we are of the world she captures here so vividly: the acorn that hides within it an entire tree; the wings of the swan like the stretching light of the river; the frogs singing in the shallows; the mockingbird dancing in air. Swan is Oliver’s tribute to “the mortal way” of desiring and living in the world, to which the poet is renowned for having always been “totally loyal.”   As the Los Angeles Times noted, innumerable readers go to Oliver’s poetry “for solace, regeneration and inspiration.” Few poets express the immense complexities of human experience as skillfully, or capture so memorably the smallest nuances. Speaking, for example, of stones, she writes, “the little ones you can / hold in your hands, their heartbeats / so secret, so hidden it may take years / before, finally, you hear them.” It is no wonder Oliver ranks, according to the Weekly Standard, “among the finest poets the English language has ever produced.”

    With acute irony tempered by a generous curiousity, she documents life's improbability as well as its transient beauty.

    Rainer Maria Rilke was staying at Duino Castle, on a rocky headland of the Adriatic Sea near Trieste. One morning he walked out onto the battlements and climbed down to where the cliffs dropped sharply to the sea. From out of the fierce wind, Rilke seemed to hear a voice: Wer, wenn ich schriee, horte mich denn aus der Engel Ordnungen? (If I cried out, who would hear me up there, among the angelic orders?). He wrote these words, the opening of the first Duino Elegy, in his notebook, then went inside to continue what was to be his major opus—completely only after another ten, tormented years of effort—and one of the literary masterpieces of the century. Duino Elegies speaks in a voice that is both intimate and majestic on the mysteries of human life and our attempt, in the words of the translator David Young, “to use our self-consciousness to some advantage: to transcend, through art and the imagination, our self-deception and our fear.”

    Her rhythms and accents have the timelessness of a poetry which extends beyond white Western politics, beyond the anger and wisdom of Black America, beyond the North American earth, to Abomey and the Dahomeyan Amazons. These are poems nourished in an oral tradition, which also blaze and pulse on the page, beneath the reader's eye."

    Originally written in French, these poems collapse time into single crystallized moments then explode outward to take in the scope of human history. In Time, we see an intertwining of war and love, coffee and bombs, empathetic observation and emphatic detail taken from both memory and the present of the poem to weave a tapestry of experience in non-linear time.

    But you are more than just a hero ora villain, cursed or charmed. You are everything in between. You are everything. In fifty poems Christine Heppermann places fairy tales side by side with the modern teenage girl. Powerful and provocative, deadly funny and deadly serious, this collection is one to read, to share, to treasure, and to come back to again and again.