Ellen Kennedy's debut full-length poetry collection. When I finished reading SOMETIMES MY HEART PUSHES MY RIBS I had to go to lunch with people in a restaurant with enormous beverages and misnamed sandwiches. I kept tapping my hand on the table and I didn't listen to anything anybody said. All I wanted to do was go home to read and write the kind of poetry Ellen Kennedy writes, declarative and nervous and wild and free. This is the sort of thing you want. This is the sort of book you should buy and you should buy it now instead of having lunch with those `friends'--Daniel Handler. Ellen Kennedy was born in 1989 and lives in Boston.

    Only a generation ago, female adolescence as we know it in the West did not exist in the Middle East. There were only children and married women. Today, young Arab women outnumber men in universities, and a few are beginning to face down religious and social tradition in order to live independently, to delay marriage, and to pursue professional goals. Hundreds of thousands of devout girls and women are attending Qur’anic schools—and using the training to argue for greater rights and freedoms from an Islamic perspective. And, in 2011, young women helped to lead antigovernment protests in the Arab Spring. But their voices have not been heard. Their stories have not been told.In Syria, before its civil war, she documents a complex society in the midst of soul searching about its place in the world and about the role of women. In Lebanon, she documents a country that on the surface is freer than other Arab nations but whose women must balance extreme standards of self-presentation with Islamic codes of virtue. In Abu Dhabi, Zoepf reports on a generation of Arab women who’ve found freedom in work outside the home. In Saudi Arabia she chronicles driving protests and women entering the retail industry for the first time. In the aftermath of Tahrir Square, she examines the crucial role of women in Egypt's popular uprising. Deeply informed, heartfelt, and urgent, Excellent Daughters brings us a new understanding of the changing Arab societies—from 9/11 to Tahrir Square to the rise of ISIS—and gives voice to the remarkable women at the forefront of this change.

    Barks's translations capture the inward exploration and intensity that characterize Rumi's poetry, making this unique voice of mysticism and desire contemporary while remaining true to the original poems. In this volume readers will encounter the essence of Sufism's insights into the experience of divine love, wisdom, and the nature of both humanity and God.While Barks's stamp on this collection is clear, it is Rumi's voice that leaps off these pages with a rapturous power that leaves readers breathless. These poems express our deepest yearning for the transcendent connection with the source of the divine: there are passionate outbursts about the torment of longing for the beloved and the sweet delight that comes from union; stories of sexual adventures and of loss; poems of love and fury, sadness and joy; and quiet truths about the beauty and variety of human emotion. For Rumi, soul and body and emotion are not separate but are rather part of the great mystery of mortal life, a riddle whose solution is love. Above all else, Rumi's poetry exposes us to the delight that comes from being fully alive, urging us always to put aside our fears and take the risk of discovering our core self:No one knows what makes the soul wake up so happy! Maybe a dawn breeze has blown the veil from the face of God. These fresh, original translations magnificently convey Rumi's insights into the human heart and its longings with his signature passion and daring, focusing on the ecstatic experience of the inseparability of human and divine love. The match between Rumi's sublime poetry and Coleman Barks's poetic art are unequaled, and here this artistic union is raised to new heights.

    Greenstreet's highly original CASE SENSITIVE posits a female central character who writes chapbooks that become the sections in this book. What happens in the book I want to read? Greenstreet asked herself. And how would it sound? Everything the character is reading, remembering, and dreaming turns up in what she writes, duly referenced with notes. Using natural language charged with concision and precise syntax, Greenstreet has created a memorable and lasting first collection. A poem intrigue of the highest order. Greenstreet has made a brilliant beginning with this first book--Kathleen Fraser. A beautiful dwelling of ideas. CASE SENSITIVE suggests that there need be no divide between the associative connections of poetry and the extended thinking of the essay. This is a book full of luminous footnotes, details, and attentive readings. CASE SENSITIVE strings together a series of moments to create something resonate, large, and inclusive--Juliana Spahr.

    He is also a satirical and epigrammatic writer who savagely consoles with laughter. Carmina captures in English both the mordant, scathing wit and also the concise tenderness, the famous love for reluctant Lesbia who is made present in these new versions. A range of English metres and rhymes evoke the epigrammatic power of the many modes and moods of this most engaging, erotic and influential of the Latin poets. He left a mark on Horace, Virgil, Ovid and on the lyric and epigrammatic traditions of all the languages of Europe. Of Len Krisak's Horace translations, Frederic Raphael said, ‘[He] enables us both to enjoy a fresh voice and to hear (and see), very distinctly, what lies behind and within his unintimidated rescripts’. Again in Carmina he works his precise magic.

    And images of a fantastic idyll complete with falling stars, the sound of the sea, and beautiful countryside. In the hands of Surrealists, though, love poetry also includes gravediggers and murderers, dice and garbage, snakeskin purses and "the drunken kisses of cyclones." Surrealism, the movement founded in the 1920s on the ashes of Dada's nihilism, embraced absurdity, contradiction, and, to a supreme extent, passion and desire. From André Breton's battle cry of "Mad Love" to the quiet lyricism of Robert Desnos, Surrealist writers and artists obsessively expressed the permutations of that fundamental human state, love, and they did so with the vocabulary of natural and unnatural worlds, the explicit language of sex, and a great deal of humor.Surrealist Love Poems brings together sixty poems by Surrealists who charged their work with all forms of eroticism. Expertly and energetically edited by Mary Ann Caws, this collection seeks to demonstrate the truth of Breton's words, that "the embrace of poetry like that of bodies / As long as it lasts / Shuts out all the woes of the world.""Erotic, impassioned and necrophilic, the sixty works gathered in Surrealist Love Poems celebrate the idea of obsessive and transformative love. 'I want to sleep with you side by side. . . . Stretched out on your shadow / Hammered by your tongue / To die in a rabbit's rotting teeth / Happy' writes Joyce Mansour. . . . Caws places poems by major surrealist writers like André Breton and Paul Eluard, along with the poetry of Picasso, Dalí, and Frida Kahlo, side by side with fourteen lushly printed and alluring black-and-white photos by the likes of Man Ray, Lee Miller, and Claude Cahun."—Publishers Weekly

    An unusually rich selection from Byron's letters and journals accompanies the poems. The critical essays offer an integrated view of Byron's achievement as well as analyses of its different facets. Published for the first time is Bergen Evans's general essay Lord Byron's Pilgrimage; other essays are by John D. Jump, Michael G. Cooke, Francis Berry, Robert F. Gleckner, James R. Thompson, Frank D. McConnell, Leslie A. Marchand, and E. D. Hirsch, Jr. A special section, Images of Byron, presents 26 views of Byron as artist and as the epitome of the Romantic hero, ranging from the perspectives of his contemporaries to those of such modern writers as James Joyce, Virginia Woolf, T. S. Eliot, and Albert Camus. A Chronology sets forth the main events of Byron's life, and a Selected Bibliography lists sources for further study.

    The poems in this collection are at once seductive and dangerous; they are possessed by a singular lyricism and awareness, and her call to action has a major presence in her work.

    The greatest Americans Have not been born yet They are waiting quietly For their past to die please give blood Here is the account of a man so ravished by a kiss that it distorts his highest and lowest frequencies of understanding into an Incongruent mean of babble and brilliance...

    East Asia Studies. Women's Studies. Translated from the Korean by Don Mee Choi. "Her poems are not ironic. They are direct, deliberately grotesque, theatrical, unsettling, excessive, visceral and somatic. This is feminist surrealism loaded with shifting, playful linguistics that both defile and defy traditional roles for women"--Pam Brown

    East Asian Studies. Translated from the Japanese by Jeffrey Angles. "I want to get rid of Kanoko/I want to get rid of filthy little Kanoko/I want to get rid of or kill Kanoko who bites off my nipples." "KILLING KANOKO is a powerful, long-overdue collection (in fine translation) of poetry from the radical Japanese feminist poet, Hiromi Ito. Her poems reverberate with sexual candor, the exigencies and delights of the paradoxically restless/rooted female body, and the visceral imagery of childbirth leap off the page as performative modal structures--fierce, witty, and vibrant. Hiromi is a true sister of the Beats"--Anne Waldman.

    The revision covers all the poems published in Princeton's earlier bilingual edition, "George Seferis: Collected Poems" (expanded edition, 1981). Winner of the Nobel Prize for Literature in 1963, George Seferis (1900-71) has long been recognized as a major international figure, and Keeley and Sherrard are his ideal translators. They create, in the words of Archibald MacLeish, a "translation worthy of Seferis, which is to praise it as highly as it could be praised."Although Seferis was preoccupied with his tradition as few other poets of the same generation were with theirs, and although he was actively engaged in the immediate political aspirations of his nation, his value for readers lies in what he made of this preoccupation and this engagement in fashioning a broad poetic vision. He is also known for his stylistic purity, which allows no embellishment beyond that necessary for precise yet rich poetic statement.

    

    Included are the leading Beat and New York School poets, the Projectivists, and "Deep Image" poets. Included, too, is the rich array of poetry written since 1975-language and performance poetry, the work of African American, Hispanic, Asian American, gay and lesbian, and women experimentalists. In addition, a final section of poetics-with writings by Frank O Hara, Denise Levertov, Jerome Rothenberg, Amiri Baraka, and Charles Bernstein, among others-provides valuable contexts for reading the poems.

    Stories of how revolutionary writing is smuggled from the Naqab Prison; about what it is like to write with only two hours of electricity each day; and stories from the Gallery Café, whose opening three thousand creative intellectuals gathered to celebrate.Pay No Heed to the Rockets offers a window into the literary heritage of Palestine that transcends the narrow language of conflict. Paying homage to the memory of literary giants like Mahmoud Darwish and Ghassan Kanafani and the contemporary authors they continue to inspire, this evocative, lyrical journey shares both the anguish and inspiration of Palestinian writers at work today.