Whether he is musing on antic glories amid the ruins of the Acropolis or watching a New York child invent games on the city’s sidewalks, Corso is there in it, putting us into it, with the magic of vision, with the senses—awakening images, that transmute reality into something more—insights that let us share his joy and echo his shout of Long live Man!

    S. Merwin, Allen Ginsberg, and Lawrence Ferlinghetti. In work spanning 30 years (1955-1985), Parra, the pioneer of "antipoetry," remains fresh, bold, and inventive, deftly and humorously subverting convention. Editor David Unger brings together poems from Parra's groundbreaking collection Poemas y antipoemas, the witty aphorisms of Artefactos, and his original and uncompromising later work.

    Here are the haiku that Keroauc, Saijo, and Welch jotted down in notebooks, along with a recollection of the trip written by Saijo in 1973, a section from Welch's unfinished novel that describes the trip and the return, and Welch's early 1960 letters to Keroauc that continue the bond forged during those days on the road together.Jack Kerouac (1922-1969) was a principal actor in the Beat Generation, a companion of Allen Ginsberg and Neal Cassady in that great adventure. His books include On the Road, The Dharma Bums, Mexico City Blues, Lonesome Traveler, Visions of Cody, Pomes All Sizes (City Lights), Scattered Poems (City Lights), and Scripture of the Golden Eternity (City Lights).Lew Welch (1926-1971?) was an American poet and active participant in the Beat generation literary movement. From 1965 to 1970, he taught a poetry workshop. His works, which were published by City Lights/Grey Fox, include Trip Trap: Haiku on the Road, Selected Poems, and Ring of Bone.Albert Saijo (1929-2011) was a Japanese-American poet and active participant in the Beat Generation literary movement. He and his family were imprisoned, along with many other Japanese-American families, as part of the internment of Japanese Americans during World War II. During this time he wrote about his internment experience for his high school newspaper. After joining the US Army and studying at University of Southern California, he became friends with Jack Keroauc and other influential Beat Generation figures. His famous works include The Backpacker (1972) and Outspeaks: A Rhapsody (1997). A collection of his works from the 80s and 90s, Woodrat Flat, was published posthumously in 2014.

    Swirling voices and skeins of story, laughter and rage, ferocious attention to detail and sweeping nuttiness, tears and chortling—these stories will remind readers of the late giant David Foster Wallace, in their straightforward accounts of anything-but-straightforward events; of modern short story pioneer Raymond Carver, a bit, in their blunt, unadorned dialogue; and of Julia Whitty, a bit, in their willingness to believe what is happening, even if it absolutely shouldn’t be. Funny, piercing, unique, memorable, this is a collection of stories readers will find nearly impossible to forget:... The barber who shaves the heads of the thugs in Bin Laden’s cave tells cheerful stories of life with the preening video-obsessed leader, who has a bald spot shaped just like Iceland.... A husband gathers all of his wife’s previous boyfriends for a long day on a winery-touring bus.... A teenage boy drives off into the sunset with his troubled sister’s small daughters…and the loser husband locked in the trunk of the car.... The late Joseph Kennedy pours out his heart to a golf-course bartender moments before the stroke that silenced him forever.… A man digging in his garden finds a brand-new baby boy, still alive, and has a chat with the teenage neighbor girl whose son it is.... A man born on a Greyhound bus eventually buys the entire Greyhound Bus Company and revolutionizes Western civilization.... A mountainous bishop dies and the counting of the various keys to his house turns… tense.... A man discovers his wife having an affair, takes up running to grapple with his emotions, and discovers everyone else on the road is a cuckold too.And many others.

    In the southeast Portland neighborhood of Dickman’s youth, parents are out of control and children are in chaos. With grief, anger, and, ultimately, understanding, Dickman confronts a childhood of ambient violence, well-intentioned but warped family relations, confining definitions of identity, and the deprivation of this particular Portland neighborhood in the 1980s. Wonderland reminds us that, while these neighborhoods are filled with guns, skateboards, fights, booze, and heroin, and home to punk rockers, skinheads, poor kids, and single moms, they are also places of innocence and love.

    A passionate exploration of the forces that shape us, The Last Love Poem I Will Ever Write explores themes of survival and the powerlessness of the self in a chaotic and unfair world, finding hope in the emotions and vitality of poetry. With characteristic meditative lyricism, the poet reflects on grief and the power of language in extended odes (“Ode to Nothing,” “Ode to Words”) and slips effortlessly from personal trauma (“Song of What Happens”) to public catastrophe (“Charlottesville Elegy”).The Last Love Poem I Will Ever Write confirms Orr’s place among the preeminent lyric poets of his generation, engaging the deepest existential issues with wisdom and humor and transforming them into celebratory song.

    Over the following years, it became his life's work as he continuously revised and expanded it. Freed from the restraints of tradition, Whitman's exuberance shines through every poem. His uplifting verses and powerful language provide a stunning experience unmatched by his contemporaries, and exercised and incredible influence on his fellow countrymen. The poems selected here take you on a whirlwind tour of emotions as he whisks you from celebrations of sexuality to his inspirational accounts of society.

    Harrison's novels and poems over the last two decades have been increasingly preoccupied with mortality, never so much as in Dead Man's Float, his very good new book of verse. Here he details the shocks of shingles and back surgery, as well as the comprehensive low wheeze of a fraying body... The joys in Mr. Harrison's world have remained consistent. If sex is less frequently an option, his appetites for food and the outdoors are undiminished. In one poem, he goes out into a rainstorm at night and sits naked at a picnic table. In another, he writes: 'I envied the dog lying in the yard/so I did it.'... The title of this volume, Dead Man's Float, refers to a way to stay alive in the water when one has grown tired while far from shore. As a poet, however, Mr. Harrison is not passively drifting. He remains committed to language, and to what pleasures he can catch."--Dwight Garner, The New York Times"Few enough are the books I decide to keep beyond a culling or two. Barring fire or flood, Dead Man's Float will be in my library for the rest of my life. If it's the last poetry collection we get from Harrison--and I hope it isn't--it is as fine an example of his efforts as any."--Missoula Independent"Harrison's poems succeed on the basis of an open heart and a still-ravenous appetite for life."--The Texas Observer"Forthright and unaffected, even brash, Harrison always scoops us straight into the world whether writing fiction or nonfiction [and] goes in deep, acknowledging our frailness even as he seamlessly connects with a world that moves from water to air to the sky beyond."--Library Journal"Harrison pours himself into everything he writes... in poems, you do meet Harrison head-on. As he navigates his seventies, he continues to marvel with succinct awe and earthy lyricism over the wonders of birds, dogs, and stars as he pays haunting homage to his dead and contends with age's assaults. The sagely mischievous poet of the North Woods and the Arizona desert laughs at himself as he tries to relax by imagining that he's doing the dead man's float only to sink into troubling memories...Bracingly candid, gracefully elegiac, tough, and passionate, Harrison travels the deep river of the spirit, from the wailing precincts of a hospital to a "green glade of soft marsh grass near a pool in a creek" to the moon-bright sea."--Donna Seaman, Booklist"Jim Harrison has been a remarkably productive writer across a multitude of genres... His poetry is earthy, witty, keenly observed and tied closely to the natural world [and] mortality looms large in Dead Man's Float, his 14th collection of poems... [F]orceful, lucid, fearlessly honest, Harrison knows that the nearness of death intensifies life."--Arlice Davenport, Wichita Daily EagleWarblerThis year we have two gorgeousyellow warblers nesting in the honeysuckle bush.The other day I stuck my head in the bush.The nestlings weigh one twentieth of an ounce, about the size of a honeybee. We stared ateach other, startled by our existence.In a month or so, when they reach the sizeof bumblebees they'll fly to Costa Rica without a map.Jim Harrison (1937-2016) was one of America's most versatile and celebrated writers.

    She is working as a software engineer in an investment bank in USA. She has money ($$$$), she can afford sex outside marriage. She also has opinion on everything. She is dating various marriage prospects, will she get her dream guy?

    But this poetry is not a sentimental celebration of the goodness of nature, and harmony with the world is never something assumed. The harmony Forché seeks goes deeper than simple submission to natural processes or identification with an ethnic group, and it must be fought for with a tenuous faith, the balance that must be found between the ugliness, the harshness of her history—both natural and social—and its intense beauty, is what distinguishes Forché’s poetry, gives it is depth and dimension.

    Or read this book and find out how you have all the tools you need, but must make the one change to become the writer you have always wanted to be.

    

    In his native Chile, across Latin America, and in many other parts of the world, his name and legacy have become almost synonymous with liberation movements, and with the language of erotic love.Neruda: The Biography of a Poet (The Poet’s Calling) is the product of fifteen years of research by Mark Eisner, writer, translator, and documentary filmmaker. The book vividly depicts Neruda’s monumental life, potent verse, and ardent belief in the “poet’s obligation” to use poetry for social good. It braids together three major strands of Neruda’s life—his world-revered poetry; his political engagement; and his tumultuous, even controversial, personal life—forming a single cohesive narrative of intimacy and breadth.The fascinating events of Neruda’s life are interspersed with Eisner’s thoughtful examinations of the poems, both as works of art in their own right and as mirrors of Neruda’s life and times. The result is a book that animates Neruda’s riveting story in a new way—one that offers a compelling narrative version of Neruda’s life and work, undergirded by exhaustive research, yet designed to bring this colossal literary figure to a broader audience.

    A man becomes friends with a bank robber who abducts him and eventually rues his captor’s death. A baby is born transparent.James Tate’s work, filled with unexpected turns and deadpan exaggeration, “fanciful and grave, mundane and transcendent,” (New York Times) has been among the most defining and significant of our time. In his last collection before his death in 2015, Tate’s dark yet whimsical humor, his emotional acuity, and his keen ear for the absurd are on full display in prose poems that finely constructed and lyrical, surrealistic and provocative.With The Government Lake, James Tate reminds us why he is one of the great poets of our age and one of the true masters of the form.

    The reader is exhilarated, led on to agree with Mr. Jarrell joyfully, even to cap his opinions--and at last to grow reckless. . . . Poetry and the Age is enormously readable."-- Louis Simpson, The American Scholar"The most powerful reviewer of poetry active in this country for the last decade. . . . Everybody interested in modern poetry ought to be grateful to him." -- John Berryman, New RepublicRandall Jarrell was the critic whose taste defined American poetry after World War II. Poetry and the Age, his first collection of criticism, was published in 1953. It has been in and out of print over the past 40 years and has become a classic of American letters. In this new edition, two long-lost lectures by Jarrell have been added. Recently discovered by critics, they speak to issues at the heart of Jarrell’s criticism: the structure of poetry and the question "Is American poetry American?"One of the outstanding poets of the postwar generation, Jarrell was also celebrated for his extraordinary praise of some underappreciated older and younger poets and for his witty dismissals of current favorites he thought less qualified. Poetry and the Age includes groundbreaking considerations of Walt Whitman and Robert Frost as well as profound appraisals of Wallace Stevens, Marianne Moore, John Crowe Ransom, and William Carlos Williams. His early reviews that established the reputations of Robert Lowell and Elizabeth Bishop are here, beside other enthusiastic discoveries that have withstood the test of time.Poetry and the Age also contains Jarrell’s influential essays on the obscurity of poetry and on the age of criticism, essays that offer some of the most relevant and readable literary judgments of the 20th century.Randall Jarrell (1914-1965) wrote eight books of poetry, five anthologies, four children’s books illustrated by Maurice Sendak, four translations, including Faust: Part I and The Three Sisters (performed on Broadway by the Actor’s Studio), and a novel, Pictures from an Institution. He received the National Book Award for poetry in 1960, served as poet laureate at the Library of Congress in 1957 and 1958, and taught for many years at the University of North Carolina, Greensboro. He was a member of the American Institute of Arts and Letters.