Collected Poems brings together not only all his books--The North Ship, The Less Deceived, The Whitsun Weddings, and High Windows--but also his uncollected poems from 1940 to 1984.This new edition reflects Larkin's own ordering for his poems and is the first collection to present the body of his work with the organization he preferred. Preserving everything he published in his lifetime, the new Collected Poems is an indispensable contribution to the legacy of an icon of twentieth-century poetry.

    Thomas-born, Florida-raised poet Nicole Sealey’s work is restless in its empathic, succinct examination and lucid awareness of what it means to be human.The ranging scope of inquiry undertaken in Ordinary Beast—at times philosophical, emotional, and experiential—is evident in each thrilling twist of image by the poet. In brilliant, often ironic lines that move from meditation to matter of fact in a single beat, Sealey’s voice is always awake to the natural world, to the pain and punishment of existence, to the origins and demises of humanity. Exploring notions of race, sexuality, gender, myth, history, and embodiment with profound understanding, Sealey’s is a poetry that refuses to turn a blind eye or deny. It is a poetry of daunting knowledge.

    Holding all accountable, this collection fully embraces the loss, grief, and abundant joy that come with charting one’s own path in identity, life, and love.In the HospitalMy mother was in the hospital & everyone wanted to be my friend.But I was busy making a list: good dog, bad citizen, shortskeleton, tall mocha. Typical Tuesday.My mother was in the hospital & no one wanted to be her friend.Everyone wanted to be soft cooing sympathies. Very reasonablepigeons. No one had the time & our solution to itwas to buy shinier watches. We were enamored withwhat our wrists could declare. My mother was in the hospital& I didn’t want to be her friend. Typical son. Tall latte, short tale,bad plot, great wifi in the atypical café. My mother was in the hospital& she didn’t want to be her friend. She wanted to be the familygrocery list. Low-fat yogurt, firm tofu. She didn’t trust my fatherto be it. You always forget something, she said, even whenI do the list for you. Even then.

    With the publication of his first book of poems, The Weary Blues, in 1926, Langston Hughes electrified readers and launched a renaissance in black writing in America.  The poems Hughes wrote celebrated the experience of invisible men and women: of slaves who "rushed the boots of Washington"; of musicians on Lenox Avenue; of the poor and the lovesick; of losers in "the raffle of night."  They conveyed that experience in a voice that blended the spoken with the sung, that turned poetic lines into the phrases of jazz and blues, and that ripped through the curtain separating high from popular culture.  They spanned the range from the lyric to the polemic, ringing out "wonder and pain and terror-- and the marrow of the bone of life."The poems in this collection were chosen by Hughes himself shortly before his death in 1967 and represent work from his entire career, including "The Negro Speaks of Rivers," "The Weary Blues," "Still Here," "Song for a Dark Girl," "Montage of a Dream Deferred," and "Refugee in America."  It gives us a poet of extraordinary range, directness, and stylistic virtuosity.

    His poems chart a course through his own highly original American dreamscape in language that is fresh, accessible, and remarkably precise. This debut collection has received extraordinary acclaim from readers and reviewers alike and is quickly becoming a cult classic. As Pulitzer Prize-winning poet James Tate said, "These poems are beautiful, strange, intelligent, and funny. . . . It's a book for everyone."

    Her Poems 1962-2012 was hailed as "a major event in this country's literature" in the pages of The New York Times. Every new collection is at once a deepening and a revelation. Faithful and Virtuous Night is no exception. You enter the world of this spellbinding book through one of its many dreamlike portals, and each time you enter it's the same place but it has been arranged differently. You were a woman. You were a man. This is a story of adventure, an encounter with the unknown, a knight's undaunted journey into the kingdom of death; this is a story of the world you've always known, that first primer where "on page three a dog appeared, on page five a ball" and every familiar facet has been made to shimmer like the contours of a dream, "the dog float[ing] into the sky to join the ball." Faithful and Virtuous Night tells a single story but the parts are mutable, the great sweep of its narrative mysterious and fateful, heartbreaking and charged with wonder.

    Now the video of that performance has been forwarded to mothers and daughters (and fathers and sons) all over the world. Originally written in 2007, "B" is a thank you note, a love letter, a wish, a promise, a confession, and a secret. With beautiful illustrations by Sophia Janowitz, "B" is finally available in this whimsical, magical book.

    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.

    A regular columnist for MTV.com, Willis-Abdurraqib brings his interest in pop culture to these poems, analyzing race, gender, family, and the love that finally holds us together even as it threatens to break us. Terrance Hayes writes that Willis-Abdurraqib "bridges the bravado and bling of praise with the blood and tears of elegy." The poems in this collection are challenging and accessible at once, as they seek to render real human voices in moments of tragedy and celebration.

    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.

    Limón has often been a poet who wears her heart on her sleeve, but in these extraordinary poems that heart becomes a “huge beating genius machine” striving to embrace and understand the fullness of the present moment. “I am beautiful. I am full of love. I am dying,” the poet writes. Building on the legacies of forebears such as Frank O’Hara, Sharon Olds, and Mark Doty, Limón’s work is consistently generous and accessible—though every observed moment feels complexly thought, felt, and lived.

    In this virtuosic array of poems, lists, shards, and sequences, Sharif assembles her family’s and her own fragmented narratives in the aftermath of warfare. Those repercussions echo into the present day, in the grief for those killed, in America’s invasions of Afghanistan and Iraq, and in the discriminations endured at the checkpoints of daily encounter.At the same time, these poems point to the ways violence is conducted against our language. Throughout this collection are words and phrases lifted from the Department of Defense Dictionary of Military and Associated Terms; in their seamless inclusion, Sharif exposes the devastating euphemisms deployed to sterilize the language, control its effects, and sway our collective resolve. But Sharif refuses to accept this terminology as given, and instead turns it back on its perpetrators. “Let it matter what we call a thing,” she writes. “Let me look at you.”

    Frost scholar Lathem, who was also a close friend of the four-time Pulitzer Prize-winner, scrupulously annotated the 350-plus poems in this collection, which has been the standard edition of Frost's work since it first appeared in 1969.

    Rudy's poems and quotes have been viewed and shared millions of times as he has traveled the country and the world performing for sell-out crowds. Helium is filled with work that is simultaneously personal and political, blending love poems, self-reflection, and biting cultural critique on class, race and gender into an unforgettable whole. Ultimately, Rudy's work rises above the chaos to offer a fresh and positive perspective of shared humanity and beauty.

    I forget things too. It makes me sad. Or it makes me the saddest. The sadness is not really about George W. or our American optimism; the sadness lives in the recognition that a life cannot matter.The award-winning poet Claudia Rankine, well known for her experimental multigenre writing, fuses the lyric, the essay, and the visual in this politically and morally fierce examination of solitude in the rapacious and media-driven assault on selfhood that is contemporary America. With wit and intelligence, Rankine strives toward an unprecedented clarity-of thought, imagination, and sentence-making-while arguing that recognition of others is the only salvation for ourselves, our art, and our government.Don't Let Me Be Lonely is an important new confrontation with our culture, with a voice at its heart bewildered by its inadequacy in the face of race riots, terrorist attacks, medicated depression, and the antagonism of the television that won't leave us alone.