Prepared by recognized authorities, its articles treat their topics in sufficient depth and with enough lucidity to satisfy the scholar and the general reader alike. Entries vary in length from relatively brief notices to substantial articles of about 20,000 words.The Princeton Encyclopedia of Poetry and Poetics, published in 1965, established itself as a standard work in the field. Among the 215 contributors were Northrop Frye writing on allegory, Murray Krieger on belief in poetry, Philip Wheelwright on myth, John Hollander on music, and William Carlos Williams on free verse. In 1974, the Enlarged Edition increased the entries with dozens of new subjects, including rock lyric, computer poetry, and black poetry, to name just a few.The New Princeton Encyclopedia of Poetry and Poetics accounts for the extraordinary change and explosion of knowledge within literary and cultural studies since the 1970s. This edition, completely revised, preserves what was most valuable from previous editions, while subjecting each existing entry to revision. Over 90 percent of the entries have been extensively revised and most major ones entirely rewritten. Completely new entries number 162, including those by new contributors Camille Paglia, Barbara Herrnstein Smith, Elaine Showalter, Houston Baker, Andrew Ross, and many more. New entries include those on cultural criticism, discourse, feminist poetics, and Chicano poetry.Improvements cover several areas: All the recent developments in theory that bear on poetry are included; bibliographies of secondary sources are extended; cross-references among entries and through blind entries have been expanded for greater ease of use; and coverage of emergent and non-Western poetries is dramatically increased. Indeed, a hallmark of the encyclopedia is its world-wide orientation on the poetry of national and cultural groups.

    When Robert Creeley died in March 2005, he was working on what was to be his final book of poetry. In addition to more than thirty new poems, many touching on the twin themes of memory and presence, this moving collection includes the text of the last paper Creeley gave—an essay exploring the late verse of Walt Whitman. Together, the essay and the poems are a retrospective on aging and the resilience of memory that includes tender elegies to old friends, the settling of old scores, and reflective poems on mortality and its influence on his craft. On Earth reminds us what has made Robert Creeley one of the most important and affectionately regarded poets of our time.

    Signposted for coverage of FENTO standards, with full coverage of the C&G 7407, 7302, and Cert Ed courses. Retaining the unique style of the previous editions, this is an essential text for students and qualified teachers.

    The editors invited over fifty contemporary poets to select a poetic meter, stanza, or form, describe it, recount its history, and provide favorite examples. The essays represent a remarkably diverse range of literary styles and approaches, and show how the forms of contemporary English-language poetry derive from a wealth of different traditions.The forms range from hendecasyllabics to prose poetry, haiku to procedural poetry, sonnets to blues, rap to fractal verse. The range of poets included is equally impressive--from Amiri Baraka to John Frederick Nims, from Maxine Kumin to Marilyn Hacker, from Agha Shahid Ali to Pat Mora, from W. D. Snodgrass to Charles Bernstein. Achieving this level of eclecticism is a remarkable feat, especially given the strong opinions held by members of the various camps (e.g., the New Formalists, LANGUAGE poets, feminist and multicultural poets) that exist within today's poetry community. Poets who might never occupy the same room here occupy the same pages, perhaps for the first time. The net effect is a book that will surprise, inform, and delight a wide range of readers, whether as reference book, pleasure reading, or classroom text.Poet, translator, and critic Annie Finch is director of the Stonecoast low-residency MFA program at the University of Southern Maine. She is author of The Ghost of Meter: Culture and Prosody in American Free Verse, Eve, and Calendars. She is the winner of the eleventh annual Robert Fitzgerald Prosody Award for scholars who have made a lasting contribution to the art and science of versification.Kathrine Varnes teaches English at the University of Missouri-Columbia. She is the author of the book of poems, The Paragon. Her poems and essays have appeared in many books and journals.

    Yeats, Robert Frost, W.H.Auden, Seamus Heaney, Derek Mahon, and many more.Includes a helpful glossary of poetic terms.

    Bachelard takes us on a journey, from cellar to attic, to show how our perceptions of houses and other shelters shape our thoughts, memories, and dreams."A magical book. . . . The Poetics of Space is a prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced-and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard." -from the new foreword by John R. Stilgoe

    As we read, each of our senses is engaged, and we come to detect a search for spiritual revelations--in buildings, churches, homes, trains, and cars. Then suddenly we find ourselves back in the open, pursuing the course to Baltimore and Bucharest, to the zoo and the park, to the past and future. As ever, Ashbery's wakeful digressions are wily, comic, heartbreaking, and vertiginous.

    The book's first two parts, "Recollections" and "Interviews," provide autobiographical glimpses of the very private Larkin's childhood, his youth at Oxford, the genesis of his forty-year career as a librarian, and the influences that initially steered his poetry. The second half of the book reflects Larkin's literary standards and opinions in often witty and surprising, always beautifully wrought, essays and reviews. His subjects range from Emily Dickinson (were her first lines her best?) to the contemporary mystery novel. Required Writing concludes with a selection of pieces on jazz music."Larkin is a punctilious, honest critic. He prefers good clear writing to pretentious eyewash; he prefers tunes to discordant wailing; and he prefers home to abroad. Unlike the majority of critics, he is clear-sighted enough to say so." --A. N. Wilson, Sunday Telegraph"I read the collection with growing excitement, agreement and admiration. It is the best contemporary account of the writer's true aims I have encountered." --John Mortimer, Sunday Times (London)"Subtle, supple, craftily at ease, Required Writing is on a par with Larkin's poetry--which is just about as high as praise can go." --Clive James, Observer Philip Larkin was the author of poetry collections, including High Windows, The Whitsun Weddings, and The Less Deceived; a book of essays entitled All What Jazz: A Record Diary; and two novels, Jill, and A Girl in Winter, published early in his career. Required Reading was originally published by Farrar, Straus & Giroux.

    Her first book, Almanacs, was a travellers's litany, featuring a road movie in poems set in the north of Scotland. Nigh-No-Place is the liturgy of a poet passionately aware of the natural world." Nigh-No-Place reflects the breadth of ground she's covered. 'Ten-minute Break Haiku' is her response to working in a fish factory. 'Paternoster' is the Lord's Prayer uttered by a draught-horse. 'Prenatal Polar Bear' takes place in Churchill, Manitoba, surrounded by tundra.

    She has since become one of our most respected authors of verse.Schnackenberg's first three books, collected in Supernatural Love, show the thrilling evolution of a unique voice in today's letters. From an early mastery in which precision and heartbreak are inseparable, her poetry accelerates book by book through the searching, dense, and metaphysical imagery--as well as the cascading syntax--which have become her signature. Whether we are witnessing her classic portrait of Darwin in his last year or discovering the vertiginous brillance of her elegy for the Byzantine monuments of Ravenna, we find in Schnackenberg gemlike poems offered as visionary documents, unmistakable in their glittering range and passion--and never the same twice.

    In her previous book, The Well-Trained Mind, the author provided a road map of classical education for parents wishing to home-school their children, and that book is now the premier resource for home-schoolers. In this new book, Bauer takes the same elements and techniques and adapts them to the use of adult readers who want both enjoyment and self-improvement from the time they spend reading.The Well-Educated Mind offers brief, entertaining histories of five literary genres—fiction, autobiography, history, drama, and poetry—accompanied by detailed instructions on how to read each type. The annotated lists at the end of each chapter—ranging from Cervantes to A. S. Byatt, Herodotus to Laurel Thatcher Ulrich—preview recommended reading and encourage readers to make vital connections between ancient traditions and contemporary writing.The Well-Educated Mind reassures those readers who worry that they read too slowly or with below-average comprehension. If you can understand a daily newspaper, there's no reason you can't read and enjoy Shakespeare's Sonnets or Jane Eyre. But no one should attempt to read the "Great Books" without a guide and a plan. Susan Wise Bauer will show you how to allocate time to your reading on a regular basis; how to master a difficult argument; how to make personal and literary judgments about what you read; how to appreciate the resonant links among texts within a genre—what does Anna Karenina owe to Madame Bovary?—and also between genres. Followed carefully, the advice in The Well-Educated Mind will restore and expand the pleasure of the written word.

    He is a forceful, cogent, incisive phrase-maker."—Bill Knott"The yearning in these poems is awash in dense, spiritual sexuality buffeted by time and the mishandling of promises and breakable bonds."—apt The Truth Is We Are Perfect contains fifty-four lyrics exploring the loss of oneself through the loss of an other, and how we seek to recreate ourselves in that absence. Stucky journeys into nothingness and, consequently, into awareness. His meditative sensibilities and minimalist style create ritualized poems acting as spells—transcribed to be read aloud and performed in the service of realizing that which we seek to become: "Because I love a burning thing / I made my heart a field of fire."Janaka Stucky is the publisher of Black Ocean as well as the annual poetry journal Handsome. He is the author of two chapbooks: Your Name Is The Only Freedom, and The World Will Deny It For You. His poems have appeared in such journals as Denver Quarterly, Fence and North American Review, and his articles have been published by the Huffington Post and the Poetry Foundation. He is a two-time National Haiku Champion and in 2010 he was voted "Boston's Best Poet" in the Boston Phoenix.

    With the sort of smart, persuasive voice associated with Simon Armitage and Michael Donaghy, these poems worry at the world in search of consolation, or else meet life's absurdity and strangeness half-way; whether sitting proudly atop an unexploded bomb, or injecting blood under the skin of a banana, playfulness and imagination are vehicles for confronting 'the fearful and forgotten things I've lied to myself about'. Here are poems which address anxiety about fatherhood, remorse for lost lovers and friends, or mourn for a miscarried sibling. Happiness is a collection preoccupied with the ephemerality of happiness itself, at the ever-present possibility of its departure, and the ways we try to grasp and keep hold of it. 'Every single thought I'm having is about LOVE', here meaning both the pleasure and panic of love, its peculiarity; love as a feeling of risk, love for one's own body, familiar yet estranged, of 'cack-handed LOVE at his console', love like 'pausing to move a snail somewhere safer in the rain'.

    Ondaatje is said to care more about the relationship between art and nature than any other poet since the Romantics.

    In short, essayistic chapters and an appendix of thirty stimulating exercises, The Art of Voice explores the myriad ways to create a distinctive poetic voice, including vernacular, authoritative statement, speech register, tone-shifting, and using secondary voices. “Rich with lively examples” (New York Times Book Review), The Art of Voice provides a compelling introduction to contemporary poetry and an invaluable guide for any practicing writer.