Clover fuses formal control, a solid grounding in poetic tradition (his allusions range from Shakespeare to Dickinson to John Cale), and sheer visionary exhilaration into a technical, moral, aesthetic, and imaginative lexicon that irradiates each page.The eerie cyberglow of Clover's lines illuminates a pageant of blurred and fragmented desolation: the Bomb, death camps, the Persian Gulf War, the beating of Rodney King, the whole numbing litany of modern horrors. Clover is a master of poetic shorthand, of the stark, unnerving image as immediate as yellow tape at a crime scene.Madonna anno domini is a sacrament for the twilight of the atomic age, a hellish Interzone with "God in abeyance" where dazed speakers search through the vertigo of negation for love and belief. And here. in this utterly convincing vision of a world whose center has long since lost its hold, we see the life on whose brink we, at the end of the millennium, find ourselves poised.

    . . short poems so as to draw us into the doubleness and fluency of feelings."—The New York Times Book ReviewQuietly marked by elegy and memory, National Book Award winner Jean Valentine's thirteenth book is empowered by her signature clear music and compassion. Valentine leads us chronologically from childhood drawings and wartime memories to the present, where she addresses aging and the loss of loved ones. These poems of tender grace reflect on the small histories few ever fully see.Shirt in HeavenCome upon a snapshotof secret you, smiling like FDR, leaning on your crutches—come upon letters I thought I'd burned—I suppose you've got a place with lots of stairs.I'm at the end of something, you're at the beginning . . . —dearest, they told me a surgeon sat downin the hospital morgue, next to your body, & cried.He yelled at the aide to get out.His two sons had been your students.—me too, little-knowing—Jean Valentine is the current State Poet of New York and author of twelve books of poetry, including Door in the Mountain, which won the National Book Award. She has taught at Sarah Lawrence College, New York University, and Columbia University, and lives in the Morningside Heights neighborhood of New York City.

    This is their story--ultimately a love story--darkly funny, mournful, testy. It is about a reader who at times presides over the page like a god, and at others follows the leash of the author's voice through the dark streets of the book like a dog, and it is about a writer of determined slipperiness.  As we read, we think that each of us is The Reader, the one who knows the Real Story. But the more we think we understand, the more the story moves away from us—all is not what it seems. This eagerly awaited third volume by the poet whose work The New York Times described as "at once charmed and frightening" is a book of high-spirited subversiveness, a work of argument, seduction, and a relentless devotion to language. Then, Suddenly— bristles with the sound of the author's voice--insistent, vital, hilarious, and iconoclastic--tearing away at the confinement of the page and at the distance between the page and the reader. Emanuel's images are dazzling. She creates a performance that is fearsome and funny in its portrayal of the argument between the work of the text and the world of the body. The Gettsyburg Review has called her a writer of "exquisite craftsmanship" who can "strike from language . . . images chiseled clean as bas-relief." Then, Suddenly— is a book of spectacle and verve, part elegy, part vaudeville.

    His first collection, set in the Midwest, alternately features a childhood Wisconsin farm, the record-breaking storm that destroyed it, and the turbulent marriage that recalls it. Love and wonder mingle in these lines.

    His sophisticated insights into psychological complexities, his ability to capture the essence of nature's sounds and spoken dialects in written words, and above all his inimitable-and often surprising-imagery have entertained his legions of fans over successive generations. It represents Gulzar's most memorable compositions of all time, and feature anecdotes about the composition of the lyrics as well as sketches by Gulzar.

    Where Many Rivers Meet: Poems

    The wildly inventive imagery in these cinematic pieces lodges them somewhere between the surreal and the pure symbol, colorful and smooth like the lyrics of John Ashbery or Linda Pastan. In Chelotti’s poems, diamonds talk and sheriffs balance frogs on the tips of pens.The rain says, Listen to Debussy,go ahead, Debussy will fix you.—From “Migraine Cure”The secret to including everythingis to intricately divide your mindand then, all of a sudden,undivide it.—From “Still Life on a Scrolling Background”

    depicts different love stories from the initial spark to the last heartbreak and writes in verses the heartache we've all been through. A poetry book to make your heart smile and weep at the same time.

    Winfyre Ridge. Away from the horrors, wars, and darkness. A place to live free and prosper. To start over. If you can get there. WOLF's WAGER Reagan Grace fled from a city laid to waste. She’s trying to get what’s left of her family to that mountain haven by any means necessary. But after a thousand-mile trek, the last thing she expected was a chance encounter with a bored alpha shifter. One who claims her by a toss of the dice. Luke “Swift” Swiftlore could smell the secrets on Reagan a mile away. Hell only knows what risk he’s taking in letting this pretty refugee in. Now he has to keep her close and see if he can get her to cop to what she is. Good thing he’s a creative badboy. BLACK BEAR's DUE Laia Llary has been looking for her cousin Tristan for months. But when she gets to Winfyre, does she find him? No. She only finds trouble. A brawl, a black eye and a bear shifter. Exactly in that order. Garrett “Rett” Deacon knows he should throw Laia out on her ass, but he owes her cousin. With no alternative, he claims her as punishment. At least now he can both train and keep an eye on her. Although it’s hard to say who hates it more. TIGER's PREY Sierra the Sphinx is the best scout money can buy. She might even be a match for Tristan “Trickster” Llary of the Northbane. Except she didn’t stick around long enough after swindling him to find out. Too bad, the Tiger Alpha was a hell of a kisser. Only Sierra might have made a mistake. She didn’t bank on Tristan coming after her. The one and only night Tristan decides to kick back, he gets robbed. Now he’s hot on Sierra’s tail for three reasons. One, to get his possessions back. Two, because Sierra doesn’t realize what kind of danger she’s in – both from him and those that would kill for what she has. Three – he can’t get her out of his head. ICE BEAR's BID Kallen “Kal” Deacon is the second-in-command at Winfyre. The Northbane shifter would give his life to keep it safe. Or to protect its most important secret. So, he’s not happy when he’s sent to scout the southern border. He’s even less happy when he comes upon a black-market auction. Kal knows he should leave it alone but one demure and bumbling beauty changes his mind. Iris has no idea what to make of the surly Ice Bear shifter dragging her back to Winfyre. While he’s terrifying and powerful, she’s not afraid. She’s drawn to him. DRAGON's OATH Alexander "Xander" Bane understands he is now the reason Winfyre exists. His presence alone keeps most threats at bay. Something he takes no pride in – as its leader, he does what has to be done and that's the end of it. Even if it means he has to be alone for the rest of his life, his shifted form must remain a secret. A secret found out by accident by Tiani Elkhadi, who spies the dragon in the woods. After nearly years of precautions, Xander has no idea what he should do. As icy as his heart has become, he can’t bring himself to kill her in cold blood. With no other choice, he claims her. Only Xander has no idea he’s playing into enemy hands. That Tiani was sent there to destroy Winfyre from the inside. To make it an example. To start a new war. NOTE: This boxset contains ALL five books of the Northbane Shifters series.

    Poems from the 1600s to the present day are beautifully illustrated with images from the unrivaled collection of Japanese paintings and prints in the British Museum. The majority of the poems come from the Tokugawa period (early seventeenth to mid nineteenth centuries) and include works from the best-known Japanese classical authors, female poets and a number of contemporary writers. Nearly all are newly translated by Alan Cummings.From the tender and the melancholy to the witty and the ribald, the poems and images in Haiku Love comment on the most universal of human emotions.

    It contains his earliest poems - in nazm, ghazal and qita form - that set him on course to becoming the greatest and most-read Urdu poet of the 20th century.

    Whether focused on a lesson, a teacher, or the girls themselves as they collectively school -- or refuse to -- the poems explore ways girls are trained in the broadest sense of the word.Gossips, the second section, is a shorter sequence narrated by women as they talk about other women in a variety of isolations; these poems, told from the outside looking in, highlight a speculative voicing of all the gossips cannot know. In Early Lessons, the third section, children narrate as they also observe similarly solitary women, the children's innocence allowing them to see in farther than the gossips can. The fourth section offers studies of women and men in situations in which gender, with all of its complexities, figures powerfully.The follow-up to the Pulitzer Prize-winning collection Late Wife, Figure Studies upholds Emerson's place among contemporary poetry's elite.The Mannequin above Main Street MotorsWhen the only ladies' dress shop closed, she was left on the street for trash, unsalvageable, one arm missing, lost at the shoulder, one leg at the hip. But she was wearing a blue-sequined negligee and blonde wig, so they helped themselves to her on a lark -- drunken impulse -- and for years kept her leaning in a corner, beside an attic window, rendered invisible. The dusk was also perpetual in the garage below, punctuated only by bare bulbs hung close over the engines. An oily grime coated the walls, and a decade of calendars promoted stock-car drivers, women in dated swimsuits, even their bodies out of fashion. Radio distorted there; cigarette smoke moaned, the pedal steel conceding to that place a greater, echoing sorrow. So, lame, forgotten prank, she remained, back turned forever to the dark storagebehind her, gaze leveled just above anyone's who could have looked up to mistake in the cast of her face fresh longing -- her expression still reluctant figure for it.

    Don't lose more time searching for the perfect poems or readings - I've already done all the hard work to save you the trouble. This book combines several well known anthologies and brings you well over 1000 poems since 1250. The original anthologies used as a source are: 1919 Arthur Quiller-Couch, The Oxford Book of English Verse, and 1917 The New Poetry - An Anthology - Edited by Harriet Monroe and Alice Corbin Henderson.

    

    Hall's new poems further the themes of love, death, and mourning so powerfully introduced in his WITHOUT (1998), but from the distance of passed time. A long poem, "Daylilies on the Hill 1975 - 1989," moves back to the happy repossession of the poet's old family house and its history - a structure that "persisted against assaults" as its generations of residents could not. These poems are by turns furious and resigned, spirited and despairing - "mania is melancholy reversed," as Hall writes in another long poem, "Kill the Day." In this book's fourth and final section, "Ardor," the poet moves toward acceptance of new life in old age; eros reemerges.