Yet for all their metaphorical suggestiveness, Dickinson’s and Whitman’s poems about the natural world neither preclude nor erase nature’s relevance as an actual living environment. In their respective poetic projects, the earth matters both figuratively, as a realm of the imagination, and also as the physical ground that is profoundly affected by human action. This double perspective, and the ways in which it intersects with their formal innovations, points beyond their traditional status as curiously disparate icons of American nature poetry. That both of them not only approach nature as an important subject in its own right, but also address human-nature relationships in ethical terms, invests their work with important environmental overtones. Dickinson and Whitman developed their environmentally suggestive poetics at roughly the same historical moment, at a time when a major shift was occurring in American culture’s view and understanding of the natural world. Just as they were achieving poetic maturity, the dominant view of wilderness was beginning to shift from obstacle or exploitable resource to an endangered treasure in need of conservation and preservation.A Place for Humility examines Dickinson’s and Whitman’s poetry in conjunction with this important change in American environmental perception, exploring the links between their poetic projects within the context of developing nineteenth-century environmental thought. Christine Gerhardt argues that each author's poetry participates in this shift in different but related ways, and that their involvement with their culture’s growing environmental sensibilities constitutes an important connection between their disparate poetic projects. There may be few direct links between Dickinson’s “letter to the World” and Whitman’s “language experiment,” but via a web of environmentally-oriented discourses, their poetry engages in a cultural conversation about the natural world and the possibilities and limitations of writing about it—a conversation in which their thematic and formal choices meet on a surprising number of levels.

    Doughty’s poems are at once absurdist and matter-of-fact; the images he conjures are thrown into high relief through cutting wordplay. In a series of prose poems about showbiz, he reimagines Cookie Monster as a burned-out suicide, and cheesy talk-show host Joe Franklin as a cross-dressing witness to the apocalypse. And in “For Charlotte, Unlisted,” he wrenchingly tracks the elusive memory of a faded romance.

    The answers--and her discoveries--may surprise you.This unique, entertaining, and thought-provoking personal account will challenge women to throw out their preconceived notions of what a submissive wife looks like and seek fresh leading from God for their lives and marriages today.

    Gioia has published five volumes of poetry, served as the Chairman of the National Endowment for the Arts, and currently sits as the Poet Laureate of California, but he is also a graduate of Stanford Business School and was once a Vice President at General Foods. He has studied opera and is a published librettist, in addition to his prolific work in critical essay writing and editing literary anthologies. Having lived several lives, Gioia brings an insightful, varied, eclectic eye to this year’s Best American Poetry. With his classic essay “Can Poetry Matter?”, originally run in The Atlantic in 1991, Gioia considered whether there is a place for poetry to be a part of modern American mainstream culture. Decades later, the debate continues, but Best American Poetry 2018 stands as evidence that poetry is very much present, relevant, and finding new readers.

    Divided into four sections: love, loss, acceptance, and growth- the content serves the purpose of making you feel and finding the light at the end of the tunnel.