At the time, Allen was working on the "San Francisco Scene" issue of the Evergreen Review, and Ginsberg and Kerouac brought him manuscripts and news of developments on the West Coast.Over the next three years, Kerouac would send Allen poems for various projects, along with letters in which he discussed his poetry, his life, and the work of his young contemporaries. The unpublished poems are collected here, as are the letters, a comic strip drawn for the Cassady children, and Kerouac's self-penned poetic biography.Jack Kerouac (1922-1969)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).

    The final section of the book includes the long poem 'Endless Life'.

    A beautifully illustrated portrait of beat icons Kerouac, Snyder, and Whalen and the years in the Cascades high country that shaped their lives and work

    Following poems chronologies Wyoming grass blues, a punk-rock sonnet, personal grave musing, Manhattan landscape hypertension, lovelorn heart thumps, mantric rhymes, Neruda’s tearful Lincoln ode retranslated to U.S. vernacular oratory, Nagasaki Bomb anniversary haikus, Zen Bluegrass raunch, free verse demystification of sacred fame, Reznikoffian filial epiphanies, hot pants Skeltonic doggerel, a Kerouackian New Year’s eve ditty, professional homework, New Jersey quatrains, scarecrow haiku, improvised dice roll for high school kids, English rock-and-roll sophistications, an old love glimpse, little German movies, old queen conclusions, a tender renaissance song, ode to hero-flop, Peace protest prophecies, Lower East Side snapshots, national flashed in the Buddhafields, Sapphic stanzas in quantitative idiom, look out at the bedroom window, feverish birdbrain verses from Eastern Europe for chanting with electric bands, Beethovinean ear strophes drowned in rain, a glance at Cloud Castle, poems 1977-1980 end with International new wave hit lyric Capitol Air"“Plutonian Ode” has the best of intentions . . . [I]t is perhaps the most complete package of political action from poem to protest." —Marc Olmstead, Sensitive Skin MagazineFamous Beat poet Allen Ginsberg was born June 3, 1926, the son of Naomi Ginsberg, Russian émigré, and Louis Ginsberg, lyric poet and school teacher, in Paterson, N.J. To these facts Ginsberg adds: "High school in Paterson till 17, Columbia College, merchant marine, Texas and Denver copyboy, Times Square, amigos in jail, dishwashing, book reviews, Mexico City, market research, Satori in Harlem, Yucatan and Chiapas 1954, West Coast 3 years. Later Arctic Sea trip, Tangier, Venice, Amsterdam, Paris, read at Oxford Harvard Columbia Chicago, quit, wrote "Kaddish" 1959, made tape to leave behind & fade in Orient awhile." His other famous poetry collections including The Fall of America, Howl, Mind Breaths, Plutonian Ode, and Reality Sandwiches are also published by City Lights Publishers.

    From the narratives of army life during World War Two to the domestic and familial scenes of his final book, this selection presents Jarrell's art at its best, comparable in power and variety to that of his contemporaries Robert Lowell and Elizabeth Bishop.

    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!

    

    He attended Harvard University where he published his first poems in magazines such as Harvard's Wake and Cid Corman's Origin. During the 1950s, after dropping out of Harvard, he taught at Black Mountain College in North Carolina and was an editor of its innovative literary journal, the Black Mountain Review. He received his B.A. from Black Mountain College in 1955. Robert Creeley was one of the originators of the "Black Mountain" school of poetry, along with Charles Olsen, Robert Duncan, and Denise Levertov. In 1962, he received his first widespread recognition with For Love: Poems 1950-1960 and he went on to teach at several universities across the country. In 1978 he was named David Gray Professor of Poetry and Letters at the State University of New York, and presently he is their Samuel P. Capen Professor of Poetry and the Humanities. Creeley has received many awards for his work including the Levinson prize, two Guggenheim fellowships, the Shelley Memorial Award and the Robert Frost Medal, both from the Poetry Society of America, and The American Awards for Echoes. He was elected to the American Academy and Institute of Arts and Letters in 1987 and received a Distinguished Fulbright Fellowship to serve as the Bicentennial chair in American Studies at the University of Helsinki, Finland, for 1988-89, and another Fulbright for the University of Auckland, New Zealand, in 1995. He served as New York State Poet from 1989-1991. In 1995 he was a winner of the Lila Wallace-Reader's Digest Writers' Award. His most recent poetry books are Memory Gardens (1986), Windows (1990), Echoes (1994), So There: Poems 1976-83 (1998), and Life & Death (1998), all published by New Directions.

    Including Epigrams, Letters to Susan Gilbert, and her Black Cake Recipe. Edited by Robert John Mestre

     As she contemplates the pleasure of artistic labor, finding solace and safety within the woods, and the joyful and rhythmic beating of wings, Oliver intimately shares with her readers her quiet discoveries, boundless curiosity, and exuberance for the grandeur of our world. This radiant collection of her work, with some pieces published here for the first time, reaffirms Oliver as a passionate and prolific observer whose thoughtful meditations on spiders, writing a poem, blue fin tuna, and Ralph Waldo Emerson inspire us all to discover wonder and awe in life's smallest corners.

    R. Ammons’s long, thin poem was written on a roll of adding-machine tape, then transferred foot by foot to manuscript. He chose this method as a serious experiment in making a poem adapt to something outside itself. The tape determined both the length of the poem’s lines and when it ends. Tape for the Turn of the Year is a poem of infinite variety, blessed by the rich resources of one of this century’s greatest poets. By turns witty, serious, lyrical, and meditative, it is at once a superbly entertaining book and a significant literary achievement.

    Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

    frequently anthologized poem

    He begins with a group of light but haunting fables, populated by figures like the King, a tiny creature in ermine who has lost his desire to rule, and by the poet’s own alter ego, who recounts the fetching mystery of the title poem: “I sat on the porch having a smoke / when out of the blue a man and a camel / happened by.” The poet has Arctic adventures and encounters with the bearded figure of Death; in his controlled tone, he creates his bold visions and shows us, like a magician, how they vanish in a blink. Gradually, his fancies give way to powerful scenes of loss, as in “The Mirror,” where the face of a beautiful woman stares past him into a place I could only imagine . . . as if just then I were steppingfrom the depths of the mirror into that white room, breathless and eager,only to discover too latethat she is not there.Man and Camel concludes with a small masterpiece of meditations crafted around the Seven Last Words of Christ. Here, this secular poet finds resonance in the bedrock of Christ’s language, the actual words that have governed so many generations of thought and belief. As always with Mark Strand, the discovery of meaning in the sound of language itself is an act of faith that enlightens us and carries us beyond the bounds of the rational.

    Drawing upon everyday incidents, common situations and rural imagery, Frost fashioned poetry of great lyrical beauty and potent symbolism. Originally published in 1916 under the title Mountain Interval.