Philip Levine's New Selected Poems (1984) by adding to it a generous choice of major from each of the two volumes that followed it: Sweet Will (1985) and A Walk With Tom Jefferson (1988).

    Here are poems from Hughes's first book, The Hawk in the Rain, and its successor, Lupercal, which introduced him as a major poet; from Wodwo, Crow and Gaudete, book-length poetic sequences in which the natural world is made into a thrilling and terror-filled analogue to our human one; and from six volumes of his maturity, here arranged thematically, in which the poet is at once rural chronicler and form-breaking modern artist. This volume also includes previously uncollected poems and eight poems later incorporated into Birthday Letters, Hughes's meditation in verse on his marriage to Sylvia Plath, which became an international bestseller the year after his death.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    In the privacy of their homes, who can save them from themselves? In the forests and hills and on the beautiful lakes, what could possibly be wrong? Even in the sweet hometown, with its kindly police, menace lurks in a thousand disguises. Mystery and magic surround this metropolis of the imagination. Once again, James Tate has given us a world of surprising pleasures:... lost in the interstellar space between teacups in the cupboard, found in the beak of a downy woodpecker, the lovers staring into the void and then jumping over it, flying into their beautiful tomorrows like the heroes of a storm.

    It is curious that a reprint could be heroic. It is more curious that a book this good could go out of print so quickly. And it is most curious that an introduction would even be required for a novel that, if you examine it carefully in the right kind oflight, might actually be seen to be steaming. MOTORMAN is a central work, pulsing with mythology, created by a craftsman of language who was seemingly channeling the history of narrative when he wrote it. It is a book about the future that comes from the past, and we are caught in its amazing middle. To read MOTORMAN now is to encouter proof that a book can be both emotional and eccentric, smeared with humanity and artistically ambitious, messy with grief and dazzling with spectacle--Ben Marcus, from his introduction.

    H. Auden (1907-73) came to prominence in the 1930s among a generation of outspoken poets that included his friends Louis MacNeice, Stephen Spender and C. Day Lewis. But he was also an intimate and lyrical poet of great originality, and a master craftsman of some of the most cherished and influential poems of the past century.Other volumes in this series: Betjemen, Eliot, Plath, Hughes and Yeats.

    Tap Out, Edgar Kunz’s debut collection, reckons with his working‑poor heritage. Within are poignant, troubling portraits of blue‑collar lives, mental health in contemporary America, and what is conveyed and passed on through touch and words―violent, or simply absent.   Yet Kunz’s verses are unsentimental, visceral, sprawling between oxys and Bitcoin, crossing the country restlessly. They grapple with the shame and guilt of choosing to leave the culture Kunz was born and raised in, the identity crises caused by class mobility. They pull the reader close, alternating fierce whispers and proud shouts about what working hands are capable of and the different ways a mind and body can leave a life they can no longer endure. This hungry new voice asks: after you make the choice to leave, what is left behind, what can you make of it, and at what cost?

    Felt—a fabric made of tangled fibers—becomes a metaphor for the interweavings of humans, animals, and planet. But Felt is also the past tense of "feel." This is a book of emotions both ordinary and untoward: the shadings of humiliation, obsession, love, and loneliness—as well as states so subtle they have yet to be named. Reticent and passionate, elliptical yet available, Fulton's poems consider flaws and failure, touching and not touching. They are fascinated with proximity: the painter's closeness to the canvas, the human kinship with animals, the fan's nearness to the star. Privacy, the opening and closing of doors, is at the heart of these poems that sing the forms of solitude-the meanings and feelings of virginity, the single-mindedness of fetishism, the tragedy of suicide. Rather than accept the world as given, Fulton encounters invisible assumptions with magnitude and grace. Hers is a poetry of inconvenient knowledge, in which the surprises of enlightenment can be cruel as well as kind. Felt, a deeply imagined work, at once visceral and cerebral, illuminates the possibilities of twenty-first century poetry.

    It is, to begin with, a book which gives prominence to poems rather than to the poets who wrote them. It is truly international, bringing together poems not just from these islands but from many parts of the English-speaking world. It is the first book to identify a strain in the poetry of the last half-century which is characteristic of the 'strange times' we live in - an age when, as the editors note, scientific discovery itself has encouraged us to 'make free with the boundaries of realism'. It values imagination, surprise, vivid expression, the outlandish and the playful above ideology and sententiousness. It is, in short, living proof that poetry in the English language continues to thrive and to matter.

    This omnibus collection includes all of the author’s early poetry as well as the Four Quartets, Old Possum’s Book of Practical Cats, and the plays Murder in the Cathedral, The Family Reunion, and The Cocktail Party.

    Sons of a desert dwelling alcoholic and a suburban wanderer clash over a film script. Austin, the achiever, is working on a script he has sold to producer Sal Kimmer when Lee, a demented petty thief, drops in. He pitches his own idea for a movie to Kimmer, who then wants Austin to junk his bleak, modern love story and write Lee's trashy Western tale.

    At once dramatic and witty, his poems lay bare the loneliness and despair of life in genteel small towns ("Tilbury Down" and "The Mill"), the tyranny of love ("Eros Turrannos" and "The Unforgiven"), and unspoken, unnoticed suffering ("The Wandering Jew", and "Isaac and Archibald"). In addition, the fictional characters he created in "Reuben Bright", "Miniver Cheevy", "Richard Cory", and the historical figures he brought to life -- Lincoln in "The Master" and the great painter in "Rembrandt to Rembrandt" -- harbor demons and passions the world treats with indifference or cruelty. With an Introduction that sheds light on Robinson's influence on poets from Eliot and Pound to Frost and Berryman, this collection brings an unjustly neglected poet to new readers.

    But Poe is also the author of some of the most haunting poetry ever written--poems of love, death and loneliness that have lost none of their power to enthrall in this unique Signet Classic edition.

    These works speak across centuries, beginning with Chaucer's resourceful inventions and moving through Shakespeare's masterpieces, John Donne's complex originality, and Alexander Pope's mordant satires. The anthology also features perennial favorites such as William Blake, William Wordsworth, and John Keats; Emily Dickinson's prisms of profundity; the ironies of Wallace Stevens and T.S. Eliot; and the passion of Sylvia Plath and Allen Ginsberg. These 500 poems are verses that readers either know already or will want to know, encapsulating the visceral power of truly great literature. William Harmon provides illuminating commentary to each work and a rich introduction that ties the entire collection together.

    . . a contemporary genius with the language itself . . . There is simply no contemporary poet like him.” —David Baker, The Kenyon Review Albert Goldbarth has created an unmistakable signature style—learned, copious, hilarious, and heartbreaking—which has so far spanned an award-winning career of thirty-five years. The Kitchen Sink brings together forty new poems with a rich selection of earlier poetry, ranging from the brief, flickering lyric to the long, narrative sequence. In both forms, Goldbarth exerts a wild showmanship and an ever-widening scope to illustrate the complex character and interconnectedness of humanity, history, and art. The Kitchen Sink is the definitive book by one of America’s most original and entertaining poets.