Mandelbaum’s astonishingly Dantean translation, which captures so much of the life of the original, renders whole for us the masterpiece of that genius whom our greatest poets have recognized as a central model for all poets.
This Everyman’s edition–containing in one volume all three cantos, Inferno, Purgatorio, and Paradiso–includes an introduction by Nobel Prize—winning poet Eugenio Montale, a chronology, notes, and a bibliography. Also included are forty-two drawings selected from Botticelli's marvelous late-fifteenth-century series of illustrations.
(Book Jacket Status: Jacketed)
The Divine Comedydescribes Dante's descent into Hell with Virgil as a guide; his ascent of Mount Purgatory and encounter with his dead love, Beatrice; and finally, his arrival in Heaven. Examining questions of faith, desire and enlightenment, the poem is a brilliantly nuanced and moving allegory of human redemption.
'The perfect balance of tightness and colloquialism... likely to be the best modern version of Dante' - Bernard O'Donoghue
'The most moving lines literature has achieved' - Jorge Luis Borges
'This version is the first to bring together poetry and scholarship in the very body of the translation - a deeply-informed version of Dante that is also a pleasure to read' - Professor David Wallace, University of Pennsylvania
Individual editions of Robin Kirkpatrick's translation - Inferno, Purgatorio and Paradiso - are also available in Penguin Classics, and include Dante's Italian printed alongside the English text.
Dante Alighieri was born in Florence in 1265 and belonged to a noble but impoverished family. His life was divided by political duties and poetry, the most of famous of which was inspired by his meeting with Bice Portinari, whom he called Beatrice, including La Vita Nuova and The Divine Comedy. He died in Ravenna in 1321.
Robin Kirkpatrick is a poet and widely-published Dante scholar. He has taught courses on Dante's Divine Comedy in Hong Kong, Dublin, and Cambridge where is Fellow of Robinson College and Professor of Italian and English Literatures.
From the Trade Paperback edition.
La figura de Federico García Lorca abarca, tanto en España como en el exterior, mucho más que su literatura. Su poesía, traducida a infinidad de lenguas, recorre paisajes, hurga en tradiciones y denuncia injusticias con la maestría de un escritor quien utilizó la pluma como pocos, y sus libros continúan leyéndose sin atender al paso del tiempo ni a las arbitrariedades de la moda. En esta deslumbrante colección, el lector podrá recorrer el tramo completo de su obra poética: empezando con el joven Lorca en Libro de poemas, las Canciones y el Juego y teoría del duende y pasando por clásicos lorquianos como Romancero gitano, Poema del cante jondo o el impresionante poemario Poeta en Nueva York, así como Tierra y luna, Sonetos y el Llanto por Ignacio Sánchez Mejías, entre otros muchos. La edición y los prólogos otorgan al lector las herramientas necesarias para comprender y contextualizar al personaje, para acercarse a la complejidad de su obra y para disfrutar, en un sólo volumen, de uno de los autores españoles más relevantes del siglo XX.
“Linguistically acrobatic [and] beautifully crafted. . . [Jamaal May's] poems, exquisitely balanced by a sharp intelligence mixed with earnestness, makes his debut a marvel.” —Publishers Weekly
“The elegant and laconic intelligence in these poems, their skepticism and bent humor and deliberately anti-Romantic stance toward experience are completely refreshing. After so much contemporary writing that seems all flash, no mind and no heart, these poems show how close observation of the world and a gift for plain-spoken, but eloquent speech, can give to poetry both dignity and largeness of purpose, and do it in an idiom that is pitch perfect to emotional nuance and fine intellectual distinctions. Hard-headed and tough-minded, Hum is the epitome of what Frost meant by ‘a fresh look and a fresh listen.’” —Tom Sleigh
"Jamaal May’s debut collection, Hum, is concerned with what’s beneath the surfaces of things—the unseen that eats away at us or does the work of sustaining us. Reading these poems, I was reminded of Ellison’s ‘lower frequencies,’ a voice speaking for us all. May has a fine ear, acutely attuned to the sonic textures of everyday experience. And Hum—a meditation on the machinery of living, an extended ode to sound and silence—is a compelling debut.” —Natasha Trethewey
"In his percussive debut collection Hum, Jamaal May offers a salve for our phobias and restores the sublime to the urban landscape. Whether you need a friend to confide in, a healer to go to, or a tour guide to take you there, look no further. That low hum you hear are these poems, emanating both wisdom and swagger.” —A. Van Jordan
From "Mechanophobia: Fear of Machines":
There is no work left for the husks.
Automated welders like us,
your line replacements, can't expect
sympathy after our bright
arms of cable rust over. So come
collect us for scrap, grind us up
in the mouth of one of us.
Let your hand pry at the access
panel with the edge of a knife,
silencing the motor and thrum.
Jamaal May is a poet, editor, and filmmaker from Detroit, MI where he taught poetry in public schools and worked as a freelance audio engineer and touring performer. His poetry won the 2013 Indiana Review Poetry Prize and appears in journals such as Poetry, Ploughshares, The Believer, NER, and The Kenyon Review. Jamaal has earned an MFA from Warren Wilson College as well as fellowships from Cave Canem and The Stadler Center for Poetry at Bucknell University. He founded the Organic Weapon Arts Chapbook Press.
"Jones is the kind of writer who’s more than wanted: he’s desperately needed."—FlavorWire
"I get shout-happy when I read these poems; they are the gospel; they are the good news of the sustaining power of imagination, tenderness, and outright joy."—D. A. Powell
“Prelude to Bruise works its tempestuous mojo just under the skin, wreaking a sweet havoc and rearranging the pulse. These poems don't dole out mercy. Mr. Jones undoubtedly dipped his pen in fierce before crafting these stanzas that rock like backslap. Straighten your skirt, children. The doors of the church are open.”—Patricia Smith
“It’s a big book, a major book. A game-changer. Dazzling, brutal, real. Not just brilliant, caustic, and impassioned but a work that brings history—in which the personal and political are inter-constitutive—to the immediate moment. Jones takes a reader deep into lived experience, into a charged world divided among unstable yet entrenched lines: racial, gendered, political, sexual, familial. Here we absorb each quiet resistance, each whoop of joy, a knowledge of violence and of desire, an unbearable ache/loss/yearning. This is not just a “new voice” but a new song, a new way of singing, a new music made of deep grief’s wildfire, of burning intelligence and of all-feeling heart, scorched and seared. In a poem, Jones says, “Boy’s body is a song only he can hear.” But now that we have this book, we can all hear it. And it’s unforgettable.”—Brenda Shaughnessy
“Inside each hunger, each desire, speaks the voice of a boy that admits ‘I’ve always wanted to be dangerous.’ This is not a threat but a promise to break away from the affliction of silence, to make audible the stories that trouble the dimensions of masculinity and discomfort the polite conversations about race. With impressive grace, Saeed Jones situates the queer black body at the center, where his visibility and vulnerability nurture emotional strength and the irrepressible energy to claim those spaces that were once denied or withheld from him. Prelude to a Bruise is a daring debut.”—Rigoberto González
From "Sleeping Arrangement":
Take your hand out
from under my pillow.
And take your sheets with you.
Drag them under. Make pretend ghosts.
I can't have you rattling the bed springs
so keep still, keep quiet.
Mistake yourself for shadows.
Learn the lullabies of lint.
Saeed Jones works as the editor of BuzzfeedLGBT.
Whoever you are,
However you got here,
This is exactly where you are supposed to be.
This moment has waited its whole life for you.
These are the opening lines of "Today Means Amen," YouTube star Sierra deMulder’s immensely powerful and virally popular poem, which lends its title to this collection. Like her fellow Millennial poets Tyler Knot Gregson, Clementine von Radics, and Lang Leav, Sierra has the gift of speaking directly to the reader. “Today Means Amen” has become an anthem of sorts to thousands, who find themselves reflected in its pain, its fierceness, its tenderness — but also in its triumphant culminating refrain:
You made it
You made it
You made it
The poems in Sierra's new book explore the rocky terrains of love, family, and womanhood with this same remarkable honesty and generosity. Today Means Amen brings this important young poet's work to an even broader audience.
It was in Smoke From This Altar that L'Amour first gave public voice to his now-celebrated spirit of wanderlust. Like the short stories in his classic, million-copy-selling Yondering, and his best-selling memoir Education of a Wandering Man, the poems in this book are inspired by his experiences and memories of his journeys across oceans and continents. It is vintage L'Amour storytelling--in verse--about nature, the land, and the people who loved and braved it.
Smoke From This Altar begins with a newly written introduction by his wife Kathy in which she discusses the special place this work has held in the L'Amours' lives. In concludes with twenty previously uncollected L'Amour poems selected by his family.
Impassioned, adventurous, heroic, and humorous, Smoke From This Altar is unique L'Amour writing, to be read and enjoyed again and again.
From the Hardcover edition.
“The definitive translation for our time.”
From Dante’s Inferno to Sartre’s No Exit, writers have been fascinated by visions of damnation. Within that rich literature of suffering, Arthur Rimbaud’s A Season in Hell–written when the poet was nineteen–provides an astonishing example of the grapple with self.
As a companion to Rimbaud’s journey, readers could have no better guide than Wyatt Mason. One of our most talented young translators and critics, Mason’s new version of A Season in Hell renders the music and mystery of Rimbaud’s tale of Hell on Earth with exceptional finesse and power.
This bilingual edition includes maps, a helpful chronology of Rimbaud’s life, and the unfinished suite of prose poems, Illuminations. With A Season in Hell, they cement Rimbaud’s reputation as one of the foremost, and most influential, writers in French literature.
From the Trade Paperback edition.
emergence of purpose in our lives. But less well-known is the journey that shaped his vision as a teacher
that began in 1987 when he was diagnosed with cancer. The revelations during that time would inform
every dimension of his work to follow.
With Inside the Miracle, Mark Nepo shares what he discovered along this challenging terrain, and the
insights most essential to those of us who now find ourselves there. The lessons and stories here are for
all of us, ill or not, when the inevitable question arises: How do we move through an overwhelming
crisis—whether from physical illness, grief, or a major life change—into the rest of our lives?
This offering presents in its entirety Nepo's 1994 literary gem Acre of Light, written shortly after his
recovery. Here, he expands and enriches its themes with new poems, essays, and teachings gathered in the
decades since. Throughout, Mark includes compelling questions and exercises from his popular
workshops, to invite us to personalize the experience.
What emerges is a reading companion to be explored in many ways: as a memoir, as a “survival kit” of
wisdom and verse that helped Mark during his own journey, and as a conversation to spark our own
contemplation, journaling, and discovery.
“To live in wonder on the other side of suffering and disappointment,” reflects Mark Nepo, “is to know how
magnificent and fragile it is to be here at all.” Inside the Miracle calls us to leap into our lives with
tenderness and courage, so we can fully inhabit the miraculous moments that await us.
Today, this masterful collection remains not only a seminal event in American literature but also the incomparable achievement of one of America’s greatest poets—an exuberant, passionate man who loved his country and wrote of it as no other has ever done. Walt Whitman was a singer, thinker, visionary, and citizen extraordinaire. Thoreau called Whitman “probably the greatest democrat that ever lived,” and Emerson judged Leaves of Grass as “the most extraordinary piece of wit and wisdom America has yet contributed.”
The text presented here is that of the “Deathbed” or ninth edition of Leaves of Grass, published in 1892. The content and grouping of poems is the version authorized by Whitman himself for the final and complete edition of his masterpiece.
With a foreword by Billy Collins, an afterword by Peter Davison, and a new introduction by Elisabeth Panttaja Brink
Gathered here is a half century’s magnificent work by the former poet laureate of the United States and Pulitzer Prize winner whose haunting and exemplary style has influenced an entire generation of American poets.
Beginning with the limited-edition volume Sleeping with One Eye Open, published in 1964, Mark Strand was hailed as a poet of piercing originality and elegance, and in the ensuing decades he has not swerved from his vision of how a poem should be shaped and what it should deliver. As he entered the middle period of his career, with volumes such as The Continuous Life (1990), Strand was already well-known for his ability to capture the subtle music of consciousness, and for creating painterly physical landscapes that could answer to the inner self: “And here the dark infinitive to feel, / Which would endure and have the earth be still / And the star-strewn night pour down the mountains / Into the hissing fields and silent towns.” In his later work, from Blizzard of One (1998) which won the Pulitzer Prize, through the sly, provocative riddles of his recent Almost Invisible (2012), Strand has delighted in reminding us that there is no poet quite like him for a dose of dark wit that turns out to be deep wisdom and self-deprecation. He has given voice to our collective imagination with a grandeur and comic honesty worthy of his great Knopf forebear Wallace Stevens. With this volume, we celebrate his canonical work.
From the Hardcover edition.
Although the consciousness of death is, in most cultures, very much a part of life, this is perhaps nowhere more true than in Japan, where the approach of death has given rise to a centuries-old tradition of writing jisei, or the "death poem." Such a poem is often written in the very last moments of the poet's life.
Hundreds of Japanese death poems, many with a commentary describing the circumstances of the poet's death, have been translated into English here, the great majority of them for the first time. Yoel Hoffmann explores the attitudes and customs surrounding death in historical and present-day Japan, and gives examples of how these have been reflected in the nation's literature in general. The development of writing jisei is then examined—from the poems of longing of the early nobility and the more "masculine" verses of the samurai to the satirical death poems of later centuries.
Zen Buddhist ideas about death are also described as a preface to the collection of Chinese death poems by Zen monks that are also included. Finally, the last section contains three hundred twenty haiku, some of which have never been assembled before, in English translation and romanized in Japanese.
From "The World of Us":
Don't go around all day
thinking about life—
doing so will raise a barrier
between you and its instants.
You need those instants
so you can be in them,
and I need you to be in them with me
for I think the world of us
and the mysterious barricades
that make it possible.
In Tyrannosaurus Rex Versus the Corduroy Kid, we meet a writer who speaks naturally, and with frankness and restraint, for his culture. Armitage witnesses the pathos of women at work in the mock-Tudor Merrie England coffeehouses and gives us a backstage take on the world of Oliver Twist and the Artful Dodger. He makes a gift to the reader of the sympathy and misery and grit buried in his nation’s collective consciousness: in the distant battle depicted in the Bayeux Tapestry and in the daily lives and petty crimes of ordinary people. In poems that are sometimes lyrical, sometimes brash and comic, and full of living voices, the extraordinary and the mythic grow out of the ordinary, and figures of diminishment and tragedy shine forth as mysterious, uncelebrated exemplars. Armitage tells us ruefully that “the future was a beautiful place, once,” and with a steady eye out for the odd mystery or joyous scrap of experience, examines our complex present instead.
AFTER THE HURRICANE
Some storm that was, to shoulder-charge the wall
in my old man’s back yard and knock it flat.
But the greenhouse is sound, the chapel of glass
we glazed one morning. We glazed with morning.
And so is the hut. And so is the shed.
We sit in the ruins and drink. He smokes.
Back when, we would have built that wall again.
But today it’s enough to drink and smoke
amongst mortar and bricks, here at the empire’s end.
From the Hardcover edition.
"The Moon" has been selected as one of Vancouver Poetry House's 10 Best Poems of 2015
"This poem, translated from the original Spanish, unfolds as a litany of the many ways the moon has been described. One long, complex sentence links all the previous iterations, while a second, much shorter sentence isolates the image of yet another moon. The prose-poem form seems to contain the patch of night sky from which that new apprehension--the moon reflected in the vision of a solitary witness, the poem's speaker--arrives."
--New York Times Magazine, Featured Poem, "The Moon"
"The poems are thoughtful and intelligent, frequently referencing mythology, literature, architecture; they require time to ponder, read, and re-read....Reflective souls will find much that resonates here."
--San Diego Book Review
"It is not hard to see why this collection won the Paz Prize for Poetry. Pintado seems a worthy successor to Octavio Paz, whose own poems owe so much to surrealism and the world of dreams."
--Midst of Things
"Cuban-American Pintado, recipient of the Paz Prize for Poetry, meditates on myths, legends, labyrinths, and the relationships between love, fears, and dreams in this bilingual collection."
--Publishers Weekly, Fall 2015 Announcements
"Translator Hilary Vaughn Dobel does an excellent job of reproducing Pintado’s tone and diction; her translation stands confidently on its own, without hewing any more closely than necessary to the original. While much of the poetry in Nueve monedas does rhyme in Spanish, Vaughn Dobel has not sought to reproduce that rhyme in English, the right decision in this case because of how Pintado uses rhyme in his own work, more often to end enjambed lines than not, a subtle use more suggestive of English-language New Formalists than the more baroque Spanish-language poets of midcentury."
--World Literature Today
"The urgency and presence in Pintado's poems feel as if the poet's very life depended on writing them. They are possessed by a unique, intangible quality that arrests the reader and commands attention. His work is intimate yet boundless, moving easily between form and free verse, prose poems and long poems, whether capturing the everyday streets of Miami Beach or leading us into the mythic and mystical worlds of his imagination."
--Richard Blanco, author of The Prince of Los Cocuyos: A Miami Childhood
Translated by Hilary Vaughn Dobel.
Nine Coins/Nueve monedas is a palimpsest of love, fears, dreams, and the intimate landscapes where the author seeks refuge. These poems appear like small islands of salvation, covered with the brief splendor of the coins people sometimes grab hold of, taking the form of a very personal and often devastating map. Each poem is a song at the edge of an abyss; an illusory gold coin obtained as a revelation; a song of hope and understanding. The volume's dreamlike geography prompts the reader to revisit the thread, the labyrinth, and the Minotaur’s legends. The night streets of South Beach, Alexandria, and many other cities, lit by the fading torches, seem to guide us in conversation with characters who are long dead.
The Paz Prize for Poetry is presented by the National Poetry Series and The Center at Miami Dade College. This annual award--named in the spirit of the late Nobel Prize-winning poet, Octavio Paz--honors a previously unpublished book of poetry written originally in Spanish by an American resident. An open competition is held each May, when an esteemed Spanish-speaking poet selects a winning manuscript. The book will be published in a bilingual edition by Akashic Books. The winning poet will also receive a $2,000 cash prize.
Poems by Robert FrostA Boy’s Will and North of Boston
The publication of A Boy’s Will (1913) and North of Boston (1914) marked the debut of Robert Frost as a major talent and established him as the true poetic voice of New England. Four of his volumes would win the Pulitzer Prize before his death in 1963, and his body of work has since become an integral part of the American national heritage.
This is the only edition to present these two classics in their original form. A Boy’s Will introduced readers to Frost’s unmistakable poetic voice, and in North of Boston, we find two of his most famous poems, “Mending Wall” and “The Death of the Hired Man.” With an introduction by distinguished critic and Amherst professor William H. Pritchard and an afterword by poet and critic Peter Davison, this centennial edition stands as a complete and vital introduction to the work of the quintessential modern American poet.
Introduction by William H. Pritchard
Afterword by Peter Davison
Some of the most important and exciting Mapuche poets are gathered here. Providing versions of each poem in Mapudungun, Spanish and English, Poetry of the Earth demonstrates how Mapuche poetry is so much more than just a collection of poems, or an act of writing. Rather, it is an expression of a long, rich and dynamic history, which at different times and places has made use of many kinds of musical, literary and linguistic forms.
As the poems are often operatic in their scope and register, the anthology as a whole is also a sophisticated ensemble of languages, cultures, critics and poets. Translations by Mapuche and Settler Chileans meet the translations of Chileans and Australians on the other side of the Pacific Ocean. Then, Aboriginal, Mapuche and Settler scholars provide extremely useful introductory essays.
Poetry of the Earth is a remarkable example of Australian-Chilean resonance, and of the shared history of European colonisation of indigenous peoples around the world. This is not just an anthology of poetry from a distant land and language; it’s an illustration of a vital, trans-Pacific force.
- Stuart Cooke, Griffith University
National Book Award finalist, Iraq war veteran, novelist and poet Kevin Powers creates a deeply affecting portrait of a life shaped by war. Letter Composed During a Lull in the Fighting captures the many moments that comprise a soldier's life: driving down the Texas highway; waiting for the unknown in the dry Iraq heat; writing a love letter; listening to a mother recount her dreams. Written with evocative language and discernment, Powers's poetry strives to make sense of the war and its echoes through human experience.
Just as The Yellow Birds was hailed as the "first literary masterpiece produced by the Iraq war," this collection will make its mark as a powerful, enduring work (Los Angeles Times).
The majority of the poems are written in English, although it’s possible to find also poems in other languages, such as Spanish, Portuguese, French and Latin. But, sometimes, some of these languages were mixed in the same poem, meaning that it can be better expressed according to the pronunciation of each of these languages.
The poems have been written as if the author was talking with his lover, what allows the reader to follow a very complete interpretation of the emotions while imagining the proper scenery for them.
At the centre of The Lusiads is Vasco da Gama's pioneer voyage via southern Africa to India in 1497-98. The first European artist to cross the equator, Camoes's narrative reflects the novelty and fascination of that original encounter with Africa, India and the Far East. The poem's twin symbols are the Cross and the Astrolabe, and its celebration of a turning point in mankind's knowledge of the world unites the old map of the heavens with the newly discovered terrain on earth. Yet it speaks powerfully, too, of the precariousness of power, and of the rise and decline of nationhood, threatened not only from without by enemies, but from within by loss of integrity and vision.
For one hundred years, Robert Frost’s “The Road Not Taken” has enchanted and challenged readers with its deceptively simple premise—a person reaches a fork in the road, facing a choice full of doubt and possibility. The Road Not Taken and Other Poems presents Frost’s best-loved poem along with other works from his brilliant early years, including such poems as “After Apple-Picking,” “The Oven Bird,” and “Mending Wall.” Award-winning poet and critic David Orr’s introduction discusses why Frost remains so central (if often misunderstood) in American culture and how the beautiful intricacy of his poetry keeps inviting generation after generation to search for meaning in his work.
For more than sixty-five years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,500 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
From the Trade Paperback edition.
In these characteristically bold and nuanced poems, Gilbert looks back at the passions of a life—the women, and his memories of all the stages of love; the places (Paris, Greece, Pittsburgh); the mysterious and lonely offices of poetry itself. We get illuminating glimpses of the poet’s background and childhood, in poems like “Going Home” (his mother the daughter of sharecroppers, his father the black sheep in a family of rich Virginia merchants) and “Summer at Blue Creek, North Carolina,” a classic scene of pulling water from the well, sounding the depths.
The title of the collection is drawn from the startling “Ovid in Tears,” in which the poet figure has fallen and is carried out, muttering faintly: “White stone in the white sunlight . . . Both the melody / and the symphony. The imperfect dancing / in the beautiful dance. The dance most of all.” Gilbert reminds us that there is beauty to be celebrated in the imperfect—“a worth / to the unshapely our sweet mind founders on”—and at the same time there is “the harrowing by mortality.” Yet, without fail, he embraces the state of grief and loss as part of the dance.
The culmination of a career spanning more than half a century of American poetry, The Dance Most of All is a book to celebrate and to read again and again.
From the Hardcover edition.
Never has there been a book of poems quite like Gabriel, in which a short life, a bewildering death, and the unanswerable sorrow of a father come together in such a sustained elegy. This unabashed sequence speaks directly from Hirsch’s heart to our own, without sentimentality. From its opening lines—“The funeral director opened the coffin / And there he was alone / From the waist up”—Hirsch’s account is poignantly direct and open to the strange vicissitudes and tricks of grief. In propulsive three-line stanzas, he tells the story of how a once unstoppable child, who suffered from various developmental disorders, turned into an irreverent young adult, funny, rebellious, impulsive. Hirsch mixes his tale of Gabriel with the stories of other poets through the centuries who have also lost children, and expresses his feelings through theirs. His landmark poem enters the broad stream of human grief and raises in us the strange hope, even consolation, that we find in the writer’s act of witnessing and transformation. It will be read and reread.
From the Hardcover edition.
In 1917, "Renascence" was incorporated into her first volume of poetry, which is reprinted here, complete and unabridged, from the original edition. The 23 works in this first volume are fired with the romantic and independent spirit of youth that Edna St. Vincent Millay came to personify. In addition to "Renascence," this volume includes 16 other early lyric poems — "Interim," "Sorrow," "Ashes of Life," "Three Songs of Shattering," "The Dream," "When the Year Grows Old," and others, including six sonnets, to which Millay brought great distinction throughout her career.
The poems were written in the order that they are presented, allowing to see a cycle of interrelated dynamics in which the author is sometimes one of the characters and, in others, an observer.
Within a posture of humility and simplicity, the poems reflect various perspectives, namely, the darkest stages of a romance. It’s another poetic work in response to the success of other writings by the same author.
These works include the familiar words of famous poets as well as unforgettable verses by lesser-known writers. Selections range from Psalm 23 of the King James Bible to Henley's "Invictus," and Stevenson's "Requiem"; from Quarles's "A Good-Night" to Pope's "The Dying Christian to His Soul," Bryant's "Thanatopsis," and Tennyson's "Crossing the Bar"; from Emily Dickinson's "Because I Could Not Stop for Death" to Housman's "To an Athlete Dying Young" and Dylan Thomas's powerful poem to his dying father, "Do Not Go Gentle Into That Good Night." Other featured poets include Shakespeare, Raleigh, Jonson, Shelley, Wordsworth, Longfellow, Browning, Whitman, Swinburne, Kipling, Frost, Millay, Dunbar, and Auden.
This volume will be a consolation for anyone who has suffered loss; it also offers a rich treasury of moving and reflective verse, sure to appeal to any lover of fine English and American poetry.
Things are incidental
Someone is weeping
I weep for the incidental
The days are beautiful
Tomorrow was yesterday
The days are beautiful
Since the mid-1970s, Ann Lauterbach has explored the ways in which language simultaneously captures and forfeits our experience. In Hum, her seventh collection of poetry, loss and the unexpected (the title poem was written directly in response to witnessing the events of 9/11) play against the reassurances of repetition and narrative story. By turns elegant, fierce, and sensuous, her musically charged poems move from the pictorial or imagistic to a heightened sense of the aural or musical in order to depict the world humming with vibrations of every kind from every source—the world as a form of life.
Despair and hope are two emotions commonly voiced by poets in the Man'yoshu. Although written over thirteen hundred years ago, the poems retain a rare freshness, an originality that delights and fascinates even today.
Part of the collection's originality is due to its variety of authors, from members of the aristocracy to commoners from the lowest ranks. The poems cover a wide range of content and expression, from court poets' highly polished verses to anonymous poems that read like folk songs. Poems about love are common but the treatment of love varies from anguished pinning to wondrous celebration to bitter denunciation. What the various Man'yo poems do have in common is emotional fire, amazing candor, and eloquent expression of feeling not found in later Japanese poetry. It is these characteristics that have earned the Man'yoshu a constant and devoted readership over the centuries.
This selection includes 55 of the 68 poems that comprised Lorca's 1921 Libro de poemas, all of them in their entirety and in their original sequence. Imbued with the spirit and folklore of the poet's native Andalusia, these verses feature the most complex spiritual content of any of Lorca's works. Editor Stanley Appelbaum provides sensitive, accurate English translations on the pages facing the original Spanish, as well as an informative introduction to the author's life and oeuvre, plus notes on the individual poems. An outstanding resource for students and teachers of Spanish language and literature, this compilation will enchant any lover of poetry.
"It is, in my opinion, one of the greatest poems in the language. The Earth Gods is, perhaps, a book for the mystic, a poet's book for poets, for the initiate and the dreamer of vast dreams. Yet I have known those who pride themselves on being highly practical and feet-on-the-ground, who disown any bent toward the mystical and the occult, to pronounce it a book of wonder and power. And as a child of seven to whom I read portions of the poem on request, says unvaryingly, 'Read it again!' This, perhaps, for the music and the almost unearthly beauty of rhythm."
—Barbara Young, in This Man From Lebanon: A Study of Kahlil Gibran
Samuel Coleridge penned “Kubla Khan” after waking up from an opium-induced dream in which he experienced and imagined the realities of the great Mongol ruler’s capital city. Coleridge began writing what he remembered of his dream immediately upon waking from it, and intended to write two to three hundred lines. However, Coleridge was interrupted soon after and, his memory of the dream dimming, was ultimately unable to complete the poem.
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The poets Housden has chosen are Billy Collins, Hayden Carruth, Dorianne Laux, James Wright, Naomi Shihab Nye, and Mary Oliver from the United States, D. H. Lawrence and John Keats from England, Rainer Maria Rilke from Germany, Fleur Adcock from New Zealand, and Seng-Ts’an from sixth-century China. And yes, that adds up to eleven, not ten. Housden decided to include a bonus poem for his faithful readers in this, the final volume of the series. As before, Housden’s luminous essays provide an elegant and easy passage into the sometimes daunting world of poetry, enabling readers to feel that in him they have found a trusted guide and mentor.
From the Hardcover edition.
After four years abroad, Williams returned to the United States and found his head twirling with thoughts on race, class, gender, finance, freedom, guns, cooking shows, dog shows, superheroes, not-so-super politicians—everything that makes up our country. US(a.) is a collection of poems that embodies the spirit of a culture that questions sentiments and realities, embracing a cross-section of pop culture, hip-hop, and the greater world politic of the moment. Williams explores what social media may only hint at—times and realities have changed; there is a connect and a disconnect. We are wirelessly connected to a past and path to which we are chained. Saul Williams stops and frisks the moment, makes it empty its pockets, and chronicles what’s inside. Here is an extraordinary book that will find its place in the hands and minds of a new generation.
"A touching and enlightening collection of prose poems addressed to [Erlandson's] departed friend."
--The San Francisco Bay Guardian
"Erlandson finally comes to terms with his loss in 52 prose-poem letters ostensibly addressed to Cobain in which he straightforwardly confronts his inner demons while offering personal reflections on food, drug abuse, death, and self-sabotage."--Booklist
"The reverberations of Kurt's suicide last to this day, and have touched the lives of many. Dozens of people could have written their own version of this bracingly candid book; Eric Erlandson has written one, filled with rage and love, landmined with detail, that can stand for them all."
--Michael Azerrad, author of Come As You Are: The Story of Nirvana
"Eric was the spirit-boy in the Nirvana/Hole dynamic. Quiet, bemused, intelligent, and curiously intuitive to the power of hugging the devil, to say we will all be okay . . . Eric expresses how enchanting Kurt was, how the whole scene was, with his thoughtful, radical adult/prose love. Bring on the future, darling."--Thurston Moore, musician
"Eric. He was always there: supportive, observing, in the thick of it. Hidden in plain sight . . . Without him, I can't imagine Seattle or L.A. or a dozen other places. This book is beautiful, brutal, brief. Happy-sad eloquence. Boy Scouts playing with the complimentary cologne in the heart of the ghost town. Listen to the man. He knows."
--Everett True, author of Nirvana: The Biography
Letters to Kurt is an anguished, angry, and tender meditation on the octane and ether of rock and roll and its many moons: sex, drugs, suicide, fame, and rage. It's part Dream Songs, part Bukowski, Ferlinghetti, Ginsberg, and the Clash. Rants, reflections, and gunshot fill these fifty-two prose poems. They are raw, funny, sad, and searching. This will make a beautiful book for anyone who loved Nirvana and Hole and the time and place when their music changed everything. Ultimately, it's an elegy for Kurt and the "suicide idols" who tragically fail to find salvation in their amazing music.
This unique collection captures the fevered spirit of the transition from Romanticism to Modernism with authoritative interpretations of fifty-one poems from Flowers of Evil. In addition, fourteen prose poems from the posthumously published Paris Spleen offer poignant reflections on the city and its humbler denizens. Noted scholar Wallace Fowlie provides definitive translations of these verses.
In these poems, Miami is celebrated as a modern Tower of Babel and a place where the layers of history are particularly palpable. Wave after wave of conquerors wash across the Americas. A well-dressed Latino businessman inadvertently reveals his roots at the Ritz when someone steps on his foot, eliciting a profanity--in Spanish. Intimate snapshots capture the nameless heroism of homeless men, the exuberance of a child's affection for her hometown, and memories of lovers.
“El español y el inglés han estado en guerra desde que la Reina Isabel hundió la Armada Invencible en el 1588”, escribe Rosario Feré en “Duelo del lenguaje”, el poema que da t’tulo a esta colección; “los lenguajes llevan con sigo todo su fuego y poderío”. Ferré explora las tensiones entre lenguas y culturas a través de esta colección de carácter controversial, que señala muchos de los dilemas a los que se enfrenta hoy una América cada vez más bilingüe.
Estos poemas celebran tanto la antiquísima ciudad San Juan como las metrópolis más modernas: Miami, Nueva York, WDC. Pasado y presente, historia y sociedad se mezclan con una inmediatez sorprendente. Ola tras ola de conquistadores estalla sobre Norte América; un hombre de negocios bien vestido inesperadamente revela sus raíces cuando alguien le da un pisotón en el elevador del Ritz y suelta una maldición. Fotos instantáneas de los deambulantes que se desplazan por las calles de la capital, el cariño exuberante que siente un niño por su ciudad natal, los amantes cuya memoria perdura en el recuerdo, el rumor de la lluvia en el patio de atrás, que lava el remordimiento: he aquí algunos de los temas a la vez poéticos y cotidianos que se recogen en este libro.
From the Trade Paperback edition.