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Winner of the 1984 Lenore Marshall Poetry Prize. Originally published in 1983, Miles's Collected Poems received seven awards, including the Lenore Marshall/Nation Poetry Prize, and was one of three finalists for the 1983 Pulitzer Prize in Poetry. A striking consistency -- of tone, of diction, of purpose -- characterizes Miles's life work. It has been a life well spent. --Publisher's Weekly. Miles is a poet of the first rank whose work might well be compared to that of Williams or Moore ... Collected Poems is a treasury of poetic wit and human understanding that belongs in all poetry collections. --Library Journal. Miles's work is one of the finest and most solid bodies of poetry to be found in this country. --A.R. Ammons.
Reading Poetry offers a comprehensive and accessible guide to the art of reading poetry. Discussing more than 200 poems by more than 100 writers, ranging from ancient Greece and China to the twenty-first century, the book introduces readers to the skills and the critical and theoretical awareness that enable them to read poetry with enjoyment and insight. This third edition has been significantly updated in response to current developments in poetry and poetic criticism, and includes many new examples and exercises, new chapters on ‘world poetry’ and ‘eco-poetry’, and a greater emphasis throughout on American poetry, including the impact traditional Chinese poetry has had on modern American poetry. The seventeen carefully staged chapters constitute a complete apprenticeship in reading poetry, leading readers from specific features of form and figurative language to larger concerns with genre, intertextuality, Caribbean poetry, world poetry, and the role poetry can play in response to the ecological crisis. The workshop exercises at the end of each chapter, together with an extensive glossary of poetic and critical terms, and the number and range of poems analysed and discussed – 122 of which are quoted in full – make Reading Poetry suitable for individual study or as a comprehensive, self-contained textbook for university and college classes.
In his first book as the poet laureate of Illinois, Kevin Stein shoulders an array of poetic forms, blending pathos, humor, and social commentary. These poems--ranging from meditative narratives to improvisational lyrics--explore art's capacity to embody as well as express contemporary culture. Stein embraces subjects as various as his father's death, magazine sex surveys, Kandinsky's theory of art, the dangling modifier, Jimi Hendrix's flaming guitar, racial bigotry, and a teacher's comments on a botched poem. Presiding over this miscellany are ghosts of a peculiarly American garden of dreamers and beloved misfits, those redeemed and those left fingering the locked gate.
From movie making to medical misadventures, meditations on widowhood to feminist protestations, Expectation Days is a dazzling portrayal of instances in Sandra McPherson’s life. Her autobiographical collection uses peculiar and exact language to reflect on a wide range of activities that include grouse hunting, going through airport security after 9/11, and climbing a coastal cliff. From being an unintended child to ceremonializing a lifetime “served,” McPherson speaks in both clear and distressing voices from the state of speechless fear that is bereavement. Will the little figures ever reach the monument? A doctor orders me to be on watch. Will the mist pass over their cheeks and clear the strollers’ eyes? If so, I’ll see it. I’m on watch. I train my eyes on paintings to see if there is any change. --from “On Suicide Watch”
David Wagoner’s wide-ranging poetry buzzes and swells with life. Woods, streams, and fields fascinate him--he happily admits his devotion to Thoreau--but so do people and their habits, dear friends and family, the odd poet, and strangers who become even stranger when looked at closely. In this new collection, Wagoner catches the mixed feelings of a long drive, the sensations of walking against a current, the difficulty of writing poetry with noisily amorous neighbors, and many more uniquely familiar experiences.
By continually discovering what's new in each day without forgetting yesterday's surprises, David Wagoner has succeeded in constantly expanding his range in a career that spans more than fifty years. In Good Morning and Good Night, this range includes his usual rich forays into nature and personalities, and poetry for all ages, young and old, amidst a vivid array of memories and explorations. Readers will find homages to the poets that have inspired him, as well as the bountiful lyricism that has made Wagoner's poetry one of our most enduring sources of delight and joy. Good Morning and Good Night features poems previously published in American Poetry Review, The American Scholar, Atlantic Monthly, Hudson Review, The Kenyon Review, New Letters, The New Republic, Poetry, Shenandoah, Southern Review, The Yale Review, and other leading literary journals.
In A Deed To the Light Jeanne Murray Walker asks probing questions about the depth of grief, about letting go, and about the possibility of faith. Her poems have been described by John Taylor, writing in Poetry, as "splendid, subtly erudite, uplifting, and funny."
In The Disappearing Trick, Len Roberts wrestles with the loss of loved ones--whether that loss be through death, a son moving away to college, or simply how people fade from our lives and memories. Hybrids of the narrative and lyric form, these poems are models of indirect statement that have, as Sharon Olds has said, “emotional courage, powerful music, and a deep balance.” Like the light shining on a face, or a girl’s thigh back in a sixth-grade class, the poems often come as Proustian flashes--lasting just a second, but seeming eternal--amid an increasing darkness.
Concerned with physical experience, pain, and disability, Veil and Burn illuminates an intense desire to feel through the Other, embrace it, become it, and in the transformation, to understand the suffering body. In poems about animals, artifacts, and monsters, Lambeth displays a fascination for all bodies while exploring their pain, common fate, alienation, and abilities. Hovering between poem and prose fragment, between the self and fellow creatures, Laurie Clements Lambeth celebrates physical sensation, imbuing it with lyric shape, however broken, however imprisoned the shape may be.