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Now in paperback, the stunning lifework of this beloved prize-winning poet, gathered in one volume, covering sixty years of poetry, from 1956 to 2016. This celebratory volume covers nearly all of Marie Ponsot's published work, from True Minds (published in 1956 as number five in the famous Pocket Poets series from City Lights press) through Easy (2009), her most recent collection; and it also includes some work written in the years since. Here is the lyrical joy, the full range of Ponsot's gift for constructing the pleasures and pains of a riddle that the music and wit of her language solve just in the nick of time, in the "hand-span skill" that is the poem. Notable in this collection is the astonishing accomplishment of Ponsot's sonnets: the traditional form in varieties we've never seen in one book before. Open these pages anywhere to experience "language as the primitive dialect of our human race," as she has described it--to gratefully enter a state that is "what poetry hopes of us and for us: enraptured attention."
Nominated for the National Book Award in 1952, Naomi Replansky's first book Ring Song dazzled critics with its candor and freshness of language. Here at long last is the new and collected work of a lifetime by a writer hailed as "one of the most brilliant American poets" by George Oppen. Replansky is a poet whose verse combines the compression of Emily Dickinson, the passion of Anna Akhmatova, and the music of W.H. Auden. These poems, which Marie Ponsot calls "sixty years of a free woman's song," are Replansky's hymns to the struggle for justice and equality and to the enduring beauty of life in our dangerous world.
In 1998, Marie Ponsot was awarded the National Book Critics Circle Award for poetry, confirming the praise that has been bestowed on her by critics and peers--among them Eavan Boland and Carolyn Kizer (who are quoted on the back of the book jacket) and Amy Clampitt, who had this to say of Ponsot's last book: "She is marvelously attuned to the visual and to the audible. She is no less precisely a geographer of the interior life, above all the experience of being a woman."
"Ringing with the deep sentiments of the season, these classic and modern Christmas poems bring just the right splash of holiday cheer."--BOOK JACKET.
This book offers a revolutionary inductive approach to teaching composition, in particular the essay.
In Broken Ground, William Logan explores the works of canonical and contemporary poets, rediscovering the lushness of imagination and depth of feeling that distinguish poetry as a literary art. The book includes long essays on Emily Dickinson’s envelopes, Ezra Pound’s wrestling with Chinese, Robert Frost’s letters, Philip Larkin’s train station, and Mrs. Custer’s volume of Tennyson, each teasing out the depths beneath the surface of the page. Broken Ground also presents the latest run of Logan’s infamous poetry chronicles and reviews, which for twenty-five years have bedeviled American verse. Logan believes that poetry criticism must be both adventurous and forthright—and that no reader should settle for being told that every poet is a genius. Among the poets under review by the “preeminent poet-critic of his generation” and “most hated man in American poetry” are Anne Carson, Jorie Graham, Paul Muldoon, John Ashbery, Geoffrey Hill, Louise Glück, John Berryman, Marianne Moore, Frederick Seidel, Les Murray, Yusef Komunyakaa, Sharon Olds, Johnny Cash, James Franco, and the former archbishop of Canterbury. Logan’s criticism stands on the broken ground of poetry, soaked in history and soiled by it. These essays and reviews work in the deep undercurrents of our poetry, judging the weak and the strong but finding in weakness and strength what endures.
JOYCE'S MOTTO has had much fame but few apostles. Among them, there has been Jack Gilbert and his orthodoxy, a strictness that has required of this poet, now in the seventh decade of his severe life, the penalty of his having had almost no fame at all. In an era that puts before the artist so many sleek and official temptations, keeping unflinchingly to a code of "silence, exile, and cunning" could not have been managed without a show of strictness well beyond the reach of the theater of the coy. The "far, stubborn, disastrous" course of Jack Gilbert's resolute journey--not one that would promise in time to bring him home to the consolations of Penelope and the comforts of Ithaca but one that would instead take him ever outward to the impossible blankness of the desert--could never have been achieved in the society of others. What has kept this great poet brave has been the difficult company of his poems--and now we have, in Gilbert's third and most silent book, what may be, what must be, the bravest of these imperial accomplishments.
"Verse is born free but everywhere in chains. It has been my project to rattle the chains." (from "The Revenge of the Poet-Critic") In My Way, (in)famous language poet and critic Charles Bernstein deploys a wide variety of interlinked forms—speeches and poems, interviews and essays—to explore the place of poetry in American culture and in the university. Sometimes comic, sometimes dark, Bernstein's writing is irreverent but always relevant, "not structurally challenged, but structurally challenging." Addressing many interrelated issues, Bernstein moves from the role of the public intellectual to the poetics of scholarly prose, from vernacular modernism to idiosyncratic postmodernism, from identity politics to the resurgence of the aesthetic, from cultural studies to poetry as a performance art, from the small press movement to the Web. Along the way he provides "close listening" to such poets as Charles Reznikoff, Laura Riding, Susan Howe, Ezra Pound, Allen Ginsberg, and Gertrude Stein, as well as a fresh perspective on L=A=N=G=U=A=G=E, the magazine he coedited that became a fulcrum for a new wave of North American writing. In his passionate defense of an activist, innovative poetry, Bernstein never departs from the culturally engaged, linguistically complex, yet often very funny writing that has characterized his unique approach to poetry for over twenty years. Offering some of his most daring work yet—essays in poetic lines, prose with poetic motifs, interviews miming speech, speeches veering into song—Charles Bernstein's My Way illuminates the newest developments in contemporary poetry with its own contributions to them. "The result of [Bernstein's] provocative groping is more stimulating than many books of either poetry or criticism have been in recent years."—Molly McQuade, Washington Post Book World "This book, for all of its centrifugal activity, is a singular yet globally relevant perspective on the literary arts and their institutions, offered in good faith, yet cranky and poignant enough to not be easily ignored."—Publishers Weekly "Bernstein has emerged as postmodern poetry's sous-chef of insouciance. My Way is another of his rich concoctions, fortified with intellect and seasoned with laughter."—Timothy Gray, American Literature
"As elliptical and demanding as Emily Dickinson, Valentine consistently rewards the reader."—Library Journal In her eleventh collection—honored as a finalist for the Pulitzer Prize in poetry—Jean Valentine characteristically weds a moral imperative to imaginative and linguistic leaps and bounds. Whether writing elegies, meditations on aging, or an extended homage to Lucy, the earliest known hominid, the pared-down compactness of her tone and vision reveals a singular voice in American poetry. As Adrienne Rich has said of Valentine's work, "This is a poetry of the highest order, because it lets us into spaces and meanings we couldn't approach in any other way." From "If a Person Visits Someone in a Dream, in Some Cultures the Dreamer Thanks Them": At a hotel in another star. The rooms were cold and damp, we were both at the desk at midnight asking if they had any heaters. They had one heater. You are ill, please you take it. Thank you for visiting my dream. * Can you breathe all right? Break the glass shout break the glass force the room break the thread Open the music behind the glass . . . Jean Valentine, a former State Poet of New York, earned a National Book Award, the Wallace Stevens Award, and the Shelley Memorial Prize. She has taught at Sarah Lawrence, New York University, and Columbia University. She lives in the Morningside Heights neighborhood of New York City.