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An anthology of one hundred poems that have achieved the greatest success for the longest time with the largest number of readers. Includes brief biographies of the poets and an index of titles and first lines.
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The Double Daughter There were seven daughters each given to a different form of daughterhood. The double daughter was the only child conscribed to be the steward of her own delight. She was appraised as a prize in the eyes of men, and she was seized by constraints that tightened like slipknots as she shifted within her discomfort. When it was time to wed, she took the lake into her bed, pail by pail, minnows in death throes atop the softness of her worn comforter. The fishes' skittish iridescence was more like light's residue than light's resonance, but she began to chart her circular course by those flashes as though they were constant stars. Her stars were displaced by the sunrise, the room rinsed with clear light. Her bed was swollen with lakewater and littered with cold fish. Nothing was ruined: She had drawn in her diary a detailed map.
A man disappears. The woman who loves him is left scarred and haunted. In her fierce, one-of-a-kind debut, Rebecca Lindenberg tells the story—in verse—of her passionate relationship with Craig Arnold, a much-respected poet who disappeared in 2009 while hiking a volcano in Japan. Lindenberg’s billowing, I-contain-multitudes style lays bare the poet’s sadnesses, joys, and longings in poems that are lyric and narrative, at once plainspoken and musically elaborate. Regarding her role in Arnold’s story, Lindenberg writes with clear-eyed humility and endearing dignity: “The girl with the ink-stained teeth / knows she’s famous / in a tiny, tragic way. / She’s not / daft, after all.” And then later, playfully, of her travels in Italy with the poet, her lover: “The carabinieri / wanted to know if there were bears / in our part of America. Yes, we said, / many bears. Man-eating bears? Yes, of course, / many man-eating bears.” Every poem in this collection bursts with humor, pathos, verve—and an utterly unique, soulful voice. This widely anticipated debut, already selected as a finalist for several prominent book awards, marks the first collection in the newly minted McSweeney’s Poetry Series. MPS is an imprint which seeks to publish a broad range of excellent new poetry collections in exquisitely designed hardcovers—poetry that’s useful and meaningful to anyone in any walk of life.
Nobel laureate poet Czeslaw Milosz personal selection of 300 of the world's greatest poems written throughout the ages and around the world.
From a "maestra of invention" (The New York Times) who is at once supremely witty, ferociously smart, and emotionally raw, a new collection of poems about womanhood Amy Gerstler has won acclaim for sly, sophisticated, and subversive poems that find meaning in unexpected places. Women's voices, from childhood to old age, dominate this new collection of rants, dramatic monologues, confessions and laments. A young girl muses on virginity. An aging opera singer rages against the fact that she must quit drinking. A woman in a supermarket addresses a head of lettuce. The tooth fairy finally speaks out. Both comic and prayer-like, these poems wrestle with mortality, animality, love, gender, and what it is to be human.
A dark, no-holds-barred, and often hilarious collection from a prize-winning poet, veering between the poles of self and world. Kim Addonizio’s sharp and irreverent eighth volume, Now We’re Getting Somewhere, is an essential companion to your practice of the Finnish art of kalsarikännit—drinking at home, alone in your underwear, with no intention of going out. Imbued with the poet’s characteristic precision and passion, the collection charts a hazardous course through heartache, climate change, dental work, Outlander, semiotics, and more. Combatting existential gloom with a wicked, seductive energy, Addonizio investigates desire, loss, and the madness of contemporary life. She calls out to Walt Whitman and John Keats, echoes Dorothy Parker, and finds sisterhood with Virginia Woolf. Sometimes confessional, sometimes philosophical, these poems weave from desolation to drollery and clamor with raucous imagery: an insect in high heels, a wolf at an uncomfortable party, a glowing and self-serious guitar. A poet whose “voice lifts from the page, alive and biting” (Sky Sanchez, San Francisco Book Review), Addonizio reminds her reader, "if you think nothing & / no one can / listen I love you joy is coming."
The venture of this inviting collection is to look, from the many vantages that the 35 poets in this eclectic anthology chose to look, at what it was—knowing that a poem can’t be conceived in advance of its creation—that helped their poems to emerge or connected them over time. The Rag-Picker's Guide to Poetry permits an inside view of how poets outwit internal censors and habits of thought, showing how the meticulous and the spontaneous come together in the process of discovery. Within are contained the work and thoughts of: Betty Adcock Joan Aleshire Debra Allbery Elizabeth Arnold David Baker Rick Barot Marianne Boruch Karen Brennan Gabrielle Calvocoressi Michael Collier Carl Dennis Stuart Dischell Roger Fanning Chris Forhan Reginald Gibbons Linda Gregerson Jennifer Grotz Brooks Haxton Tony Hoagland Mark Jarman A. Van Jordan Laura Kasischke Mary Leader Dana Levin James Longenbach Thomas Lux Maurice Manning Heather McHugh Martha Rhodes Alan Shapiro Daniel Tobin Ellen Bryant Voigt Alan Williamson Eleanor Wilner C. Dale Young