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Universally known for his groundbreaking prose - especially for the monumental novel Ulysses and its depictions of Dublin at the turn of the twentieth century - James Joyce started off as a writer of lyrical poetry, a genre which he never abandoned in his lifetime and which informs and enriches the rest of his literary production. This volume, which includes Joyce's first published book, Chamber Music, as well as his later collection Pomes Penyeach and several other uncollected poems, reveals a lesser-known facet of the great modernist's artistic career and a glimpse into his poetical sensibility.
This edition records every draft, from Yeats's first notion to the published version, a majority both in facsimile (in Yeats's fiercely illegible hand) and in faithful transcription on facing pages.
The poems in Lauren Clark's debut book, Music for a Wedding, move fluidly and unforgettably between the rituals of monogamy, death, loneliness, and the body in search of what might last forever. In the abandonment of those who die and those who leave, Clark's speakers are orphic in their use of song as a mode of enduring the hours. Like sybils, Clark's poems make the entrails of what's left behind luminous, even if what is presented is darkness, "that low velvet we make / within ourselves". Their poetry is at once free of the formalities associated with lyric poetry and full of its own novel shapes that only Clark could devise. Their poetry queers our understanding of poetics and what a book of poems can be by dwelling in intimate corners of the self that may seem otherwise insensate without their taking us in to witness such depths. In Clark's hands, the whole of the world--in poetry and on the ground--is preternatural, requiring of us dedication and devotion. But not to the usual rituals of mourning and prayer. Rather, "darkness is to remind [us] what [we] could not see before", that in the absence of being with others, the only true devotion left is grief.
Music may be the universal language that needs no words the language where all language ends, as Rilke put it but that has not stopped poets from ancient times to the present from trying to represent it in verse.Here are Rumi and Shakespeare, Elizabet
2021 NATIONAL BOOK AWARD FINALIST FOR POETRY Eschewing series and performative typography, Douglas Kearney’s Sho aims to hit crooked licks with straight-seeming sticks. Navigating the complex penetrability of language, these poems are sonic in their espousal of Black vernacular traditions, while examining histories, pop culture, myth, and folklore. Both dazzling and devastating, Sho is a genius work of literary precision, wordplay, farce, and critical irony. In his “stove-like imagination,” Kearney has concocted poems that destabilize the spectacle, leaving looky-loos with an important uncertainty about the intersection between violence and entertainment.
Alex Dimitrov’s third book, Love and Other Poems, is full of praise for the world we live in. Taking time as an overarching structure—specifically, the twelve months of the year—Dimitrov elevates the everyday, and speaks directly to the reader as if the poem were a phone call or a text message. From the personal to the cosmos, the moon to New York City, the speaker is convinced that love is “our best invention.” Dimitrov doesn’t resist joy, even in despair. These poems are curious about who we are as people and shamelessly interested in hope.
A collection of poems that provide a look at some of the animals, insects, and plants that are found in ponds, with accompanying information about each.