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-Culled from Dia Art Foundation's -Readings in Contemporary Poetry- series, this anthology includes ninety-four poets who have participated in the reading series from 2010 to 2016. Edited by poet and author Vincent Katz, the book stresses the experimental aspects of contemporary poetic practice, highlighting commonalities among poets and placing their diverse voices in conversation with one another---
Contains poems by A.R. Ammons, Alan Ansen, John Ashbery, Marvin Bell, Michael Benedikt, John Berryman, Elizabeth Bishop, Robert Bly, Philip Booth, Edgar Bowers, Tom Clark, Gregory Corso, Henri Coulette, Robert Greeley, J.V. Cunningham, James Dickey, William Dickey, Alan Dugan, Alvin Feinman, Edward Field, Donald Finkel, Isabella Gardner, Jack Gilbert, Allen Ginsberg, Louise Gluck, Paul Goodman, John Haines, Donald Hall, Kenneth O. Hanson, Anthony Hecht, Daryl Hine, Daniel Hoffman, John Hollander, Richard Howard, Barbara Howes, Robert Huff, Richard Hugo, David Ignatow, Randall Jarrell, LeRoi Jones, Donald Justice, Weldon Kees, X.J. Kennedy, Galway Kinnell, Carolyn Kizer, Kenneth Koch, Al Lee, Denise Levertov, Philip Levine, Laurence Lieberman, John Logan, Robert Lowell, William H. Matchett, E.L. Mayo, William Meredith, James Merrill, W.S. Merwin, Howard Moss, Stanley Moss, Lisel Mueller, Howard Nemerov, Frank O'Hara, Charles Olson, Robert Pack, Donald Petersen, Sylvia Plath, Adrienne Rich, Theodore Roethke, James Schuyler, Winfield Townley Scott, Anne Sexton, Karl Shapiro, Charles Simic, Louis Simpson, L.E. Sissman, William Jay Smith, W.D. Snodgrass, Gary Snyder, William Stafford, Mark Strand, Robert Sward, May Swenson, James Tate, Constance Urdang, Peter Viereck, David Wagoner, Ds.
This groundbreaking volume may well be the poetry anthology for the global village. As selected by J.D. McClatchy, this collection includes masterpieces from four continents and more than two dozen languages in translations by such distinguished poets as Elizabeth Bishop, W.S. Merwin, Ted Hughes, and Seamus Heaney. Among the countries and writers represented are: Bangladesh--Taslima Nasrin Chile--Pablo Neruda China--Bei Dao, Shu Ting El Salvador--Claribel Alegria France--Yves Bonnefoy Greece--Odysseus Elytis, Yannis Ritsos India--A.K. Ramanujan Israel--Yehuda Amichai Japan--Shuntaro Tanikawa Mexico--Octavio Paz Nicaragua--Ernesto Cardenal Nigeria--Wole Soyinka Norway--Tomas Transtromer Palestine--Mahmoud Darwish Poland--Zbigniew Herbert, Czeslaw Milosz Russia--Joseph Brodsky, Yevgeny Yevtushenko Senegal--Leopold Sedar Senghor South Africa--Breyten Breytenbach St. Lucia, West Indies--Derek Walcott
Although readers of prose fiction sometimes find descriptive passages superfluous or boring, description itself is often the most important aspect of a poem. This book examines how a variety of contemporary poets use description in their work. Description has been the great burden of poetry. How do poets see the world? How do they look at it? What do they look for? Is description an end in itself, or a means of expressing desire? Ezra Pound demanded that a poem should represent the external world as objectively and directly as possible, and William Butler Yeats, in his introduction to The Oxford Book of Modern Verse (1936), said that he and his generation were rebelling against, inter alia, "irrelevant descriptions of nature" in the work of their predecessors. The poets in this book, however, who are distinct in many ways from one another, all observe the external world of nature or the reflected world of art, and make relevant poems out of their observations. This study deals with the crisp, elegant work of Charles Tomlinson, the swirling baroque poetry of Amy Clampitt, the metaphysical meditations of Charles Wright from a position in his backyard, the weather reports and landscapes of John Ashbery, and the "new way of looking" that Jorie Graham proposes to explore in her increasingly fragmented poems. All of these poets, plus others (Gary Snyder, Theodore Weiss, Irving Feldman, Richard Howard) who are dealt with more briefly, attend to what Wallace Stevens, in a memorable phrase, calls "the way things look each day." The ordinariness of daily reality is the beginning of the poets' own idiosyncratic, indeed unique, visions and styles.
Join Professor Helen Vendler in her course lecture on the Yeats poem "Among School Children". View her insightful and passionate analysis along with a condensed reading and student comments on the course. The poetry collected in this volume reveals the range and power of the contemporary American imagination. The verve, freedom, and boldness of American English are combined with the new harmonies of modern cadence. Here are distillations of twentieth-century perception, feeling, and thought, and reflections of changing social realities, scientific and psychoanalytic insights, and the strong voices of feminism and black consciousness. This is a book for those who value fresh and original poetry and for readers worldwide who are curious about contemporary American experience. Helen Vendler relies on her own taste and judgment in singling out excellent poems, beginning with the late modernist flowering of Wallace Stevens and continuing to the present. Her wide-ranging Introduction places recent American poetry in its aesthetic and social contexts. The anthology provides an extensive offering of the work of major poets and introduces many writers who are only now beginning to make their reputation. Thirty-five poets are included, with a representative selection from the earlier to later work of each and a significant number of long poems. Brief biographies of the poets are appended.
A new collection about violence and the rural Midwest from a poet whose first book was hailed as “memorable” (Stephanie Burt, Yale Review) and “impressive” (Chicago Tribune) Flyover Country is a powerful collection of poems about violence: the violence we do to the land, to animals, to refugees, to the people of distant countries, and to one another. Drawing on memories of his childhood on a dairy farm in Illinois, Austin Smith explores the beauty and cruelty of rural life, challenging the idea that the American Midwest is mere “flyover country,” a place that deserves passing over. At the same time, the collection suggests that America itself has become a flyover country, carrying out drone strikes and surveillance abroad, locked in a state of perpetual war that Americans seem helpless to stop. In these poems, midwestern barns and farmhouses are linked to other lands and times as if by psychic tunnels. A poem about a barn cat moving her kittens in the night because they have been discovered by a group of boys resonates with a poem about the house in Amsterdam where Anne Frank and her family hid from the Nazis. A poem beginning with a boy on a farmhouse porch idly swatting flies ends with the image of people fleeing before a drone strike. A poem about a barbwire fence suggests, if only metaphorically, the debate over immigration and borders. Though at times a dark book, the collection closes with a poem titled “The Light at the End,” suggesting the possibility of redemption and forgiveness. Building on Smith’s reputation as an accessible and inventive poet with deep insights about rural America, Flyover Country also draws profound connections between the Midwest and the wider world.
Finalist for the National Book Award and the National Book Critics Circle Award With an epigraph from Freud comparing the mind to a landscape in which all that ever was still persists, The Eternal City offers eloquent testimony to the struggle to make sense of the present through conversation with the past. Questioning what it means to possess and to be possessed by objects and technologies, Kathleen Graber’s award-winning second collection of poetry brings together the elevated and the quotidian to make neighbors of Marcus Aurelius, Klaus Kinski, Walter Benjamin, and Johnny Depp. Like Aeneas, who escapes Troy carrying his father on his back, the speaker of these intellectually and emotionally ambitious poems juggles the weight of private and public history as she is transformed from settled resident to pilgrim.
"This anthology, Evensong, is a celebration of the rich spiritual tapestry that is contemporary American religious experience. If this book is flawed recall that to be spiritual is to have faith even when one doubts, to see the flaws yet find belief. "When I write poetry, I try to give myself over to the sublime, to that which is great within, to that which knows what I don�t know I know. When I participate in the writing life, I try to be giving to that which has given to me. And, let�s face it, being a poet in America sometimes feels like taking a vow of poverty! But it also provides a community of others who share a belief in the power of poetry to be redemptive, to change the moral, emotional or spiritual landscapes if only for a brief moment. "Please consider this anthology a meeting house: not everyone has shown up to services, but they�re all here in spirit." from "Introduction" by Gerry LaFemina