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This Tilted World Is Where I Live presents one hundred poems by Henry Taylor, drawing on over fifty years of published work by this witty, adept, and vital literary voice. The volume gathers seventy-five poems from previous books, including the Pulitzer Prize–winning The Flying Change, along with twenty-five more recent poems collected for the first time. Throughout his remarkable career, Taylor has worked in both traditional and open forms, avoiding rigid allegiance to either mode as he has responded to the world around him, from the horse farm in Virginia where he grew up, to the deserts around Santa Fe, New Mexico, where he now lives. In tones and moods ranging from grief to explosive hilarity, Taylor’s verse considers what we mean by loving one another, how violence can intrude without warning into innocent lives, and how the things we have always seen can change with the passage of time. This Tilted World Is Where I Live encapsulates the keen attention, vital humanism, and mastery of craft that have characterized a long and distinguished poetic career.
The Pulitzer Prize-winning poet moves back and forth over several centuries telling the stories of the rural corner of northern Virginia that used to be his home.
A selection of Bill Knott's life work--testimony of his enduring -thorny genius- (Robert Pinsky).
The Horse Show at Midnight consists of poems Taylor wrote while still an undergraduate at the University of Virginia, and many of the poems in An Afternoon of Pocket Billiards were composed while he was in the graduate writing programs at Hollins College.
Selected by Jos Charles as the winner of the 2021 Ballard Spahr Prize for Poetry, Return Flight is a lush reckoning: with inheritance, with body, with trauma, with desire—and with the many tendons in between. When Return Flight asks “what name / do you crown yourself,” Huang answers with many. Textured with mountains—a folkloric goddess-prison, Yushan, mother, men, self—and peppered with shapeshifting creatures, spirits, and gods, the landscape of Jennifer Huang’s poems is at once mystical and fleshy, a “myth a mess of myself.” Sensuously, Huang depicts each of these not as things to claim but as topographies to behold and hold. Here, too, is another kind of mythology. Set to the music of “beating hearts / through objects passed down,” the poems travel through generations—among Taiwan, China, and America—cataloging familial wounds and beloved stories. A grandfather’s smile shining through rain, baby bok choy in a child’s bowl, a slap felt decades later—the result is a map of a present-day life, reflected through the past. Return Flight is a thrumming debut that teaches us how history harrows and heals, often with the same hand; how touch can mean “purple” and “blue” as much as it means intimacy; and how one might find a path toward joy not by leaving the past in the past, but by “[keeping a] hand on these memories, / to feel them to their ends.”
An astonishing collection about interconnectedness—between the human and nonhuman, ancestors and ourselves—from National Book Critics Circle Award winner and National Book Award finalist Ada Limón. “I have always been too sensitive, a weeper / from a long line of weepers,” writes Limón. “I am the hurting kind.” What does it mean to be the hurting kind? To be sensitive not only to the world’s pain and joys, but to the meanings that bend in the scrim between the natural world and the human world? To divine the relationships between us all? To perceive ourselves in other beings—and to know that those beings are resolutely their own, that they “do not / care to be seen as symbols”? With Limón’s remarkable ability to trace thought, The Hurting Kind explores those questions—incorporating others’ stories and ways of knowing, making surprising turns, and always reaching a place of startling insight. These poems slip through the seasons, teeming with horses and kingfishers and the gleaming eyes of fish. And they honor parents, stepparents, and grandparents: the sacrifices made, the separate lives lived, the tendernesses extended to a hurting child; the abundance, in retrospect, of having two families. Along the way, we glimpse loss. There are flashes of the pandemic, ghosts whose presence manifests in unexpected memories and the mysterious behavior of pets left behind. But The Hurting Kind is filled, above all, with connection and the delight of being in the world. “Slippery and waddle thieving my tomatoes still / green in the morning’s shade,” writes Limón of a groundhog in her garden, “she is doing what she can to survive.”
In 100 Ways to Fly you'll find a poem for every mood &– poems to make you laugh, feel silly or twist your tongue, make you courageous enough for a new adventure and to help you soar.
A poetic and nuanced exploration of the human experience of flight that reminds us of the full imaginative weight of our most ordinary journeys—and reawakens our capacity to be amazed. The twenty-first century has relegated airplane flight—a once remarkable feat of human ingenuity—to the realm of the mundane. Mark Vanhoenacker, a 747 pilot who left academia and a career in the business world to pursue his childhood dream of flight, asks us to reimagine what we—both as pilots and as passengers—are actually doing when we enter the world between departure and discovery. In a seamless fusion of history, politics, geography, meteorology, ecology, family, and physics, Vanhoenacker vaults across geographical and cultural boundaries; above mountains, oceans, and deserts; through snow, wind, and rain, renewing a simultaneously humbling and almost superhuman activity that affords us unparalleled perspectives on the planet we inhabit and the communities we form.
For this companion to her New York Times best-selling collection A Family of Poems, Caroline Kennedy has hand-selected more than a hundred of her favorite poems that lend themselves to memorization. Some are joyful. Some are sad. Some are funny and lighthearted. Many offer layers of meaning that reveal themselves only after the poem has been studied so closely as to be learned by heart. In issuing the challenge to memorize great poetry, Caroline Kennedy invites us to a deeply enriching experience. For as she reminds us, “If we learn poems by heart, not only do we have their wisdom to draw on, we also gain confidence, knowledge and understanding that no one can take away.” Illustrated with gorgeous, original watercolor paintings by award-winning artist Jon J Muth , this is truly a book for all ages, and one that families will share again and again. Caroline’s thoughtful introductions shed light on the many ways we can appreciate poetry, and the special tradition of memorizing and reciting poetry that she celebrates within her own family.