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For over 500 years, golfers have tried to express what makes the game so special. There have been novels, short stories, essays, coffee table photo books and collections of art. But never has there been a book like this. Here, in Golf Poems, is an enchanting collection of poetry that touches on the fundamental feelings, fears, hopes, aspirations and thoughts that every true golfer knows and appreciates. You will be uplifted by The Spirit of Golf; delighted by Up Against A Kid; moved by Guardians of the Game; and you will also travel vicariously to St. Andrews, Pebble Beach and Bandon Dunes to experience what makes those places so special.Golf Poems is meant to be a little book that a golfer can put in his or her pocket and enjoy by the fireside, at the bar in the clubhouse, or while walking down the fairway. With photographs accompanying the verses, the reader will have an experience that lifts the words off the page and provides a fuller, deeper meaning.Golf Poems does not replace other books, but adds to the lore and mystique that is golf itself. It is a wonderful gift for any golfer. Many of these verses - or parts of them - make for memorable toasts wherever golfers gather to celebrate the game they love so much.
Volume for 1958 includes "Anthology of poems from the seventeen previously published Braithwaite anthologies."
The editors of this legendary and hilarious anthology write: "It would seem at a hasty glance that to make an anthology of Bad Verse is on the whole a simple matter . . . On the contrary . . . Bad Verse has its canons, like Good Verse. There is bad Bad Verse and good Bad Verse. It has been the constant preoccupation of the compilers to include in this book chiefiy good Bad Verse." Here indeed one finds the best of the worst of the greatest poets of the English language, masterpieces of the maladroit by Dryden, Wordsworth, and Keats, among many others, together with an index ("Maiden, feathered, uncontrolled appetites of, 59;. . . Manure, adjudged a fit subject for the Muse, 91") that is itself an inspired work of folly.
WINNER OF THE 2021 PULITZER PRIZE IN POETRY FINALIST FOR THE 2020 NATIONAL BOOK AWARD FOR POETRY Natalie Diaz’s highly anticipated follow-up to When My Brother Was an Aztec, winner of an American Book Award Postcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality. Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—in it, a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.