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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.
The challenging, exhilarating collection in A Dream of Mind represents an important stage in the evolution of C. K. Williams' work. It is dominated by the long title poem, which explores the materials and qualities of states of consciousness with enormous flexibility and suppleness. Other poems explore jealousy, psychology, family relationships and intellectual constructs.
Reprint of the original, first published in 1841.
The National Book Critics Circle Award-winning author of Antarctic Traveller presents a new volume of poetic works that include pieces inspired by the Bible and evoke such subjects as the joys and pain of parenthood, the private side of a literary life, and the complexities of love and marriage.
Winner of the 2004 Verse Prize, this second collection confirms Nutter's reputation for strange, beautiful, original work.
--Book Jacket.
"Everything and Other Poems" is a new collection of poetry by Charles North. North has published eleven books of poems, three books of critical prose, and collaborations with artists and other poets. With James Schuyler, he edited the poet/painter anthologies "Broadway" and "Broadway 2." His "New and Selected: What It Is Like" headed NPR's Best Poetry Books of 2011, and he has received a Foundation for Contemporary Arts Grant, two NEA grants, four Fund For Poetry Awards, and a Poets Foundation Award. He lives with his wife, the painter Paula North, in New York City. More info at charles-north.com"--
In the boldly eclectic title poem of his collection, John Updike employs the meters of Dante, Spenser, Pope, Whitman, and Pound, as well as the pictographic tactics of concrete poetry, to take an inventory of his life at the end of his thirty-fifth year—at midpoint. These cantos form both a joke on the antique genre of the long poem and an attempt to write one: an earnest meditation on the mysteries of the ego, lost time, and the mundane. The remainder of the volume is a six years’ harvest of light verse and incidental lyrics—poems dealing with love and death, animals and angels, places and persons, dream artifacts and the naked ape. As a writer of humorous verse Mr. Updike is alone in his generation; to serious poetry he brings the vision and warmth characteristic of his prose.
In the deeply personal Decade of the Brain, Janine Joseph writes of a newly-naturalized American citizen who suffers from post-concussive memory loss after a major auto accident. The collection is an odyssey of what it means to recover—physically and mentally—in the aftermath of trauma and traumatic brain injury, charting when “before” crosses into “after.” Through connected poems, buckling and expansive syntax, ekphrasis, and conjoined poetic forms, Decade of the Brain remembers and misremembers hospital visits, violence and bodily injury, intimate memories, immigration status, family members, and the self. After the accident I turned out all of the lights in the room while I watched, concussed, from the mirror. I edged like a fever with nothing on the tip of my tongue.