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The poems in Sand Theory, William Olsen’s fifth collection to date, bristle with intellect, sensitivity, and ambition. Engaging poets from William Blake to Theodore Roethke, Olsen takes aim at grand questions of spirituality, the instability of meaning, and the individual’s relationship with the natural world. Yet Olsen’s lithe and sinuous poems wear their metaphysical concerns lightly, shifting easily between the immediate perceptions of a passing moment and observations offered as if from a great distance, outside of time and space. The energy of Olsen’s poems is generated by his ability to meld the intellectual and the emotional, the abstract and the concrete, into a seamless whole while maintaining a sense of wit and playfulness. Sand Theory cements Olsen’s standing as one of the most vital poets writing today, an audacious chronicler of “the supremely open moment.”
“Jane Kenyon had a virtually faultless ear. She was an exquisite master of the art of poetry.” —Wendell Berry Published twenty-five years after her untimely death, The Best Poems of Jane Kenyon presents the essential work of one of America’s most cherished poets—celebrated for her tenacity, spirit, and grace. In their inquisitive explorations and direct language, Jane Kenyon’s poems disclose a quiet certainty in the natural world and a lifelong dialogue with her faith and her questioning of it. As a crucial aspect of these beloved poems of companionship, she confronts her struggle with severe depression on its own stark terms. Selected by Kenyon’s husband, Donald Hall, just before his death in 2018, The Best Poems of Jane Kenyon collects work from across a life and career that will be, as she writes in one poem, “simply lasting.”
Following the success of their anthology Poems That Make Grown Men Cry, father-and-son team Anthony and Ben Holden, working with Amnesty International, have asked the same revealing question of 100 remarkable women. What poem has moved you to tears? The poems chosen range from the eighth century to today, from Rumi and Shakespeare to Sylvia Plath, W.H. Auden to Carol Ann Duffy, Pablo Neruda and Derek Walcott to Imtiaz Dharker and Warsan Shire. Their themes range from love and loss, through mortality and mystery, war and peace, to the beauty and variety of nature. From Yoko Ono to Judi Dench, Chimamanda Ngozi Adichie to Elena Ferrante, Carol Ann Duffy to Kaui Hart Hemmings, and Joan Baez to Nikki Giovanni, this unique collection delivers private insights into the minds of women whose writing, acting, and thinking are admired around the world.
Prose Poetry in Theory and Practice vigorously engages with the Why? and the How? of prose poetry, a form that is currently enjoying a surge in popularity. With contributions by both practitioners and academics, this volume seeks to explore how its distinctive properties guide both writer and reader, and to address why this form is so well suited to the early twenty-first century. With discussion of both classic and less well- known writers, the essays both illuminate prose poetry’s distinctive features and explore how this "outsider" form can offer a unique way of viewing and describing the uncertainties and instabilities which shape our identities and our relationships with our surroundings in the early twenty-first century. Combining insights on the theory and practice of prose poetry, Prose Poetry in Theory and Practice offers a timely and valuable contribution to the development of the form, and its appreciation amongst practitioners and scholars alike. Largely approached from a practitioner perspective, this collection provides vivid snapshots of contemporary debates within the prose poetry field while actively contributing to the poetics and craft of the form.
Featuring “Good Bones”—called “Official Poem of 2016” by the BBC/Public Radio International. Maggie Smith writes out of the experience of motherhood, inspired by watching her own children read the world like a book they've just opened, knowing nothing of the characters or plot. These are poems that stare down darkness while cultivating and sustaining possibility, poems that have a sense of moral gravitas, personal urgency, and the ability to address a larger world. Maggie Smith's previous books are The Well Speaks of Its Own Poison (Tupelo, 2015), Lamp of the Body (Red Hen, 2005), and three prize-winning chapbooks: Disasterology (Dream Horse, 2016), The List of Dangers (Kent State, 2010), and Nesting Dolls (Pudding House, 2005). Her poem “Good Bones” has gone viral—tweeted and translated across the world, featured on the TV drama Madam Secretary, and called the “Official Poem of 2016” by the BBC/Public Radio International, earning news coverage in the New York Times, Washington Post, Slate, the Guardian, and beyond. Maggie Smith was named the 2016 Ohio Poet of the Year. “Smith's voice is clear and unmistakable as she unravels the universe, pulls at a loose thread and lets the whole thing tumble around us, sometimes beautiful, sometimes achingly hard. Truthful, tender, and unafraid of the dark....”—Ada Limón “As if lost in the soft, bewitching world of fairy tale, Maggie Smith conceives and brings forth this metaphysical Baedeker, a guidebook for mother and child to lead each other into a hopeful present. Smith's poems affirm the virtues of humanity: compassion, empathy, and the ability to comfort one another when darkness falls. 'There is a light,' she tells us, 'and the light is good.'”—D. A. Powell “Good Bones is an extraordinary book. Maggie Smith demonstrates what happens when an abundance of heart and intelligence meets the hands of a master craftsperson, reminding us again that the world, for a true poet, is blessedly inexhaustible.”—Erin Belieu
Starting in 2005, game designer Raph Koster decided to post a poem to his popular blog every Sunday. Ten years later, this is a selection of eighty of those poems, accompanied by gorgeous pen-and-ink illustrations and illuminating endnotes. These are verses written to an audience that didn't necessarily care about poetry; verses about whatever was happening that week. They comment on the news, on his children's homework, on books he was reading or music he heard. In them we voyage across the world, or deep inside apples; we see a toddler become a pterodactyl, and clouds become mundane water vapor. We see sonnets written in computer code. These are poems for everyday people about ordinary things made extraordinary. " In these engaging poems, which tease the conventions of formal verse, Raph Koster shines a curiosity laser on topics ranging from the building of the Globe Theatre to the BASIC programming language. Koster memorializes far-flung journeys through such locales as mountainous Afghanistan, exurban China, Las Vegas casinos, and a very real-seeming Seoni jungle visited not IRL but through Kipling and gaming. -Tarin Towers, author of Sorry, We're Close On a stormy night in Tuscaloosa, reading Raph Koster's collection of poems: I congratulate you on the sustained and sustaining enthusiasm, joy, play, and wit at work in these poems. In your poems - as in the gaming world - you've created a richly varied world saturated with myth and stories. -Hank Lazer, poet, author of The New Spirit and N18 (complete) "
Charles Algernon Swinburne's literary reputation rests almost exclusively upon his poetry, and though his critical writings were voluminous, they are usually slighted by literary historians. Examinations of Swinburne's aesthetic principles, too, are generally based upon interpretations of his poetry, though these may be as misleading as the discrepancies between other artists' principles and practices. Believing that a solid and consistent core of poetic theory underlay all of Swinburne's critical essays, casual pieces, and letters, Professor Connolly has attempted to reconstruct the theory from a careful analysis of this body of writing. In this book he sets forth his findings as general principles and as they apply to lyric and dramatic poetry. "Swinburne was a far sounder and more consistent critic than he is usually given credit for being," Professor Connolly concludes, "and the various critical principles that can be discovered in his essays hang together in a more integrated theory of poetry than is usually imagined. He had, as other critics had, a number of basic principles and themes that he used with astonishing versatility in his criticism. The successful poet who is also a critic usually has a valuable contribution to make to the general understanding and appreciation of poetry. Swinburne, in this respect, was not an exception."