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This is a companion volume to the Collected Shorter Poems of Kenneth Rexroth which was published in 1967. All of the long poems written over the past forty years are included: The Homestead Called Damascus (1920-25), A Prolegomenon to a Theodicy (1925-27), The Phoenix and the Tortoise (1940-44), The Dragon and the Unicorn (1944-50) and The Heart's Garden, The Garden's Heart (1967-68). As we read the long poems together and in sequence we can see that Rexroth is a philosophical poet of consequence who offers us a comprehensive system of values based on the realization of the ethical mysticism of universal responsibility. He is concerned, above all, with process: the movement from the Dual to the Other. "I have tried," Rexroth writes," to embody in verse the belief that the only valid conservation of value lies in the assumption of unlimited liability, the supernatural identification of the self with the tragic unity of creative process. I hope I have made it clear that the self does not do this by an act of will, by sheer assertion. He who would save his life must lose it."
Publisher's Description: First published in 1968, this companion volume to the Collected Shorter Poems was compiled by W.H. Auden and brings together six of his longer poetic works, published originally between 1930 and 1947. Auden was one of the modern masters of the extended poem, and these works are among his most original achievements, both for their technical virtuosity and for the emotional and intellectual precision with which they anatomized the malaise and turmoil of their age. The volume includes Paid on Both Sides, Letter to Lord Byron, New Year Letter, For the Time Being, The Sea and the Mirror, and The Age of Anxiety.
English-born poet, whose world view developed from youthful rebellion to rediscovered Anglo-Catholicism. In his work Auden reconciled tradition and modernism. Auden is widely considered among the greatest literary figures of the 20th century.
Kingsley Amis’s poetry tackles all the grimly humorous subjects he tackled in his novels—lust, lost love, booze, money and the lack of it, old age, death—and does so with immense formal poise. A master of both traditional and unconventional meters with a perfect ear for parody, Amis wrote satires, epigrams, and rueful and scornful songs that are remarkable not only for their virtuosity and humor but for their scabrous realism. It all adds up to a small, entirely individual, and memorably bracing body of work. As Amis writes: “Beauty, they tell me, is a dangerous thing, / Whose touch will burn, but I’m asbestos, see?”
An essential addition to every shelf of 20-century poetry.
Collected Poems brings together nearly four decades of C. K.Williams's work: more than four hundred poems that, though remarkable in their variety, have in common Williams's distinctive outlook—restless, passionate, dogged, and uncompromising in the drive to find words for the truth about life as we know it today. Williams's rangy, elastic lines are measures of thought, and in these pages we watch them unfold from his confrontational early poems through the open, expansive Tar and With Ignorance. His voice is both cerebral and muscular, capable of both the eightline poems of Flesh and Blood and the inward soundings of A Dream of Mind—and of both together in the award-winning recent books Repair and The Singing. These poems feel spontaneous, individual, and directly representative of the experience of which they sing; open to life, they chafe against summary and conclusion. Few poets leave behind them a body of work that is global in its ambition and achievement. C. K. Williams is one of them.
“The idea of verse, of poetry, has always, during forty years spent working primarily in prose, stood at my elbow, as a standing invitation to the highest kind of verbal exercise—the most satisfying, the most archaic, the most elusive of critical control. In hotel rooms and airplanes, on beaches and Sundays, at junctures of personal happiness or its opposite, poetry has comforted me with its hope of permanence, its packaging of flux.” Thus John Updike writes in introducing his Collected Poems. The earliest poems here date from 1953, when Updike was twenty-one, and the last were written after he turned sixty. Almost all of those published in his five previous collections are included, with some revisions. Arranged in chronological order, the poems constitute, as he says, “the thread backside of my life’s fading tapestry.” An ample set of notes at the back of the book discusses some of the hidden threads, and expatiates upon a number of fine points. Nature—tenderly intricate, ruthlessly impervious—is a constant and ambiguous presence in these poems, along with the social observation one would expect in a novelist. No occasion is too modest or too daily to excite metaphysical wonder, or to provoke a lyrical ingenuity of language. Yet even the wittiest of the poems are rooted to the ground of experience and fact. “Seven Odes to Seven Natural Processes” attempt to explicate the physical world with a directness seldom attempted in poetry. Several longer poems—“Leaving Church Early,” “Midpoint”—use autobiography to proclaim the basic strangeness of existence.
Poems with drawings spanning the artists lifetime.
This is a companion volume to the Collected Shorter Poems of Kenneth Rexroth which was published in 1967. This is a companion volume to the Collected Shorter Poems of Kenneth Rexroth which was published in 1967. All of the long poems written over the past forty years are included: The Homestead Called Damascus (1920-25), A Prolegomenon to a Theodicy (1925-27), The Phoenix and the Tortoise (1940-44), The Dragon and the Unicorn (1944-50) and The Heart's Garden, The Garden's Heart (1967-68). As we read the long poems together and in sequence we can see that Rexroth is a philosophical poet of consequence who offers us a comprehensive system of values based on the realization of the ethical mysticism of universal responsibility. He is concerned, above all, with process: the movement from the Dual to the Other. "I have tried," Rexroth writes," to embody in verse the belief that the only valid conservation of value lies in the assumption of unlimited liability, the supernatural identification of the self with the tragic unity of creative process. I hope I have made it clear that the self does not do this by an act of will, by sheer assertion. He who would save his life must lose it."