Poetry / Poems

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Book SynopsisShortlisted, Independent Publishers Book Award, PoetryThe Qingming Shanghe Tu scroll, sometimes called "Spring Festival by the River," was thought to have been painted by Zhang Zeduan before 1127, when the Northern Song capital of Bian-Iiang was overrun by the invading Jin. Inspired by the figures in the scroll, Geddes found stories demanding to be told, tales of the droll, exacting, sometimes turbulent life of cities. In shimmering verse, Geddes captures the voice of the painter himself and those of the underprivileged, with their not-so-subtle forms of dissent. Cleverly illustrated to intertwine East and West in dialogue, this ingenious volume juxtaposes a reproduction of the scroll that reads from back to front (experienced as Chinese reads) with Geddes' poems, which read from front to back.Trade Review"Geddes's; accessible poetic style brings to life a rich array of characters inspired by a blend of history, culture, myth, and imagination. ... his two most recent collections offer the reader a point of entry into the inner workings of old China by bringing to life a thronging diversity of voices tinged with both creativity and lore. ... Swimming Ginger reanimates one of China's most iconic artifacts and infuses it with irreverence, gently poking fun at the fantasies of ancient Chinese culture that we might otherwise be wont to adopt. In answer to such fantasies, Geddes creates an earthy, vibrant, and altogether more pragmatic account of lives lived in twelfth-century China." -- Louise Young * Canadian Literature *

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Book SynopsisTrade ReviewThis is . . . the best, absolute best Milton anthology. --Cicero Bruce, McMurry UniversityThinking that perhaps it was time after fifteen years of using the Hughes edition of Milton to use a newer edition in my graduate classes, I switched for one semester to the Riverside Milton. It took only one semester to realize that what students gained by way of more recent scholarship could not make up for what they had lost by being deprived of Hughes’ introductions. I won’t be switching again for a long time to come. --Noralyn Masselink, SUNY College at Cortland

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Book SynopsisThe Los Angeles Times praises the wordplay and the richness of Bergland's poetry, erupting through deep forest, with all the exuberance and reticence of Emily Dickinson.

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Book SynopsisNovel Definitions captures the lively critical debate surrounding the invention of the English novel, showing how the rise of the novel was accompanied by a rise in popular literary criticism. The anthology collects over 135 primary sources that chart the long eighteenth century’s interpretation of the novel. These sources—many newly-discovered—include essays, prefaces, reviews, and sermons written by authors ranging from Aphra Behn to Walter Scott. Novel Definitions brings together authors’ prefatory analyses of their work; essayists’ debates concerning the novel’s formal qualities; commentators’ questions concerning the novel’s cultural position, including whether or not women and children should read novels; reviewers’ definitions of the qualities that make a novel successful; and literary historians’ first attempts to write the history of the novel.Trade Review“[Novel Definitions] is essential reading in both the culture and theory of novel writing and reading during the eighteenth century. Our courses on the eighteenth-century novel and our writing about the novel will be much the better for its appearance.” — Jonathan Kramnick, Studies in English Literature“Cheryl Nixon’s Novel Definitions is an extremely useful, comprehensive, and very well-organized anthology of responses, both professional and popular, to the English novel in the period of its cultural ascendency. Both in its range—which covers major statements about the developing genre from Huet and Behn through Reeve and Barbauld—and in its depth—which places well-known texts by writers such as Richardson and Johnson alongside a wealth of less familiar criticism and commentary—Novel Definitions offers an indispensible resource for teaching and researching the history of the novel in eighteenth-century Britain.” — Scott Black, University of Utah“In this superb anthology, both learned and lively, Cheryl Nixon provides a thoughtful and theoretically informed introduction to the critical commentaries that shaped the debate over the meaning of the “new” novel. Authors and critics became cultural commentators, members of a cultural community all too aware of what was at stake in their new form…This collection is invaluable for a study of the novel and of eighteenth-century British culture.” — Carol Flynn, Tufts University“Cheryl Nixon’s invaluable Novel Definitions gathers vast and rich commentary that expands our understanding of eighteenth-century novels. With a superb introduction, Novel Definitions is intelligently designed and thoughtfully organized, schematizing its numerous materials into formal and thematic categories that foreground the experimental and provocative nature of the genre in its earliest incarnations. Students of the eighteenth-century novel will want to read all these prefaces, critical essays, commentaries and book reviews, for they illuminate the important controversies and vexing debates that preoccupied the eighteenth-century reading public. Novel Definitions is an outstanding edition of rarely-collected material that should be required reading.” — Tita Chico, University of MarylandTable of ContentsAcknowledgementsIntroductionA Note on the TextPart I: Prefatory WritingA. The Novel’s Relationship to Fact, Fiction, and Truth Aphra Behn, Dedication and Opening of Oroonoko (1688) Daniel Defoe, Preface to Robinson Crusoe (1719) Daniel Defoe, Preface to The Farther Adventures of Robinson Crusoe (1719) Penelope Aubin, Preface to The Strange Adventures of the Count de Vinevil and his Family (1721) Samuel Richardson, Preface to Pamela (1740) Eliza Haywood, Preface to The Fortunate Foundlings (1744) John Cleland, Opening of Memoirs of a Woman of Pleasure (1748-49) Charles Johnstone, Preface to Chrysal (1760-65) Elizabeth Griffith, Preface to The Delicate Distress (1769) Thomas Thoughtless [pseudonym], Advertisement to The Fugitive of Folly (1793) B. The Novel’s Definition as a Romance, History, Biography, or Other Form William Congreve, Preface to Incognita (1692) Jane Barker, Preface to Exilius (1715) Mary Davys, Preface to The Works of Mrs. Davys (1725) Henry Fielding, Preface to Joseph Andrews (1742) Sarah Fielding, Advertisement to The Adventures of David Simple (1744) Henry Fielding, Preface to Sarah Fielding, The Adventures of David Simple, 2nd ed. (1744) Tobias Smollett, Preface to The Adventures of Roderick Random (1748) Henry Fielding, from Book 9, Chapter 1 of Tom Jones (1749) Thomas Holcroft, Preface to Alwyn (1780) [Maria Edgeworth and Richard Lovell Edgeworth], Preface to Maria Edgeworth, Castle Rackrent (1800) Sarah Green, Preface to Romance Readers and Romance Writers (1810) C. The Novel’s Structuring of Plot, Character, Style, and Morality Delariviere Manley, Preface to The Secret History, of Queen Zarah, and the Zarazians (1705) Daniel Defoe, Preface to Moll Flanders (1722) Anonymous [attributed to Samuel Richardson], Preface to Penelope Aubin, A Collection of Entertaining Histories and Novels (1739) Samuel Richardson, Preface to Clarissa (1747-48) Henry Fielding, from Book 8, Chapter 1 of Tom Jones (1749) Tobias Smollett, Dedication to The Adventures of Ferdinand Count Fathom (1753) Jane Collier and Sarah Fielding, Introduction to The Cry (1754) Sarah Scott, Preface to The History of Sir George Ellison (1766) Richard Cumberland, from Book 3, Chapter 1 of Henry (1795) Mary Hays, Preface to Memoirs of Emma Courtney (1796) D. The Novel’s Definition as a Gothic, Eastern, Sentimental, Political, or Historical Tale Horace Walpole, Prefaces to The Castle of Otranto (1764, 1765) James Yeo, Preface to Omar and Zemira (1782) Clara Reeve, Preface to The School for Widows (1791) Charlotte Smith, Preface to Desmond (1792) Walter Scott, “Introductory” to Waverley (1814) Part II: Critical EssaysA. The Novel’s Relation to Fact, Fiction, and the Real John Dunton, ed., Athenian Mercury, Vol. 9, No. 2 (1692) Joseph Addison, The Spectator, No. 416 (1712) Charles Gildon, “A Dialogue betwixt D— F–e, Robinson Crusoe, and his Man Friday” and “An Epistle to D— D’F–e, the Reputed Author of Robinson Crusoe,” The Life and Strange Surprising Adventures of Mr. D—DeF– (1719) Samuel Johnson, The Rambler, No. 4 (1750) John Hawkesworth, The Adventurer, No. 4 (1752) William Whitehead, The World, No. 19 (1753) Anna Letitia [Aikin] Barbauld and John Aikin, “On the Pleasure derived from Objects of Terror […]” and “An Enquiry into those Kinds of Distress which excite agreeable Sensations […],” Miscellaneous Pieces, in Prose (1773) George Wright, “Modern Novel-Writers Justly Censur’d,” Pleasing Reflections on Life and Manners (1787) William Hazlitt, “Standard Novels,” Edinburgh Review, Vol. 24 (1815) B. The Novel’s Definition as a Romance, History, Biography, or Other Form John Dennis, from Essay on the Genius and Writings of Shakespear (1712) Peter Shaw, “Of Writings designed to improve Morality,” The Reflector (1750) Samuel Johnson, from A Dictionary of the English Language (1755) Richard Hurd, from A Dissertation on the Idea of Universal Poetry (1766) Anna Letitia [Aikin] Barbauld and John Aikin, “On Romances, An Imitation” and “On the Province of Comedy,” Miscellaneous Pieces, in Prose (1773) Philip Dormer Stanhope, 4th Earl of Chesterfield, from Letters written by … the Earl of Chesterfield to His Son (1774) Henry Mackenzie, The Lounger, No. 28 (1785) George Canning, The Microcosm, No. 26 (1787) Robert Alves, “A Parallel between History and Novel writing,” Sketches of a History of Literature (1794) C. The Novel’s Structuring of Plot, Character, Style, and Morality Aaron Hill, “[Letter] To the Editor of Pamela,” Samuel Richardson, Pamela, 2nd ed. (1741) Sarah Fielding, from Remarks on Clarissa, Addressed to the Author (1749) Samuel Johnson, The Rambler, No. 139 (1751) Anonymous, from An Essay on the New Species of Writing founded by Mr. Fielding (1751) Edward Young, from Conjectures on Original Composition (1759) Arthur Murphy, Introduction to The Works of Henry Fielding (1762) James Burnett, Lord Monboddo, from Vol. 3 of Of the Origin and Progress of Language (1776) William Craig, The Mirror, No. 31 (1779) Richard Cumberland, “Remarks upon novels, and particularly of Richardson’s Clarissa,” Vol. 2 of The Observer (1786) Humphry Repton, “On the Clarissa of Richardson and Fielding’s Tom Jones,” Variety (1787) Part III: Cultural CommentaryA. The Novel’s Expanding Popularity Philip Skelton, from The Candid Reader (1744) John Hawkesworth, The Adventurer, No. 35 (1753) Edward Moore, The World, No. 13 (1753) George Colman (the Elder) and Bonnell Thornton, The Connoisseur, No. 96 (1755) Oliver Goldsmith, “A Resverie,” The Bee, No. 5 (1759) George Colman (the Elder), Prologue to Polly Honeycombe, A Dramatic Novel of One Act (1760) Vicesimus Knox, “On the Multiplication of Books,” Vol. 1 of Essays Moral and Literary, new ed. (1782) “R.R.E.,” Gentleman’s Magazine, No. 57 (1787) Thomas Wilson, from The Use of Circulating Libraries Considered (1797) B. The Novel’s Moral Influence Samuel Croxall, Preface to A Select Collection of Novels (1720-22) John Hawkesworth, The Adventurer, No. 16 (1752) Elizabeth Montagu, “Plutarch—Charon—And a Modern Bookseller,” George Lyttelton, 1st Baron Lyttelton [and Elizabeth Montagu], Dialogues of the Dead (1760) Richard Griffith, “Novels,” Vol. 1 of Something New (1772) Vicesimus Knox, “On the Efficacy of Moral Instruction,” Vol. 1 of Essays Moral and Literary, new ed. (1782) Henry Mackenzie, The Lounger, No. 20 (1785) C. The Novel’s Proper Use by Young People Samuel Pegge (the Elder), Gentleman’s Magazine, No. 37 (1767) William Jones, “On Novels,” Letters from a Tutor to his Pupils (1780) Vicesimus Knox, “On the Best Method of Exciting in Boys the Symptoms of Literary Genius,” Vol. 1 of Essays Moral and Literary, new ed. (1782) Catherine Macaulay, “Literary Education,” Letters on Education (1790) Erasmus Darwin, “Polite Literature,” A Plan for the Conduct of Female Education, in Boarding Schools (1797) William Godwin, “Of Choice in Reading,” The Enquirer (1797) Maria Edgeworth and Richard Lovell Edgeworth, “Books,” Vol. 1 of Practical Education (1798) Elizabeth Parker, Eleanor Smith, Eliza Sinclaire, and Jane Lewis, [Students’ Prize-winning Essays on “The Love of Novels,”] Vol. 1 of The Juvenile Library (1800) D. The Novel’s Power Over Women Mary Astell, from A Serious Proposal to the Ladies (1694) Judith Drake, from An Essay in Defence of the Female Sex (1696) Richard Berenger, The World, No. 79 (1754) James Fordyce, “On Female Virtue,” Vol. 1 of Sermons to Young Women (1766) Hester Chapone, “On Politeness and Accomplishments,” Vol. 2 of Letters on the Improvement of the Mind (1773) Mary Wollstonecraft, “Some Instances of the Folly which the Ignorance of Women Generates […],” A Vindication of the Rights of Woman (1792) Ann Wingrove, “On Reading Novels,” Letters, Moral and Entertaining (1795) Thomas Gisborne, “On the Employment of Time,” An Enquiry into the Duties of the Female Sex (1797) Rachel Hunter, Preface to The Unexpected Legacy (1804) E. The Novel’s Threat to Religion John Nesbitt, from A Sermon Preached to Young Persons (1713) George Whitefield, from Christ the Best Husband (1740) James Relly, from The Life of Christ (1762) John Kendall, from Remarks on the Prevailing Custom of Attending Stage Entertainments: Also on the Present Taste for Reading Romances and Novels (1794) William Jones, from The Human Imagination (1796) Hester Rogers, from The Experience of Mrs. H.A. Rogers (1796) Part IV: Book ReviewsA. Competing Reviews of the Same Novel Owen Ruffhead, Review of Laurence Sterne, The Life and Opinions of Tristram Shandy, Vols. 3 and 4, Monthly Review, No. 24(1761) Anonymous, Review of Laurence Sterne, The Life and Opinions of Tristram Shandy, Vols. 3 and 4, Critical Review, No. 11 (1761) Anonymous, Review of Frances Burney, Evelina, Monthly Review, No. 58 (1778) Anonymous, Review of Frances Burney, Evelina, Gentleman’s Magazine, No. 48 (1778) Anonymous, Review of Frances Burney, Evelina, Critical Review, No. 46 (1778) Anonymous [attributed to Samuel Taylor Coleridge], Review of Ann Radcliffe, The Mysteries of Udolpho, Critical Review, Series 2, No. 11 (1794) and Addendum to Review, Critical Review, Series 2, No. 12 (1794) Anonymous, Review of Ann Radcliffe, The Mysteries of Udolpho, Monthly Review, Series 2, No. 15 (1794) Anonymous, Review of Jane Austen, Pride and Prejudice, British Critic, Vol. 41, No. 2 (1813) Anonymous, Review of Jane Austen, Pride and Prejudice, Critical Review, Series 4, Vol. 3, No. 3 (1813) B. Positive Reviews of the Novel’s Plot, Character, Style, and Morality Anonymous, Review of Henry Fielding, Tom Jones, London Magazine, No. 18 (1749) John Cleland, Review of Tobias Smollett, Peregrine Pickle, Monthly Review, No. 4 (1751) Owen Ruffhead, Review of John Hawkesworth, Almoran and Hamet, Monthly Review, No. 24 (1761) Anonymous, Review of Frances Sheridan, Memoirs of Miss Sidney Bidulph, Critical Review, No. 11 (1761) Anonymous, Review of Mary Robinson, Vancenza, Monthly Review, No. 7 (1792) Anonymous, Review of Charlotte Smith, The Old Manor House, Analytical Review, No. 16 (1793) Anonymous, Review of William Godwin, Caleb Williams, Analytical Review, No. 21 (1795) Walter Scott, Review of Jane Austen, Emma, Quarterly Review, No. 14 (1815) C. Negative Reviews of the Novel’s Plot, Character, Style, and Morality Anonymous, Review of Anonymous, The Fortune-Teller, Critical Review, No. 1 (1756) Anonymous, [A Series of Short Negative Reviews,] Monthly Review, No. 42 (1770) Anonymous, “Address to the Public” and Review of Anonymous, Peggy and Patty, London Magazine, No. 1 (1783) Anonymous, Review of Mrs. Thompson [i.e., Harriet Pigott], The Labyrinths of Life, Monthly Review, Series 2, No. 5 (1791) D. Writers Review the Critics Henry Fielding, from Book 11, Chapter 1 of Tom Jones (1749) Peter Shaw, “Of Authors and Censors,” The Reflector (1750) Samuel Johnson, The Rambler, No. 176 (1751) Frances Burney, Dedication of Evelina (1778) Isaac Disraeli, “The Origin of Literary Journals,” Curiosities of Literature (1791) Richard Cumberland, from Book 2, Chapter 1 and Book 4, Chapter 1 of Henry (1795) William Beckford, “An Humble Address to the Doers of […] the British Critic,” Vol. 2 of Modern Novel Writing (1796) Part V: Histories of the NovelA. The Rise of the Novel Pierre-Daniel Huet, from The History of Romances [Trans. Stephen Lewis] (1715) Hugh Blair, “Fictitious History,” Vol. 2 of Lectures on Rhetoric and Belles Lettres (1783) James Beattie, “On Fable and Romance,” Dissertations Moral and Critical (1783) Clara Reeve, from The Progress of Romance (1785) John Moore, “A View of the Commencement and Progress of Romance,” The Works of Tobias Smollett (1797) Anna Letitia [Aikin] Barbauld, “On the Origin and Progress of Novel-Writing,” The British Novelists (1810) Glossary of Authors and TextsChronological List of TextsBibliographyIndex

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Book SynopsisThis new edition of Homer’s epic poem is designed with the needs of undergraduate students in mind. The selections, totalling almost half the full work, include all the most famous and most frequently taught episodes. The edition features numerous explanatory footnotes, an illuminating introduction, a glossary of names (with a guide to pronunciation), maps, examples of scenes from the Odyssey depicted in ancient art, and a range of other background materials that help set Homer’s classic in its historical and literary context.Trade Review“This is a lovely translation—clear and accessible: it captures the flow of the Greek, it is accurate in handling subtle nuances of that language, and it gives the story a brisk and powerful pace. This significantly shortened edition conveys the essential elements of the story and should be especially welcome for some readers and classroom settings.” — Miles Beckwith, Iona College“Ian Johnston’s abridged version of his translation of Homer’s Odyssey is an accessible and highly convenient text for use on courses of many different kinds. Comprising forty per cent of the original poem, the text both captures the essential elements of the narrative and makes it manageable for courses with other texts. The introduction is both brief and mostly complete in its range, and is supported by an excellent glossary and collection of parallel literary texts.” — Murray McArthur, University of WaterlooTable of Contents Introduction The Gods Odysseus A Note on Poetic Form and on the Translation Map The Odyssey Book One: Athena Visits Ithaca Book Two: Telemachus Prepares for His Voyage Book Three: Telemachus Visits Nestor in Pylos Book Four: The Suitors Plan to Kill Telemachus Book Five: Odysseus Leaves Calypso's Island Book Six: Odysseus and Nausicaa Book Seven: Odysseus at the Court of Alcinous in Phaeacia Book Eight: Odysseus is Entertained in Phaeacia Book Nine: Ismarus, the Lotus Eaters, and the Cyclops Book Ten: Aeolus, the Laestrygonians, and Circe Book Eleven: Odysseus Meets the Shades of the Dead Book Twelve: The Sirens, Scylla and Charybdis, the Cattle of the Sun Book Thirteen: Odysseus Leaves Phaeacia and Reaches Ithaca Book Fourteen: Odysseus Meets Eumaeus Book Fifteen: Telemachus Returns to Ithaca Book Sixteen: Odysseus Reveals Himself to Telemachus Book Seventeen: Odysseus Goes to the Palace as a Beggar Book Eighteen: Odysseus and Irus the Beggar Book Nineteen: Eurycleia Recognizes Odysseus Book Twenty: Odysseus Prepares for his Revenge Book Twenty-One: The Contest with Odysseus's Bow Book Twenty-Two: The Killing of the Suitors Book Twenty-Three: Odysseus and Penelope Book Twenty-Four: Zeus and Athena End the Fighting In Context Literary Contexts from Xenophanes, Fragments (c. fifth century bce) from Pindar, Nemean 7 (c. fifth century bce) from Plato, The Republic (c. 380 bce) from Aristotle, Poetics (c. 335 bce) from Longinus?, On the Sublime (c. 1st century ce) from Demetrius?, On Style (c. 1st century ce) The Odyssey in Ancient Art Maps Glossary

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Book SynopsisSid Mary is a voice to be reckoned with.Beloved for his intimate, lyrical poetry, Marty''s depiction of selfhood, connection to place and to landscape have proven him a unique and dissenting voice in Canadian literature as well as a consistent presence in the Canadian environmental movement. These are poems, often strongly resonant of western speech, that celebrate all the vicissitudes of rural life, the loves and losses, the valleys and peaks of life on the prairies, foothills and in the mountains of Alberta and British Columbia.This first-ever collected works, featuring forward written by Kit Dobson and Owen Percy, and interview conducted by Pamela Banting, brings together old and new poems, published and unpublished works, in a celebration of the career and artistry of a Western Canadian icon.

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Book SynopsisIn his second book of poems, David Martin digs deep into an examination of the world using the lens of geology. With lyrically experimental poems expanding and retracting, this collection finds sonic and conceptual energy from the perspective of deep time and the geological forces that have shaped and continue to shape the Earth. Enacting seismic shifts, catastrophes, and erosions throughout the natural and cultural worlds, Martin''s poetic practice pushes forward to contend with the contemporary environmental changes and the structure of the Anthropocene that affect how we live in the twenty-first century. The collection veers from the Rocky Mountains and explorations of "fossilized" towns to family histories and myth-soaked theories, all while seeking a balance between disruptive poetic techniques and the centred lyrical voice.

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Book SynopsisUneasy nights out with dead Russian poets, dalliances with German gasfitters and emotionally fraught games of badminton are brought together for the first time, along with a brand new body of work, in this time-spanning selection of Anna Jackson's poetry. Local gothic, suburban pastoral and answerings-back to literary icons are all enhanced by Jackson's light hand and sly humour. Pastoral yet gritty, intellectual and witty, sweet but with stings in their tails, the poems and sequences collected in Pasture and Flock are essential reading for both long-term and new admirers of Jackson's slanted approach to lyric poetry.Trade ReviewI feel that I must start by mentioning the cover, its stark black and white trees and hens and just a tiny drop of red for the hen's combs, the title and the authors name. Very bold and very pleasing, rather like the poems themselves. - Marcus Hobson

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Book SynopsisA Collection of Wildflowers is an eccentric amalgamation of poems, thoughts, questions and simple words written during the authors expeditions around the world. From Welsh mountains, Parisian cafés, temples in Thailand and train journeys in Canada, these words offer the reader a sanctuary to escape the constantly shifting world and to connect with nature, their own mind and the people around them. This collection of poetry invites the reader to join the author in her journey to acknowledge every experience, however mundane, every emotion, however raw, and the undeniable beauty that exists both within us and within nature.

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Book Synopsisthe Muses have been sacked their role in the pantheon sold up for some new real estate venture When the Muses are sacked, what are we to do? The Muses who inspire poetry, astronomy, history and daily living bring their song and dance into present-day political struggles. These Muses are for rebellion. Susan Hawthorne’s poems span millennia of resistance by women. The earth itself is implicated. She writes about women's bodies, how they are used, abused and celebrated in birthing, in sexual pleasure, in grief, in imagining. She draws on stories from ancient and contemporary India, from Greece and Rome, through language, storytelling and translation. we embrace our double lives like actors and their alter egos some say śleṣa is unnatural I've heard the same said about usTrade ReviewRed Doc> and The Sacking of the Muses: Susan Hawthorne's books have been compared to Anne Carson's, especially The Autobiography of Red the forerunner to Red Doc>. Both are imbued with ancient stories and each seeks to transform those stories into contemporary forms. They operate in the hybrid zone between epic and lyric poetry. Louise GluckRed Doc> and The Sacking of the Muses: Susan Hawthorne's books have been compared to Anne Carson's, especially The Autobiography of Red the forerunner to Red Doc>. Both are imbued with ancient stories and each seeks to transform those stories into contemporary forms. They operate in the hybrid zone between epic and lyric poetry. Louise GluckTable of ContentsPrologue Temper of the dance anupada LOVE Putana Kunti 1 Amba 1 Draupadi 1 Kunti 2 anupada EXILE Draupadi 2 Karna 1 Amba 2 Draupadi 3 Arjuna 1 anupada WAR Kunti 3 Amba 3 Arjuna 2 Karna 2 Kunti 4 Draupadi 4 Draupadi 5 anupada Embrace Ślesa Fire Gods Two Bright Horses Storm Gods Earthsky AT2018cow Ancient Cataclysm Storm Season Brhaspati's Cows Surabhi and Nandini Usaas Twenty Stanzas of Meghaduta Sarasvatikanthabharana: Sarasvati's Necklace Notes Towards a Poem about Madhu/Honey Demon Lagna Pooja Rooms Trijata's Dream Sappho's Butterfly Sappho's Butterfly Things a Lesbian Should Know Nonsense Sense Patriarchal Grammar Cyane The Clamping of Alcmena Circe Fragment 16, Sappho Fragment 22, Sappho Five Rivers The Sacking of the Muses 01 The Sacking of the Muses 02 Kalliope, Muse of Epic Poetry 03 Muses are Organising 04 Polyhymnia, Muse of Song 05 Muses are Grieving 06 Melpomene, Muse of Tragedy 07 Muses in Hiding 08 Ourania, Muse of Astronomy 09 Muses Undercover 10 Erato, Muse of Lyric Poetry 11 Muses Writing a Manifesto 12 Kleio, Muse of History 13 Muses are Occupying 14 Euterpe, Muse of Music 15 Muses Love Pageants 16 Thalia, Muse of Comedy 17 Muses are Dancing 18 Terpsichore, Muse of Dance 19 Muses Come out of Hiding 20 Tenth Muse, Sappho

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Book SynopsisLandfall is New Zealand''s foremost and longest-running arts and literary journal. It showcases new fiction and poetry, as well as biographical and critical essays, and cultural commentary. Writers: Aimee-Jane Anderson-OConnor, Nick Ascroft, Joseph Barbon, Airini Beautrais, Tony Beyer, Mark Broatch, Danny Bultitude, Brent Cantwell, Rachel Connor, Ruth Corkill, Mark Edgecombe, Lynley Edmeades, Johanna Emeney, Bonnie Etherington, Jess Fiebig, Meagan France, Kim Fulton, Isabel Haarhaus, Bernadette Hall, Michael Hall, Rebecca Hawkes, Aaron Horrell, Jac Jenkins, Erik Kennedy, Brent Kininmont, Wen-Juenn Lee, Zoë Meager, Alice Miller, Dave Moore, Art Nahill, Janet Newman, Charles Olsen, Joanna Preston, Jessie Puru, Jeremy Roberts, Derek Schulz, Sarah Scott, Charlotte Simmonds, Tracey Slaughter, Elizabeth Smither, Rachael Taylor, Lynette Thorstensen, James Tremlett, Tam Vosper, Dunstan Ward, Susan Wardell, Sugar Magnolia Wilson.

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Book SynopsisThis book examines the early poetry (1956-1971) of the Ukrainian/American writer Yuriy Tarnawsky, one of the founders of the New York Group of Ukrainian poets and a unique figure among Ukrainian writers with regard to his experiments with forms. Demonstrating the radical changes that occurred in his poetic style between the 1950s and 1970s, Maria Grazia Bartolini analyzes the relationship between these innovations and the similar shifts taking place in Western poetry and culture during the 1950s and 1960s, when new forms of expression and a new consciousness developed in the interstices between modernism and nascent postmodernism. The book provides the reader with a selection of unpublished materials from the Yuriy Tarnawsky Papers at the Bakhmeteff Archive of Columbia University.

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Book SynopsisPoems that break down, expose, and reconsider our notions of time. This collection speaks the language of the clock as a living instrument, exposing the sensory impacts of our obsession with time. In oh orchid o’clock, lyrics wind through histories like a nervous system through a body. The poems speak to how we let our days become over-clocked, over-transactional, and over-weaponed. With an instrumental sensibility, Endi Bogue Hartigan investigates what it is to be close to time—collective time, with its alarms and brutalities, and bodily time, intricate and familial. She considers how can we be both captured and complicit within systems of measurement, and she invites us to imagine how to break from, create, or become immune to them. Her poems use language to expose the face of the clock to reveal how gears press against interconnecting systems—economic, capitalist, astronomical, medical, governmental, and fantastical. Trade Review"The clock—its histories, oddities, dominance—is the mechanism of Endi Bogue Hartigan’s oh orchid o’clock. . . . As she evokes the timeless simultaneous information and activity our internet age allows, with its WebMD and newsfeeds and everything else searchable that is packed into these poems, the poet continues to make space for what is before and beyond our conceptions of time. . ." * Harriet Books *"oh orchid o’clock is a book about time, from delineations and attentions to the very loss of time: time sits at a marker from which all else is perceived, written, achieved or ignored. . . . Hartigan offers time as both metaphor and structure, writing of end times, lost times, made-up time, violent time, the times we pay for in advance. She composes this collection as an expansive tapestry of lyric squares, temporal shards and narrative moments, some in motion and others held in amber; time held and held up, turned slowly in the light." * rob mclennan’s blog *“Hartigan’s oh orchid o’clock fluidly rotates constructions of time: our violent times; scientific and philosophical time; the ‘orbit’ of digital time we frequently ‘visit’; the transportive materiality of deep time; the ruling ‘grip of time’ within the timepiece; the illusory ‘streaming of time’ that is ‘a perception trick’; and, critically, time ‘resolved’ or defeated by nature by ‘the orchid opal sky calculating nothing;’ by the imprecision of water, which is ‘the nemesis of all clocks;’ by fire, where the ‘clock surrounds . . . a foliage of flame, clockless.’ Here, in the book’s free rotation of poetic time, which is ‘something pure and round,’ we are not ‘absorbed’ by the ‘vertical worlds’ that ‘fall horizontally.’ Here, in the linguistic rotations constructed by poetry, we are not mere visitors of time or ‘tethered as a clockhand.’ Here, in oh orchid o’clock, we are new rotations, where ‘one side of the orchid is pointing at everything close.’” -- Amy Catanzano, author of Starlight in Two Million: A Neo-Scientific Novella“Time is in the center of this extraordinary poetry collection by Hartigan, who drives us (through a kind of incantatory speech) into a world of subversive syntax, of compressed and expanded language and, most of all, of meaning. This ‘apparatus,’ as the poet subtly refers to the compositions on these pages, rearranges the outlines of matter versus organic matter, of the objective versus the subjective in our known (and unknown) spaces, giving them a new range of expression, a new clarity, to signify and bridge. These poems connect the molecular to the universal to the public to the personal in a single breath. It’s a wildly original and ingenious book, but what catapults us into the bliss of this reading is a sense of finding (astonished) the 'arrows and notches' of our earthly human print.” -- Flávia Rocha, author of Exosfera“Hartigan, in this wondrous and fearsome mélange of meditation, rhyme, and wordwelding, pursues the vortex of Emily Dickinson’s dark conjuncture even as she mounts a Blakean charge against the modern tyranny of clock-time. Her oh orchid o’clock is rife with natural and mechanical marvels—scent clocks and snowflakes, marigolds and gym ellipticals—but its terribly ubiquitous mechanisms are the Taylorized workplace and the AK-15. Counter to these rapacious devices, Hartigan weaves a lush tangle of perceptions, drawn from the everyday, heightened by her deliriously acute ear. Not a knife-beak, not an ink fluke: public events toll ever more ominously in her Northwestern US, and yet these poems, lounging in the clock like certain creatures, lyrically undo the incremental fiction of the hours.” -- John Beer, author of Lucinda“Swirling with condensations and collisions of language, observations, societal and personal conditions, at the center of which abides a constantly fervently spinning heart, these poems also ask: ‘Can the clock burn?’ I think the clock does burn in these poems, also morphs and contracts and grows second (and third, fourth, other) second-hands, seeks alternate ways of counting, amplifying and expanding time inside the interstices that nest beneath and beyond what we can count, what we can comprehend. These poems are clocks of their own count and their own making, setting their tiny pulses against our current collective sense of an impending clock, to dream and create their own intricate, delicate music and meter and measure of what it means to be and feel at this particular moment in time.” -- Dao Strom, author & songwriter of Instrument/Traveler’s Ode“I am awed by Hartigan’s ability to inhabit time’s perplexities. Her sonically sensitive and wondrous meditations on continuity and chronology, accumulation and containment, contemplate the ‘measure of measure,’ each one finding a different way to mesmerize time to investigate its constructions. Never have I so intimately felt the bewilderment of being ‘off the clock’ and of the clock. I love oh orchid o’clock’s quality of deep prayer, how it attends intimately to the feeling of time in lived experience, how it lets go of instrumentality to consider the instrument.” -- Mary Szybist, author of Incarnadine"Open oh orchid o’clock, and you find yourself inside the clockwork maze of a Chinese incense box that releases each hour with a distinct scent. Let the hours teach, sing, dismantle and restore. These poems by Hartigan fathom time’s mythos in nesting dolls and gunshots, measures in galactic orbits and fractals or intervals between ravages and respite as by the Nilometer—the unit that ancient Egyptians used to calculate the precisely rising levels of the Nile between successive flooding. Hartigan’s work shows us the cuckoo in the clock but also the clock in the cuckoo: how time resides in the body, grips the imagination, how it is transactive, a factory of simulacra, a secret seam between what has passed and what is yet to come. The extraordinary richness of this book lies in its showcasing of language as a worthy opponent in wrestling the giant of time; how a phrase, even a phoneme can lock as well as set time free, how poetry can contend with the eternal and the sudden, how the lyric can subdue time’s machinations with a pulse all its own: chiming, colliding or stilled at will—'I am free to fill the silence with denser silence,' the poet declares—a triumph for us all." -- Shadab Zeest Hashmi, author of Ghazal Cosmopolitan

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Book SynopsisHe is a god, an ideal, a magnet for the women who flock to him. They are scribes, editors, messengers, scholars. Some are warriors, some run households while others run kingdoms, and they are all involved in varying degrees with him, the god Murugan. They are desperately in love with him. He too is equally, hopelessly, in love with some of them. Between the lover and the beloved is a mutual give-and-take of flirtation, seduction, wooing, meeting, parting, pining and surrender. And always, a straining to get on with writing a central motif in this collection of sharp-edged sutras and mellow poetry.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisThe defeat of the Ottomans by the Holy League fleet at Lepanto (1571) was among the most celebrated international events of the sixteenth century. The Battle of Lepanto anthologizes the work of twenty-two poets who composed Latin poetry in response to the news of the battle, the largest Mediterranean naval encounter since antiquity.

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Book SynopsisThe variety of contemporary American poetry leaves many readers overwhelmed. Critic, scholar, and poet Stephanie Burt sets out to help. Beginning in the early 1980s, where critical consensus ends, she presents 60 poems, each with an original essay explaining how the poem works, why it matters, and how it speaks to other parts of art and culture.Trade ReviewIt is refreshing to find a book that gives equal weight and relish to avant-garde minimalism, New Formalism, and so many of the stations in between…The poems Burt selects would alone comprise a valuable anthology of the American poetry of its time, and [she] is an entertaining, thought-provoking and eager guide to them, keen to ask all the questions that occur to [her] in [her] reading, and to engage with the chicanery of thought it engenders. Each essay is obviously a product of enjoyment, and encourages us to treat poems with the same enthusiasm—to embrace difficulty and difference in exchange for the articulate and involved pleasure that poetry, of all the arts, can best provide. -- Rory Waterman * Times Literary Supplement *[Burt] approaches a stunning variety of verse with the obsessiveness and knowledge of a scholar and a fan. Burt is an ideal guide for this trip through contemporary American poetry…Burt’s close readings are sharp and illuminating…The death of poetry has been proclaimed time and time again. But the sixty universes that Burt uncovers in these poems show us how alive poetry is, and how it needs to be read and appreciated for all its weirdness and cacophonous music…Whether you dip in and out of this book over months or read it all in a matter of days, it will help you pay better attention to the nuances, difficulties, identities, and music in American poetry…What comes through here is Burt's sheer, voracious love of contemporary poetry, and it's infectious. This book is a series of doors that all lead back to the poems themselves, and it will likely be used in classrooms across America. At least I hope so. -- Gibson Fay-LeBlanc * Bookforum *A fabulous guide…Each poem is introduced by an essay sketching out how it works, why it matters, how it speaks to the wider worlds of art and culture. * The Guardian *The Poem Is You is a collection of knowledgeable, useful and affectionately committed short essays on sixty recent poems by sixty American poets…[Burt writes with] unselfconscious erudition, light touch, even tone. -- Caleb Klaces * Poetry Review *Throughout, the style of Burt’s writing is as relaxed and inviting as its content is trenchant and learned. If the sheer capaciousness of contemporary American poetry is one of its defining features, Burt’s achievement here is to have been an enviably capacious critic, responding to the event of each poem in labile and unpredictable ways. -- Benjamin Madden * Australian Book Review *Drawing on endlessly deep wells of enthusiasm and acuity, The Poem Is You offers not so much a sequence of explanations as a series of invitations: Burt is more intent on describing how to think about a particular poem than on telling us what to think. Unpredictable yet unfailingly useful, The Poem Is You is a joyous book. -- James Longenbach, author of The Virtues of PoetryThis is a splendid book. Many critics and poets have published essays or reviews of contemporary poetry, but Burt is doing something else here. She lavishes the poems with extraordinarily nimble, alert, luminous attention. It’s hard to think of a better introduction to contemporary American poetry. -- Jahan Ramazani, author of Poetry and Its Others: News, Prayer, Song, and the Dialogue of GenresPoet and critic Burt’s ambitious anthology of recent poems by American authors, from 1981 to 2015, creates a coherent body of work out of the vast landscape of recent American poetry. Burt’s 60 selections are eclectic, mingling instantly recognizable names (John Ashbery, Adrienne Rich) with newer talents (Lucia Perillo, Claudia Rankine.)…Burt’s many ways of looking at a poem will inspire new students and accomplished poets, especially as many of [her] meditations circle the question of what poetry does, or should do: making readers pay attention, ask questions, and experience new things. Burt’s formidable breadth of knowledge about the practice of poetry, from Virgil up to 2015, allows [her] to make nimble connections among authors and establish an ars poetica for current American lyric poetry, an impressive feat given the diverse selection just within this book. * Publishers Weekly *[Burt’s] critique is not only accessible to most all readers, but it also shows [her] depth of knowledge and love of American poetry. [Her] essays are very good at finding the meaning of the work while placing each poem in context within the landscape of poetry…This book is for anyone interested in the state of American poetry today. -- Jeremy Spencer * Library Journal *

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Book SynopsisJohn Berryman was an energetic correspondent. Assembled here for the first time, his letters tell of generosity, ambition, and struggle. He has encouraging words for fellow poets and younger writers and is deeply engaged in literary culture. But also visible are the struggles of a working artist grappling with alcoholism and depression.Trade ReviewThough the outer world of politics and civil strife may occasionally intrude, it proves no match for the smoke-filled rooms inside the poet’s head…Anyone who delights in listening to Berryman, and who can’t help wondering how the singer becomes the songs, will find much to treasure here. -- Anthony Lane * New Yorker *Happiness was as transformative for Berryman as suffering, and his accounts of ecstasy and contentment are as wonderful as his depictions of anxiety and despair are piercing…The voice of these letters is recognizably the voice of much of Berryman’s poetry. Language was, for him, not functional or utilitarian but a performance medium…[There’s] tremendous pleasure and fascination [in] this long-overdue collection. After too long an absence, it is wonderful to see Berryman once again resurrected. -- Troy Jollimore * Washington Post *Now, in addition to his poetic oeuvre, here are all the letters by Berryman you’ll ever want to read…His letters show much wide-ranging thoughtfulness, as in [his] wholly appropriate definition (written to New Yorker editor Katharine White) of originality in poetry…There are comparably fine statements made to Edmund Wilson about Jane Austen’s art, or about Mozart’s Figaro, or to Robert Frost about Ezra Pound…Perhaps the most useful thing any collection of letters provides is a fresh look at the work of their author. -- William H. Pritchard * Wall Street Journal *[A] most welcome book…The hundreds of pages of letters gathered here offer the most enjoyable and direct portrait of this wild poet we are ever likely to get. The composite figure who emerges from them is—although difficult, strange and occasionally hurtful—chiefly a lovable one…Makes for a new and much needed reckoning with Berryman’s astonishing, insurmountable mind. -- Tom Cook * Times Literary Supplement *Panic, procrastination, recrimination, anticlimax and farce: standard fare in a Berryman letter, and all to be found in abundance [in this volume], unobtrusively and expertly edited by Philip Coleman and Calista McRae…Though he appears the most biographically available of poets, the self that emerges from his letters is chaotic, elusive, and overflowing—a perpetual work in progress…Selected Letters is a book of volcanic energies. -- David Wheatley * Literary Review *Allows us to see Berryman trying on different personae, speaking in different styles and, in doing so, holding his many selves in vibrant, tensile relation…Through the accumulation of so much correspondence, we come to see Berryman’s style of writing, which tells us a lot about his style of being. -- Anthony Domestico * Commonweal *There is little in Berryman’s lettristic oeuvre—and this is no surprise to those who have admired the ambition of the poems—that does not depict the heart in all its convolutions, unsettled, unsatisfied, distracted, petty, combative, conflicted, and, often, sad…It is fair to say that in this case, more than 600 pages of letters amount to a page-turner…It seems that as with many voices of the confessional era of American poetry, it was his to burn this briefly, in real anguish. The Selected Letters well preserves that drama for those still wishing to know. -- Rick Moody * Poetry Foundation *An addictive volume, as full of drama as a literary soap opera, Berryman alternately grasping and sabotaging opportunities. The Berryman revealed in these letters is passionate, tortured, irascible, out of control, deeply moved and moving…It’s thrilling to read these letters as Berryman’s tragic genius unfolds. -- Meryl Natchez * Hudson Review *Pre-fax, pre-email, pre-text, here are hundreds of pages of loving and painful letters, of hopeful and disappointed letters, of joyful and death-haunted letters, of cautious and gossipy letters, of merry and hurt letters, of phallic and fatigued letters, of self-deprecating and vain letters, of admiring and critical letters. John Berryman, this great American poet of imagination, love, intellect, and pain, comes into optimistic, crystalline focus. -- Henri ColeLearned, literary correspondence…[The] meticulous editing, as well as the poems quoted in the letters, made me reappraise Berryman’s work…These letters, with rage simmering below the surface, made Berryman more of a human being to me, less of a one-sided self-destructive wreck…[A] superb selection. -- Marian Janssen * Berfrois *This capacious, warts-and-all selection of Berryman’s letters is a landmark…There are riches here…The letters can be entertaining, covering a range of tones reflecting his multi-voice verse…When Berryman talks about writing, he soars, and he talks about writing much of the time. -- Martina Evans * Irish Times *Berryman the wag is very much in evidence in his letters, as is Berryman the professor, Berryman the son, the husband, the wooer, all with their complement of registers…But it is Berryman the poet who keeps on reminding us how astonishingly life-giving his vocation can be. -- Ange Mlinko * Book Post *What makes The Selected Letters enjoyable is its utter capaciousness…The editors…have performed valuable, painstaking work. -- Chelsie Malyszek * Threepenny Review *We should be grateful for this fresh insight into Berryman and his starry, competitive circle. * The Spectator *Fills the major gap on the shelf of his books…This meticulous and generous selection of the poet’s typed and scrawled outgoing mail is infinitely suggestive. The editorial accuracy, especially where Berryman was writing by hand, seems all the poet could have wished for. -- William Logan * New Criterion *This sumptuous selection of John Berryman’s letters affords a welcome conspectus of the great poet’s life and work, from the protracted apprenticeship to the hard-won triumphs of the mature years, and covering even the brilliant but still underrated narrative of Love & Fame. By turns precocious, histrionic, hilarious, self-tormenting, rivalrous, shrewdly critical, abrasive, and abusive—and always ambitious for his poetry—Berryman in these extraordinary letters is shown to be the consummate craftsman and critic, as well as the hero-worshipper, the generous mentor, the fervent lover, and the tender father. -- John Haffenden, author of The Life of John Berryman and coeditor of The Letters of T. S. Eliot‘We asked to be obsessed with writing,’ wrote Robert Lowell in his elegy ‘For John Berryman,’ ‘and we were.’ The dizzying extremes to which that obsession pushed Berryman are on harrowing display in these letters, which oscillate between troughs of alcoholic abjection and peaks of manic creative confidence. Berryman was both a superbly conscientious craftsman and authentically crazed original; the publication of his letters to his gifted circle of friends—a circle that included Saul Bellow, Delmore Schwartz, Randall Jarrell, and Lowell himself—will reconfigure forever our understanding of mid-century American poetry. -- Mark Ford, author of This Dialogue of One: Essays on Poets from John Donne to Joan MurrayA revealing window into the poet’s mind and work through his own words…It is well worth the serious attention of any literary scholar. * Publishers Weekly *The publication of his selected letters suggests that a new look at the poet’s faith is not merely warranted but essential to understanding his art…Berryman’s letters reveal not only his continual shifting between belief and doubt but also that Catholicism remained his point of reference in life. -- Nick Ripatrazone * National Review *Offers an inside view of the poet’s chaotic life and storied literary career—his growth from precocious boarding school student and Columbia undergrad to prolific, opinionated man of letters to flamboyant, boundary-breaking father of Confessional poetry…A hymn to both the excitement and the challenges of a life lived in poetry. -- Andrew Epstein * On the Seawall *

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Book SynopsisProvides the English-speaking reader with what he needs to read and understand the Purgatorio. This volume consists of the prose translation of Giorgio Petrocchi's Italian text (which faces the translation on each page).Trade Review"With the publication of Singleton's edition of The Divine Comedy, we have in English ... A truly scholarly edition which can at last vie with ones in Italian and German... This monumental work will be indispensable for all lovers of this masterpiece who wish to root it in its linguistic, historical and social reality."--Speculum

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Book SynopsisProvides the English-speaking reader with what he needs to read and understand the Purgatorio. This volume consists of the prose translation of Giorgio Petrocchi's Italian text (which faces the translation on each page).Trade Review"With the publication of Singleton's edition of The Divine Comedy, we have in English ... A truly scholarly edition which can at last vie with ones in Italian and German... This monumental work will be indispensable for all lovers of this masterpiece who wish to root it in its linguistic, historical and social reality."--Speculum

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Book SynopsisTrade Review"Nate Klug’s Hosts and Guests examines the sometimes uneasy, shifting economies between what serves as host and what is hosted in an array of contexts, from the Anthropocene to mother and fetus. . . . But it is perhaps in his delicate, intricate syntactical suspensions and arrangements, as much as in his arresting image systems, that Klug conveys the beautiful struggle of risking love and belief in bodies seemingly made to be lost to us."---Lisa Russ Spaar, Los Angeles Review of Books"Klug is writing some of the strongest poetry you can find in American letters these days. Stoically fierce and vividly alert. The signature surfaces of a Nate Klug poem . . . are often somehow simultaneously beautifully smooth and a little edgy. But they are also chiseled and efficient, and these qualities together are a sign of the richness in the depths they signify."---Jesse Nathan, McSweeney's"Intelligent, wry, learned, and at times witty . . . Klug bears witness to the fruitful cross-pollinations of contemporary poetry and contemporary religious faith…he is worth watching. - Library Journal""Klug is a poet of attention for whom metre is a slow-mo technology that lets you notice what’s in front of you. But he also finds words for interiority, helping you notice emotions that get lost in the rush of the everyday. - James K.A. Smith, Image Journal newsletter""Klug, at his best, can marry image, movement, and melody into precise order… I find myself…so refreshed by the poems of Hosts and Guests. - Christian Detisch, 32poems.com""Quirky and philosophical. . . . the poems in Hosts and Guests are . . . both exploratory and concise; they wander without filler or clutter. Klug’s descriptions are sharp, subtle, perceptive. . . . Here is the startling opposite of dogma’s violence: a free thinker who keeps running into God despite his disavowals."---Caroline Pittman, Threepenny Review

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Book SynopsisTrade Review"Selected as One of the Top 10 Poetry Books of Spring 2020 by Publisher's Weekly""The delightful fifth book from poet and critic Burt brings the ancient poet Callimachus, respected by later Greeks and Romans, to 21st-century audiences. Burt’s contemporary translations and adaptations musically and playfully build on Callimachus’s themes . . . Burt engages deeply and originally with Callimachus, and the result is a wonderfully rich collection that reveals how the past can cast new light on the present." * Publishers Weekly *"Burt’s translations and adaptations of the works of the ancient Greek poet Callimachus introduce new readers to the poet’s lyric writing, whose topics range from sex and gender to technology. Modern readers will find this voice stirring and relevant to the 21st century." * Publishers Weekly *"I've savored in spurts a couple of the many fine books of poems out this spring—among them, After Callimachus, by Stephanie Burt, which reimagines a campy version of a real but ancient Greek poet."---Tess Taylor, CNN.com"With consummate skill and considerable powers of invention, Stephanie Burt has taken an imaginative leap which enables those who read her to gain some insight into an unfamiliar world and which, at the same time, may tell them much about their own. [After Callimachus is] a collection that deserves to be widely read."---David Cooke, The High Window"After Callimachus is a substantial, fresh and entertaining collection, and a fine work of translation."---David Caddy, Tears in the Fence ​​​​​​​

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