Poetry / Poems

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Book SynopsisThis book is an invitation to read poetry. Simon Critchley argues that poetry enlarges life with a range of observation, power of expression and attention to language that eclipses any other medium. In a rich engagement with the poetry of Wallace Stevens, Critchley reveals that poetry also contains deep and important philosophical insight. Above all, he agues for a ''poetic epistemology'' that enables us to think afresh the philosophical problem of the relation between mind and world, and ultimately to cast the problem away.Drawing astutely on Kant, the German and English Romantics and Heidegger, Critchley argues that through its descriptions of particular things and their stubborn plainness - whether water, guitars, trees, or cats - poetry evokes the ''mereness'' of things. It is this experience, he shows, that provokes the mood of calm and releases the imaginative insight we need to press back against the pressure of reality. Critchley also argues that this calm defines the cTrade Review'Things Merely Are is very much a manifesto that aims to break the frame of philosophical thinking within the English-speaking tradition. And in the bargain Critchley gives us a fresh reading of Wallace Steven's work that academic literary criticism desperately needs. My hope is that this book is not just a one-trick pony but the opening of a philosophical investigation into literary modernism.' - Notre Dame Philosophical ReviewTable of ContentsAcknowledgements, Abbreviations of works by Wallace Stevens, Advice to the reader, 1. Or so we say – twenty-one propositions, 2. Poetry, philosophy and life as it is, 3. Sudden rightnesses, 4. Wallace Stevens’s intimidating thesis, 5. The twofold task of poetry, 6. The thing itself and its seasons, Conclusion, Afterword: Calm – on Terrence Malick, Thanks, Notes, Bibliography, Index

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Book SynopsisSurdas, regarded as the epitome of artistry in Old Hindi religious poetry from the end of the sixteenth century to the present, refashioned the narrative of Krishna and his lover Radha into elegant, approachable lyrics. His popularity led to the proliferation, through an energetic oral tradition, of poems ascribed to him, the Sursagar.Trade ReviewThese moving, elegant and accessible poems were hugely popular in their times spawning an oral tradition so vibrant that poems continued to be composed in the tradition started by Sur, under his name, by several other poets as well. -- Pragya Tiwari * India at LSE blog *

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Book SynopsisBeheaded for plotting against the Qing empire, poet Qiu Jin would later be celebrated as a Republican martyr and China’s first feminist. Hu Ying studies Qiu’s enduring bond with Wu Zhiying and Xu Zihua, who braved political persecution to keep her legacy alive. In doing so, their friendship fulfilled its ultimate socially transformative potential.

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Book SynopsisIn his epigrams, Martial is a keen, sharp-tongued observer of Roman scenes and events, including the new Colosseum, country life, a debauchee’s banquet, and the eruption of Vesuvius. His poems are sometimes obscene, in the tradition of the genre, sometimes affectionate or amusing, and always pointed.Trade ReviewThe publication of a new edition in the Loeb Classical Library of the poems of Martial—Latin verse and English prose face à face…offers an occasion for thinking about the way Martial’s presence shows itself in English poetry and about the poet in person… A reliable English version is always good to possess and here we have one that gives us access to many a dark and difficult corner of the original Latin. -- Charles Tomlinson * New Criterion *Shackleton Bailey’s is a remarkable achievement, and from now on his ‘Loebs’ will be the best means by which anyone can get to know Martial, as well as the essential first work of reference for scholars. -- P. Howell * Classical Review *

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Book SynopsisIn Praise of Annada, Bharatchandra Ray’s long narrative poem dedicated to the glory of Annada, translated here into English for the first time, is a major achievement and a treasure of Bengali literature. This volume describes the origins of the goddess, the building of her city and temple, and the spread of her worship.

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Book SynopsisFirst published in 1974, Mourir á Scoudouc emerged out of a period of cultural awakening. Chiasson's poems denounced the narrow limitations of the past and traced the lines of a fresh collective vision. The poems were lyrical, referentially modern, and steeped in the rhythms and forms that had emerged from the Americas, Europe, and India. Now, more than 40 years later, Herménégilde Chiasson is considered to be the father of Acadian modernism, and Mourir á Scoudouc is widely regarded as one of the foundational works of modern Acadian literature. Several of the poems, including the oft-anthologized long poem, "Eugénie Melanson," have now achieved iconic status, appearing frequently in books, magazines, and films in French and in English. To Live and Die in Scoudouc is the first English edition of this seminal collection. It replicates Chiasson's design of the 2017 edition and features his own photographs as well as his new introductory essay. Although several of the poems have been previously translated, To Live and Die in Scoudouc features fresh renditions by Jo-Anne Elder, who worked closely with Chiasson on the translations.

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Book SynopsisAndrew Porter explores characterization in Homer, from an oral-traditional point of view, through the resonance of words, themes, and back stories from the past and future. He analyzes Agamemnon's character traits in the Iliad, including his qualities as a leader, against events such as his tragic homecoming in the Odyssey.Trade ReviewThe book is successful in its aim of setting out Agamemnon’s characterization in the Homeric poems…Students and scholars will find a lot of value in the close readings of the texts. -- Thomas McConnell * Bryn Mawr Classical Review *

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Book SynopsisPart of a series of Spenser's great work, this title includes general introduction, annotation, note on the text, bibliography, glossary, and an index of characters. It also features Spenser's Letter to Raleigh and a short Life of Spenser.Trade ReviewThis edition of book 5 of The Faerie Queene is a welcome contribution. Stoll presents a text that will be very useful in the classroom. The decision to make available individual (or in two cases, paired) books of the romance will make it possible for instructors to teach their preferred books of the romance; Stoll's edition of book 5 will certainly increase the likelihood that the Legend of Justice will reappear in undergraduate classrooms, introducing students to a text in which Spenser scholars are increasingly interested. We will all benefit from that. --Andrew Fleck, Sixteenth Century JournalTwo editions of Spenser are both from the same series, published by Hackett Publishing Company, which is providing inexpensive paperback volumes of The Faerie Queene, under the general editorship of Abraham Stoll. The volumes printed this year, books 1 and 5, are edited, respectively, by Carol V. Kaske and Stoll himself. A single volume combining books 3 and 4, edited by Dorothy Stephens, is forthcoming, as is book 6, edited by Andrew Hadfield. The volumes are attractively printed, with notes at the bottom of the page. Each volume includes an introduction, the Letter to Raleigh, a brief 'Life of Edmund Spenser,' textual notes, a glossary, an 'Index of Characters,' and a bibliography. Kaske's introduction to book 1 forms an accessible student guide, touching on a wide range of topics, from versification, genre, and allegory, to 'Spenser's Religious Milieu.' At the same time, there are fresh flashes of insight, no doubt derived from Kaske's long experience of teaching a complex poem. . . . Eschewing 'political and biographical allegory (p. xvi), the notes offer plenty of help to the student seeking to get behind the veil of Spenser's dark conceit, for they emphasize symbolism and historical context, especially literary context or 'sources.' Stoll's edition of book 5 of the Faerie Queene includes a judicious introduction of considerable merit. Not simply well written and learned, it partitions the information in an accessible and interesting way. Stoll is fully attuned to the recent controversies surrounding the Legend of Justice, but he does more than record them for the student reader; he manages to express sympathy for both poet and poem. Students need to hear the historical nature of Spenser's achievement for English literature, and Stoll leads nicely with this topic: book 5 is 'one of the most challenging meditations on justice in English literature' (p. ix). Stoll is as sensitive to the violence of book 5 as he is to its strangeness and beauty. Students will appreciate the short inventory of important works of criticism at the end of each section. The notes are not as full as Kaske's, but perhaps appropriately so. . . . I look forward to having access to the remaining volumes in this series. --Patrick Cheney, Studies in English Literature 1500-1900

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Book SynopsisMir Muhammad Taqi Mir is widely regarded as the most accomplished poet in the Urdu language. Selected Ghazals and Other Poems offers a comprehensive collection of ghazals and masnavis. The Urdu text, presented here in the Nastaliq script, accompanies new translations of Mir’s poems, some appearing in English for the first time.

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Book SynopsisYouth spoken word poetry groups are on the rise in the United States, offering safe spaces for young people to write and perform. These diverse groups encourage members to share their lived experiences, decry injustices, and imagine a better future. At a time when students may find writing in school alienating and formulaic, composing in these poetry groups can be refreshingly relevant and exciting.Listen to the Poet investigates two Arizona spoken word poetry groups - a community group and a high school club - that are both part of the same youth organization. Exploring the writing lives and poetry of several members, Wendy R. Williams takes readers inside a writing workshop and poetry slam and reveals that schools have much to learn about writing, performance, community, and authorship from groups like these and from youth writers themselves.

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Book SynopsisTrade Review“Ali Blythe’s Two­ism will lull and sur­prise with musi­cal­ity and insight, and is a delight to read that will fill those seem­ingly empty moments after read­ing with echo­ing thoughts of what was, what is and what might have been.” -- Jason Christie * Arc Poetry Magazine *"Ali Blythe has created Twoism out of muscle and mirrors, shadow and light, throwing words as though they are knives in a circus act; risky, but with steady aim, each word lands sharp and close to the skin. Blythe drops us into new sites at midnight, into new paradigms, into spare, perfect poems of love and plain want, of watching skies and old clocks, unbalancing the reader while righting the meaning of two." -- Arleen Paré"Right from the first poem, Blythe pulls you down the rabbit hole of desire. Exquisitely crafted, hauntingly wry, Twoism is a heart-wrenching koan. It's a find!" -- Betsy Warland"Sometimes there is no better way to say you are sad than to say you are sad. The emotional weather in Ali Blythe's Twoism is unmistakably contemporary — the medicated ache, the raining cheer, the cool humour where once there was hope. Yet Blythe is as disarming as dangerous. A poet who makes us feel as if we have known them a long time, as if we have been waiting to hear from them, waiting for this book, while telling us the things we have suspected and feared about our condition. In every poem, there is the chance you will be caught unprepared." -- Ian Williams

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Book SynopsisThis new volume of JHU Press's landmark Shelley edition contains posthumous poems edited from original manuscripts. The world will surely one day feel what it has lost, wrote Mary Shelley after Percy Bysshe Shelley's premature death in July 1822. Determined to hasten that day, she recovered his unpublished and uncollected poems and sifted through his surviving notebooks and papers. In Genoa during the winter of 182223, she painstakingly transcribed poetry interlined and broken into fragments, so that the sense could only be deciphered and joined by guesses. Blasphemy and sedition laws prevented her from including her husband's most outspoken radical works, but the resulting volume, Posthumous Poems of Percy Bysshe Shelley (1824), was a magnificent display of Shelley's versatility and craftsmanship between 1816 and 1822. Few such volumes have made more difference to an author's reputation. The seventh volume of the acclaimed Complete Poetry of Percy Bysshe Shelley extracts from PosthuTrade ReviewRigorously, enthusiastically, and innovatively edited, this volume has brought excitement and zest to my Shelley-reading life.—Australian Book ReviewWith volume seven raising the bar once again, this series is the gold standard for Shelley scholarship. Its expert and illuminating readings are peerless.—Madeleine Callaghan, University of Sheffield, The Coleridge BulletinCPPBS 7 is set to become a model for editing modern poetry manuscripts. It strikes a difficult balance between philological rigor and scholarly comprehensiveness on the one hand and readability and usability at different levels of expertise on the other. Textual critics and students of Shelley's poetry will find it equally indispensable, but it will also serve as an important reference work for Mary Shelley scholars.—Valentina Varinelli, Università Cattolica del Sacro Cuore, Milan, Italy, European Romantic ReviewThis outstanding installment of an epoch-making edition of Shelley's verse will transform the opportunities afforded to emerging Shelley scholars.—Anthony Howe, Birmingham City University, UK, Review of English Studies...this volume is a triumph, it is breathtaking, it is monumental, it is a summa.—Byron JournalQuite possibly the most significant publication among this year's Romantic studies,The Complete Poetry of Percy Bysshe Shelley, Volume Seven, edited by Nora Crook, is a magisterial scholarly edition of Shelley's posthumously published poems, including "The Triumph of Life" and many other fragments that Mary Shelley first edited, including some of his most beloved shorter lyrics. Part of the ongoing editorial project now directed by Crook and Neil Fraistat, Volume Seven arrives as a stunning and indispensable book, modeling both textual stewardship and critical acumen.—Studies in English Literature 1500-1900Exciting revelations, new connections, and editorial discoveries abound in volume seven, which is testament to the brilliance of one of our greatest scholars and editors of the Shelleys, Nora Crook.—Keats-Shelley ReviewTable of ContentsList of IllustrationsAcknowledgmentsEditorial OverviewAbbreviationsTEXTSFrom the Triumph MS and Posthumous Poems (Opening Section) The Triumph of Life Lyric Fragments from the Triumph MS "An Unfinished Drama"From Posthumous Poems: Miscellaneous Poems "On the Medusa of Leonardo da Vinci" "The Fugitives" "The sun is set, the swallows are asleep"Lyrics for Mary W. Shelley's Proserpine and Midas "Arethusa" "Sacred Goddess, Mother Earth" "Song of Apollo" "Song of Pan" Autumn A Dirge "Our boat is asleep in Serchio's stream" The Zucca The good die first— The Two Spirits. An Allegory "Tomorrow" "They die—the dead return not" "O World, O Life, O Time" "Madonna, wherefore hast thou sent to me" "I fear thy kisses, gentle maiden—" "My lost William, thou in whom" "A Portal as of shadowy adamant" "The flower that smiles today" From the Arabic—imitation "One word is too often profaned" "Music" "Death is here, and death is there" "When passion's trance is overpast" "Listen, listen, Mary mine—" "O Mary dear, that you were here" "Wilt thou forget the happy hours" "The fiery mountains answer each other" "Mine eyes were dim with tears unshed" "There was a little lawny islet" "Rose leaves, when the rose is dead" "Unfathomable Sea! whose waves are years" "Tell me, Star, whose wings of light" "Rough wind that moanest loud" "Far, far away, O ye" Jan. 1. 1821From Posthumous Poems: Fragments "Ginevra" The Historical Tragedy of Charles the First "Mazenghi" "The Woodman and the Nightingale" "Art thou pale for weariness" "I loved—alas, our life is love" "And like a dying lady lean and pale" "These are two friends whose lives were undivided"COMMENTARIESFrom the Triumph MS and Posthumous Poems (Opening Section) The Triumph of Life Lyric Fragments from the Triumph MS "An Unfinished Drama"From Posthumous Poems: Miscellaneous Poems "On the Medusa of Leonardo da Vinci" "The Fugitives" "The sun is set, the swallows are asleep" Lyrics for Mary W. Shelley's Proserpine and Midas Autumn A Dirge (and Supplements) "Our boat is asleep in Serchio's stream" The Zucca The good die first— The Two Spirits. An Allegory "Tomorrow" "They die—the dead return not" "O World, O Life, O Time" "Madonna, wherefore hast thou sent to me" "I fear thy kisses, gentle maiden—" "My lost William, thou in whom" "A Portal as of shadowy adamant" "The flower that smiles today" From the Arabic—imitation "One word is too often profaned" "Music" "Death is here, and death is there" "When passion's trance is overpast" "Listen, listen, Mary mine" "O Mary dear, that you were here" "Wilt thou forget the happy hours" "The fiery mountains answer each other" "Mine eyes were dim with tears unshed" "There was a little lawny islet" "Rose leaves, when the rose is dead" "Unfathomable Sea! whose waves are years" "Tell me, Star, whose wings of light" "Rough wind that moanest loud" "Far, far away, O ye" Jan. 1. 1821From Posthumous Poems: Fragments "Ginevra" The Historical Tragedy of Charles the First "Mazenghi" "The Woodman and the Nightingale" "Art thou pale for weariness" "I loved—alas, our life is love" "And like a dying lady lean and pale" "These are two friends whose lives were undivided"HISTORICAL COLLATIONSFrom the Triumph MS and Posthumous Poems (Opening Section)From Posthumous Poems: Miscellaneous PoemsFrom Posthumous Poems: FragmentsAPPENDIXESA. Contents of Posthumous Poems of Percy Bysshe Shelley (1824), Together with a List of Manuscript Sources of Items in This VolumeB. Mary W. Shelley's Preface to Posthumous Poems of Percy Bysshe Shelley (1824)C. Source for "Ginevra": Marco Lastri, L'osservatore fiorentinoD. Charles the First: Ancillary Material I. PBS's Reading Notes II. Sketch of Acts I and II III. Jottings (Preliminary) ContributorsIndex of TitlesIndex of First Lines

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Book SynopsisThis is a comedy about climate change, in which a girl and a donkey become friends, then decide to marry time. A lyric fable, Life in a Field intersperses Katie Peterson’s slow-moving, cinematic, and sensual writing with three folios of photographs by Young Suh. Introspection, wish, dream, and memory mark this tale, which is set in a location resembling twenty-first-century California—with vistas and orchards threatened by drought and fires. This is also a place of enchantment, a fairy-tale landscape where humans and animals live as equals. As the girl and the donkey grow up, they respond to the difficulties of contemporary civilization, asking a question that meets our existential moment: What do you do with the story you didn’t wish for? A narrator’s voice combines candor with distance, attempting to find a path through our familiar strife, toward a future that feels all but impossible, and into what remains of beauty and pleasure. Life in a Field tries to reverse our accelerating destruction of the natural world, reminding us of “the cold clarity we need to continue on this earth.”Trade Review"Peterson collaborates with her photographer husband for this experimental pseudo-narrative. Rife with paradoxes and conceits that will leave some readers confounded and others enraptured, Peterson’s collection is driven by a detached and unhurried eloquence. . . . As for Suh’s photography, the images soundly compliment the milieu of the text. Peterson’s incontestable innovation and wit will stir the imaginations of readers, expanding their sense of what is possible in poetry." * Publishers Weekly *"Despite the darkness that hems the story, [Peterson's] language is so joyful and ecstatic that I was willing to follow her to each new vista. And she destabilizes the environment. Her touch is light, but the details are there: 'The firefighters in her town are never overworked until the end of the season.' Time is the 'unwilling melter of glaciers that surround us, as we sleep.' The world is threatened by irrevocable change, but Peterson’s cold clarity shows us one strategy for survival: to strip our stories down so that we can see their bare truths." * Los Angeles Review of Books *“Peterson’s work finds a new kind of happiness, and Life in A Field leads you on a path that’s exploratory but inevitable, tricky but sturdy, earned and enduring and cerebral and impulsive and lit bright with joy. This book is splendid. It makes me happy. This is a really lovely book.” -- Daniel Handler, author of Why We Broke Up and Bottle Grove“I found the book you are about to read delightfully easy to enjoy, and yet I find it difficult to explain what I love about it . . . Like most great poetry, Life in a Field is impossible to summarize or paraphrase. More than most poetry, it eludes formal categorization. Life in a Field is hybrid, mongrel—part allegory, part parable, part fable, part fairytale, part futurist pastoral set in the past or an alternate reality. . . . Life in a Field delights me in its simple, surprising, exquisite language.” -- Rachel Zucker, author of SoundMachine“It stars a girl, an unnamed donkey with a star mark, and a narrator who warns us to keep our distance so we don’t get in the way. Our job as readers is to acknowledge that we are transients by this American river: to pitch our tent and live in the story, not to relate to it. Devastating is too small a word for the vision of goodness and proximity these poems pursue. Their deft interrogation of empathy, privilege, and the myriad ways that ‘beauty makes you greedy and love repurposes your greed’ builds lyricism out of narrative itself. The journey Life in a Field takes us on makes us strange to ourselves in the best possible ways; we stand in that field and pay attention to the price of living in time.” -- Chiyuma Elliott, author of At Most and Vigil“Let others try to summarize the plot of Peterson’s odd and compelling Life in a Field—I want to tell you my copy of it is rife with sunshine yellow: all the thoughts and phrases I highlighted because they hurled a bolt through me. Like: ‘She imagined consoling a god so scared he hid from visitors in his own house.’ Like: ‘I marry you Time, purger of fortunes, handmaiden of ruin.’ Like a single page empty but for the word ‘Happy’ on it. This is a book about the nature of love, time, friendship, decay, and what storytelling is for. Here, Peterson lets her generosity of mind run free.” -- Dana Levin, author of Banana Palace“Life in a Field is a propulsive, gorgeously written story that, like the best fairy tales, feels both familiar and revelatory. Peterson is a master of image delivery. In her prose we see alternate and concurrent images unfold simultaneously--a lemon is both ripe and rotten, a girl is both in love with a donkey and has decided to love no one, a friend is both emotionally luminous and incapable of crying honest tears. Life in a Field is a triumph of language’s unique ability to show us double-exposed ideas with deft and sparkling energy.” -- Rita Bullwinkel, author of Belly Up"Life in a Field exists, in my mind, as a painting, or as a detail—or as two dovetailing details—in a painting (like one by Bruegel, but seen through a glass lightly) that is as long as life, and as fleeting. When you reach the end, and when you reach the beginning of wondering how, you will want to return, as I—and the pictures that passed through your mind—did, not only to the beginning, but all at once to the whole panorama." -- Brandon Shimoda, author of The Grave in the Wall and The DesertTable of ContentsPART ONEPART TWOPART THREEPART FOURDEBTSGRATITUDE

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Book SynopsisIt s a joy. . .to come nearer to a realm of experience little explored in American poetry, the lives of those who are engaged in the complex project of transforming their own gender... Oliver Bendorf writes from a paradoxical, new-world position: the adult voice of a man who has just appeared in the world. A man emergent, a man in love, alive in the fluid instability of any category. – Mark Doty, from the Foreword

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Book SynopsisIn his new collection of poetry, Naked, Abiodun Oyewole unveils his thoughts on self-love, forgiveness, lost love, survival, and cultural identity. Known as a founding member of The Last Poets, a spoken word performance group that arose out of the black nationalism movement in East Harlem in the late 1960’s, Oyewole brings his revolutionary voice to this collection. His writing is straight-forward, engaging, and intense, with the poems taking on the shape of various emotions. Inspired by the “naked poetry” of Juan Ramón Jiménez, Naked is rooted in a striving for freedom, for an essential natural state devoid of all external adornment, turning sensations into concepts that express the concrete realization of nature itself. Written in free form, the brief transcendental poems of Naked convey the character of Oyewole, who has evolved into a master poet of his generation. Trade Review"Founding member of the seminal spoken-word initiative the Last Poets, thought by many critics to be the first hip hop group, Oyewole is a sublime force of scholarship and creativity. A born storyteller, he has infused his newest collection with a powerful sense of humanity. . . . With an exuberant and informative introduction by Lyah Beth LeFlore, Naked is a solid and universal volume by a masterful poet." -- Raúl Niño * Booklist *

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Book SynopsisLike his groundbreaking Inferno (Hackett, 2009) and Purgatorio (Hackett, 2016), Stanley Lombardo's Paradiso features a close yet dynamic verse translation, innovative verse paragraphing for reader-friendliness, and a facing-page Italian text. It also offers an extraordinarily helpful set of notes and headnotes as well as Introduction—all designed for first-time readers of the canticle—by Alison Cornish.Trade Review"Lombardo makes Dante's verses come alive in so many ways that this crowning achievement stands on its own as inspired poetry, readily comprehensible and reliably attentive to the many different registers that the Florentine poet incorporates in his text. Despite its reputation as the most challenging of the three canticles, the Paradiso, in Lombardo's dramatically charged version, becomes remarkably transparent. . . . As is characteristic of his previous translations, Lombardo addresses his version of Paradiso not only to readers but also to listeners and succeeds in recreating the various stages on which the Comedy was originally received and presented: private readings at home and more public oral performances either for small, intimate groups within the palazzo walls or before large crowds in the town square. . . . In her fine Introduction, instructive headnotes to individual cantos, and extensive explanatory endnotes, Alison Cornish provides all the information necessary for a profitable reading of the Paradiso. . . . This handsome bilingual edition is a welcome addition to the large and ever increasing number of annotated translations of Dante's Comedy." —Christopher Kleinhenz, Carol Mason Kirk Professor Emeritus of Italian, University of Wisconsin–Madison"The distinctive combination of Lombardo's lucid rendering of Dante's poem with Cornish's judicious commentary will make this volume a remarkable resource for both new and seasoned readers. It not only provides the necessary coordinates to comprehend Dante's daring description of eternity but also offers new insights about the work’s relation to its historical, philosophical, and literary contexts." —Martin Eisner, Associate Professor of Romance Studies, Duke University"This translation and commentary are an essential contribution to Dante's reception in English. Stanley Lombardo's translation is accurate, elegant, and transparent, a mirror of the original text. Alison Cornish's commentary is lucid, graceful, and precise, with just the right level of detail; it penetrates and opens the Paradiso's philosophical, scientific, and theological dimensions with authority, balance, sensitivity, and simplicity. Perhaps now more readers will follow Dante to Paradise." —Christian Moevs, Associate Professor of Italian, University of Notre Dame"Unlike the crowd-pleasing, visceral and eviscerating Inferno, the Paradiso is not exactly a page-turner. It's rather a quiet journey that demands we slow down, think, and feel before attempting to assimilate higher wisdom, more divine geometry, choreography, and optic theory, and before we meet more of the heroes from the Christian canon, cherishing their divine placement (Look how high Augustine made it. Great to see Joachim of Fiore!, etc.). Lombardo's and Cornish's book, as a book, is engineered to inspire and facilitate this sort of reading, with ample access to the language, ingenuity, creativity and care that Dante summons as he attempted, as far as a poet ever could, to express God's justice and His grace. This is a great classroom text, a tremendously useful parallel-text edition for students, general readers, and anyone at any level studying Dante. "Parallel texts serve best in the modern multicultural classroom where multilingual and monolingual speakers alike can directly engage with the majestic text. I have been teaching Dante for 25 years in a historically Hispanic institution and always cherished them because my bilingual students hear the roots of their own linguistic cultures in the Italian and experience both joy and empowerment in doing so. "One should never underestimate how timely and important are the many themes that one encounters in the Paradiso, such as the experiences of the holy women in the early cantos who were forced into marriage and away from their monastic vows, a stunning episode that explores human and particular female agency in shaping one's own personal and spiritual destiny. Also the depictions of equity, equality, and diversity in heaven will be of great interest to modern readers concerned with social order and social justice. What fascinating class discussions can arise from contemplating the medieval and the modern—and the divine and earthly—urges for justice! Such questions help keep Dante alive and relevant at a time when many teachers fear for the future of the Humanities. To this labor of preserving the past and its great Humanist writers, Lombardo and Cornish have contributed mightily. "Lombardo in his Translator's Preface (xxix) says that his translation of the Inferno has been accused of sounding something like the dialogue in a Scorsese movie. And there are in fact some Scorsese-esque moments even here in paradise, such as when Charles Martel lists various illustrious figures born to great destiny during a discussion of how both birth and divine influence play a part in shaping human destiny: "So one is born a Solon, another Xerxes, / one Melchizedek, and another the one / who flew through the air and lost his son" (81: VIII 124-126), lines directly modeled on the Wizard's rundown of human vocational differences to Travis in Scorsese's Taxi Driver. Among a thousand gems, that is, moments when the translation just nails the moment in mood, diction, tone and or register, I would note some favorites: XII.91-94 (p. 119); XII.70-74 (p. 117); and XII.37-39 (p. 95). "Cornish's notes to each canto, judicious and hyper-clear, are in the back of the book, supporting undistracted reading. The notes guide and mentor the reader, reinforcing what we just read and providing historical information or identification of figures and concepts. Cornish begins each canto with an overview of the characters and content, and uses key words in the original Italian to introduce major terms and concepts. Her introduction is particularly warm and welcoming, emphasizing the themes of knowledge and most of all love that animate Dante's journey and his relationship with Beatrice. The entire apparatus forged by Cornish breaks down many barriers to reading Dante, in part by directly addressing the traditional preference for the Inferno. One could build a course on Dante out of her economic survey of the liberal arts authors she nimbly weaves into the discussion of cosmology, justice, order, and heaven. After the Introduction a spatial map with an elegant rose and spread sheet of canto, location, class of the blessed, and major characters helps readers to chart their personal journey upward. "This publication will help ensure that new generations of readers are welcomed into this unique and ineffable journey. I look forward to teaching it as soon as possible." —Michael Calabrese, California State University, Los Angeles, in The Medieval Review

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Book SynopsisDuring the heatwave of July 2017, Ariel Gordon spent two days sitting on the patio of downtown Winnipeg''s Tallest Poppy, writing snippets of poems which she hung from the boulevard tree using paper and string. Passersby were invited to TreeTalk too -- their secrets / one-liners / meditations / haiku were also hung from the tree. By the end of the weekend, the elm had a second temporary canopy of leaves: 234 poems, 111 written by Gordon, 107 written by passersby, and 16 from other sources. Gordon has assembled all these voices into a long/found poem that asks: what does it mean to live in the urban forest? What does it mean to be in relationship with each other but also with the more-than-human? The book also includes pen and ink illustrations by Winnipeg artist Natalie Baird. Since 2017, Gordon has also hung poems in trees at the Sage Hill Poetry Experience in Muenster, SK, the Prairie Gate Literary Festival in Morris, MN, and at the Winnipeg Folk Festival as part of the Prairie Outdoor Exhibition. Stay tuned for more TreeTalk-ing!

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Book SynopsisBright Dead Things examines the chaos that is life, the dangerous thrill of living in a world you know you have to leave one day, and the search to find something that is ultimately "disorderly, and marvelous, and ours." A book of bravado and introspection, of 21st century feminist swagger and harrowing terror and loss, this fourth collection considers how we build our identities out of place and human contact--tracing in intimate detail the various ways the speaker's sense of self both shifts and perseveres as she moves from New York City to rural Kentucky, loses a dear parent, ages past the capriciousness of youth, and falls in love. Limon has often been a poet who wears her heart on her sleeve, but in these extraordinary poems that heart becomes a "huge beating genius machine" striving to embrace and understand the fullness of the present moment. "I am beautiful. I am full of love. I am dying," the poet writes. Building on the legacies of forebears such as Frank O'Hara, Sharon Olds, and Mark Doty, Limon's work is consistently generous and accessible--though every observed moment feels complexly thought, felt, and lived.Trade ReviewLong list selection for the National Book Award for poetry Best Poetry Book of 2015: New York Times and Buzzfeed Praise for Bright Dead Things "Effortlessly lyrical."--New York Times "These poems are, as my students might say, hella intimate. They are meticulously honed and gorgeously crafted. They marry the lyric poem's interior emotional intensity with its exterior mode of social conveyance and aesthetic beauty... The best compliment one can give a book of poems is that the book loves the reader. Bright Dead Things doesn't just love poetry; it loves the reader. My hunch is, Reader, you'll love it too."--The Huffington Post "Bright Dead Things, the fourth book of poems by Ada Limon, breeds a particular mixture of wildness. The mixture is by turns melodious and tight. Limon's poems are like fires: charring the page, but leaving a smoke that remains past the close of the book."--The Millions "Limon's work is destined to find a place with readers on the strength of her voice alone. Her intensity here is paradoxically set against the often slow burn of life in Kentucky, and the results will please readers."--Flavorwire "Poet and Critic Stephen Burt says, 'Prose sense is to poetry as tonality is to music.' And I see that sense of prose cushioned in each poem included in this leguminous compilation. The works wear complexity on their sleeves with reassuring accessibility on their faces; to say it more succinctly, there's a tough grilling of the soul and champagnes served to the measure of each one?s taste."--The Rumpus "In Ada Limon's Bright Dead Things, there's a fierce jazz and sass ("this life is a fist / of fast wishes caught by nothing, / but the fishhook of tomorrow's tug.") and there's sadness--a grappling with death and loss that forces the imagination to a deep response. The radio in her new, rural home warns "stay safe and seek shelter" and yet the heart seeks love, risk, and strangeness--and finds it everywhere."--Gregory Orr "Ada Limon doesn't write as if she needs us. She writes as if she wants us. Her words reveal, coax, pull, see us. In Bright Dead Things we read desire, ache, what human beings rarely have the heart or audacity to speak of alone--without the help of a poet with the most generous of eyes."--Nikky Finney "Limon does far more than merely reflect the world: she continually transforms it, thereby revealing herself as an everyday symbolist and high level duende enabler. At the end of one poem she writes, "What the heart wants? The heart wants/ her horses back," and suddenly even this most urban reader feels wild and free."--Matthew Zapruder "Both soft and tender, enormous and resounding, her poetic gestures entrance and transfix."--Richard Blanco Starred Review "In her newest volume of poems, Limon (Sharks in the Rivers) delves into the divided self--self separated by geography, by loss, by change, by circumstance. VERDICT Generous of heart, intricate and accessible, the poems in this book are wondrous and deeply moving."--Library Journal "A poet whose verse exudes warmth and compassion, Limon is at the height of her creative powers, and Bright Dead Things is her most gorgeous book of poems."--Los Angeles Review of Books "Richly written and felt."--Publishers Weekly

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Book SynopsisLong central to the canon of British Romantic literature, Samuel Taylor Coleridge and William Wordsworth’s Lyrical Ballads is a fascinating case study in the history of poetry, publishing, and authorship. This Broadview edition is the first to reprint both the 1798 and the 1800 editions of Lyrical Ballads in their entirety.In the appendices to this Broadview edition, reviews, correspondence, and a selection of contemporary verse and prose situate the work within the popular and experimental literature of its time, and allow readers to trace the work’s transformations in response to the pressures of the literary marketplace.Trade Review“Lyrical Ballads, the collection that, in many accounts, launched Romanticism, has often been reprinted, but never in a wholly satisfactory edition. ...Michael Gamer and Dahlia Porter, in yet another splendid Broadview edition, have provided the solution that scholars and students have longed for. This remarkable volume provides both the 1798 and 1800 volumes in full. But more than this; in eight appendices, they provide an astonishing wealth of extra material. ... This is a volume that will surely become a standard in the field, a vital tool in teaching and scholarship. ...[It is] more than one could possibly have hoped for.” — Year’s Work in English Studies (2010)“An edition we’ve all been waiting for, as teachers and as scholars—containing more than one would have thought possible to include in one volume. Herein is all the contextual material one could wish for: reviews from periodicals, including Southey’s and Jeffrey’s famous articles; discussions in correspondence, including comments by Coleridge, Lamb, Southey and Dorothy Wordsworth; critical discussions from Biographia and “My First Acquaintance with Poets”; poetic sources by Burger, Charlotte Smith and Helen Maria Williams; verse responses by Southey, Mary Robinson; even a section detailing how the poems were rearranged in Wordsworth’s and Coleridge’s Collected Works. All this plus the texts of poems excluded from the 1798 and 1800 editions, a handy appendix plotting the poems’ locations on maps of Britain and the Lakes, and a magisterial introduction.” — Tim Fulford, Nottingham Trent UniversityTable of ContentsAcknowledgements Abbreviations Illustrations Introduction William Wordsworth and Samuel Coleridge: A Chronology A Note on the TextLyrical Ballads, 1798 EditionAdvertisement “The Rime of the Ancyent Marinere” “The Foster-Mother’s Tale, A Dramatic Fragment” “Lines Left Upon a Seat in a Yew-Tree Which Stands Near the Lake of Esthwaite” “The Nightingale, a Conversational Poem, Written in April, 1798” “The Female Vagrant” “Goody Blake, and Harry Gill, A True Story” “Lines written at a small distance from my House, and sent by my little Boy to the person to whom they are addressed” “Simon Lee, the Old Huntsman” “Anecdote for Fathers” “We Are Seven” “Lines Written in Early Spring” “The Thorn” “The Last of the Flock” “The Dungeon” “The Mad Mother” “The Idiot Boy” “Lines Written Near Richmond, upon the Thames, at Evening” “Expostulation and Reply” “The Tables Turned; an Evening Scene, on the Same Subject” “Old Man Travelling; Animal Tranquillity and Decay, A Sketch” “The Complaint of a Forsaken Indian Woman” “The Convict” “Lines Written a Few Miles above Tintern Abbey, on Revisiting the Banks of the Wye During a Tour, July 13, 1798” Reviews of the 1798 Edition [Robert Southey], Critical Review (October 1798) Monthly Mirror (October 1798) Analytical Review (December 1798) New Annual Register for 1798 (1799) Monthly Magazine (January 1799) New London Review (January 1799) [Charles Burney], Monthly Review (June 1799) The British Critic (October 1799) Naval Chronicle (October and November 1799) Antijacobin Review (April 1800) [Daniel Stuart], Morning Post (April 1800) [Daniel Stuart], Courier (April 1800) [Daniel Stuart], Courier (June 1800) Portfolio (January 1801) Lyrical Ballads, 1800 EditionVolume IPreface “Expostulation and Reply” “The Tables Turned; an Evening Scene, on the Same Subject” “Animal Tranquillity & Decay, a Sketch” “The Complaint of a Forsaken Indian Woman” “The Last of the Flock” “Lines Left upon a Seat in a Yew-Tree Which Stands Near the Lake of Esthwaite” “The Foster-Mother’s Tale, A Narration in Dramatic Blank Verse” “Goody Blake & Harry Gill, A True Story” “The Thorn” “We Are Seven” “Anecdote for Fathers” “Lines written at a small distance from my House, and sent by my little Boy to the Person to whom they areaddressed” “The Female Vagrant” “The Dungeon” “Simon Lee, the Old Huntsman” “Lines Written in early Spring” “The Nightingale, Written in April, 1798” “Lines Written when sailing in a Boat at Evening” “Lines Written near Richmond upon the Thames” “The Idiot Boy” “Love” “The Mad Mother” “The Ancient Mariner, A Poet’s Reverie” “Lines Written a Few Miles above Tintern Abbey, on Revisiting the banks of the Wye During a Tour, July 13, 1798” NotesVolume II“Hart-Leap Well” “There was a Boy” “The Brothers, a Pastoral Poem” “Ellen Irwin, or the Braes of Kirtle” “Strange fits of passion I have known” “Song” “A slumber did my spirit seal” “The Waterfall and the Eglantine” “The Oak and the Broom, a Pastoral” “Lucy Gray” “The Idle Shepherd-Boys, or Dungeon-Gill Force, a Pastoral” “’Tis said, that some have died for love” “Poor Susan” “Inscription for the Spot where the Hermitage stood on St. Herbert’s Island, Derwent-Water” “Inscription for the House (an Out-house) on the Island at Grasmere” “To a Sexton” “Andrew Jones” “The Two Thieves, or the last Stage of Avarice” “A whirl-blast from behind the hill” “Song for the Wandering Jew” “Ruth” “Lines Written with a Slate-pencil upon a Stone” “Lines Written on a Tablet in a School” “The Two April Mornings” “The Fountain, a Conversation” “Nutting” “Three years she grew in sun and shower” “The Pet-Lamb, a Pastoral” “Written in Germany, On one of the coldest days of the Century” “The Childless Father” “The Old Cumberland Beggar, a Description” “Rural Architecture” “A Poet’s Epitaph”“A Character, in the antithetical Manner” “A Fragment” “Poems on the Naming of Places” “Michael, a Pastoral Poem” NotesReviews of the 1800 Edition [John Stoddard], The British Critic (February 1801) Monthly Mirror (June 1801) Portfolio (June 1801) Portfolio (December 1801) American Review and Literary Journal (January 1802) Monthly Review (June 1802) [Francis Jeffrey], Edinburgh Review (October 1802) Edinburgh Magazine (July 1803) Appendix A: Additions to the 1802 Edition of Lyrical Ballads William Wordsworth, Preface to Lyrical Ballads with Pastoral and other Poems (1802) William Wordsworth, “Appendix:—by what is usually called Poetic Diction” (1802) Appendix B: Poems by Coleridge Originally Intended for Lyrical Ballads “Lewti, or the Circassian Love-Chant” “Introduction to the Tale of the Dark Ladie” “Christabel” Appendix C: Correspondence about Lyrical Ballads Samuel Coleridge to Joseph Cottle (8 June 1797) Samuel Coleridge to Joseph Cottle (ca. 3 July 1797) Dorothy Wordsworth to Mary Hutchinson (ca. June 1797) Samuel Coleridge to Joseph Cottle (13 March 1798) Samuel Coleridge and William Wordsworth to Joseph Cottle (ca. 28 May 1798) William Wordsworth to Joseph Cottle (2 June 1799) Dorothy Wordsworth to Mrs. John Marshall (10 and 12 September 1800) Samuel Coleridge to Humphry Davy (9 October 1800) William Wordsworth to Charles James Fox (14 January 1801) Charles Lamb to William Wordsworth (30 January 1801) Charles Lamb to Thomas Manning (15 February 1801) William Wordsworth to Samuel Coleridge (early March 1801) Charles James Fox to William Wordsworth (25 May 1801) Robert Southey to Grosvenor Bedford (19 August 1801) Samuel Coleridge to William Sotheby (13 July 1802) Samuel Coleridge to Robert Southey (July 1802) Samuel Coleridge to Thomas Poole (14 October 1803) Appendix D: Commentary on Lyrical Ballads From Samuel Coleridge, Biographia Literaria (1817) From William Hazlitt, “My First Acquaintance With Poets” (1823) From William Wordsworth, Notes Dictated to Isabella Fenwick (1857) Appendix E: The Dispersal of Lyrical Ballads into the CollectedWorks of Coleridge and WordsworthAppendix F: Prose Contemporaries From Joshua Reynolds, A Discourse, Delivered to the Students of the Royal Academy (1771) From James Beattie, Essays: On Poetry and Music, as they Affect the Mind (1776) From Erasmus Darwin, “Interlude I,” The Botanic Garden (1789) From George Dyer, Complaints of the Poor People of England (1793) From Erasmus Darwin, Zoönomia; or,The Laws of Organic Life (1794–96) From Joanna Baillie, “Introductory Discourse” to A Series of Plays (1798–1812) From Mary Wollstonecraft, “On Poetry” (1798) From Edmund Burke, Thoughts and Details on Scarcity (1800) Appendix G: Verse Contemporaries From George Crabbe, The Village (1783) Charlotte Smith, “Sonnet III:To a Nightingale” (1784) From William Cowper, The Task (1785) Helen Maria Williams, “To Sensibility” (1786) [William Wordsworth], “Sonnet on seeing Miss Helen Maria Williams Weep at a Tale of Distress” (1787) From Erasmus Darwin, The Botanic Garden (1789) Gottfried August Bürger, “Lenora” (1796) Charlotte Smith, “Sonnet LXX: On being cautioned against walking on an headland overlooking the sea, because it was frequented by a Lunatic” (1797) Robert Southey, “Inscription III. For a Cavern that overlooks the River Avon” (1797) From Joanna Baillie, De Monfort, a Tragedy (1798–1812) Robert Southey, “The Idiot” (1798) Thomas Beddoes, “Domiciliary Verses: December 1795” (1799) Robert Southey, “The Mad Woman” (1799) Robert Southey, “English Eclogues: Eclogue IV: The Sailor’s Mother” (1799) Mary Robinson, “The Haunted Beach” (1800) Appendix H: Mapping the PoemsSelect Bibliography

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Book Synopsis“Michael Field” was the literary pseudonym of two women, Katharine Bradley (1846-1914) and her niece Edith Cooper (1862-1913). The women were poets, playwrights, diarist, and lovers who lived and wrote together during the final decades of the nineteenth century up to World War I. Their arresting poetry has recently gained them a place in the canon, and their extensive engagement with other writers puts them at the centre of fin de siècle literary culture.This Broadview Edition offers selections from all published books of poetry by Michael Field, and a substantial section of transcriptions from largely unpublished manuscript letters and diaries that gives insight into the extraordinary life and work of the authors. A critical introduction, bibliography, and selection of contemporary reviews are also included.Trade Review“This selection from the extensive oeuvre of the two women, aunt and niece, who called themselves ‘Michael Field,’ is a revelation. The editors have given us the most generous selection of the poems to date. The cold fire of Michael Field’s lyricism, its compact, enigmatic language, is fully contextualized in the poet’s debt to Nietzsche, to late century aestheticism, Hellenism, and feminism. The joint diary and the letters of this astonishing poet, with their intellectual astringency, wit, and frankly sensuous homoeroticism, and their acquaintance with major figures of aesthetic culture Pater, Vernon Lee, Browning, and the Berensons enable us to read the late nineteenth-century’s modernism in a wholly new way.” — Isobel Armstrong, Birkbeck College, University of London“The two women who loved and wrote as ‘Michael Field’ feature in recent histories of Victorian sexuality, but this collection convincingly demonstrates their importance in the history of British poetry. A balanced and informative introduction and generous selections highlight the breadth of elements their lyrics synthesized—ancient Greek and Persian, Elizabethan, German, French, Roman Catholic, and even painterly. Extracts from Bradley and Cooper’s journals and correspondence place them amidst aesthetes and critics from Ruskin and Wilde to Berenson, although contemporary reviews show them denied proper recognition. This anthology surveys a unique literary partnership that both reflected and influenced the main artistic currents of turn-of-the-century Britain.” — Margaret Stetz, University of Delaware“Perhaps the most important of the year’s publications, in terms of its effect on the future direction of Victorian poetry studies, was Michael Field, the Poet: Published and Manuscript Materials, edited by Ana Parejo Vadillo and Marion Thain. Bringing together a wide range of writings by the two women who worked under the name ‘Michael Field’, this single-volume edition is a product of the growing scholarly interest in this important fin-de-siècle writer, and it will surely be a spur to further work on the poet.” — review in The Nineteenth Century: The Victorian PeriodTable of ContentsAcknowledgementsList of IllustrationsMichael Field: A Brief ChronologyMichael Field’s Circle: A Key to NamesIntroductionPoetry1. From Long Ago (1889)[Epigraph]PrefaceI. “They plaited garlands in their time”II. “Come, dark-eyed Sleep, thou child of Night”III. “Oh, not the honey, nor the bee!”VI. “Erinna, thou art ever fair”XI. “Dreamless from happy sleep I woke”XIV. “Atthis, my darling, thou did’st stray”XVI. “Delicate Graces, come”XVII. “The moon rose full: the women stood”XX. “I sang to women gathered round”XXI. “Ye rosy-armed, pure Graces, come”XXV. “Ah for Adonis! So”XXVIII. “Love, fatal creature, bitter-sweet”XXX. “Thine elder that I am, thou must not cling”XXXIII. “Maids, not to you my mind doth change”XXXIV. “‘Sing to us, Sappho!’ cried the crowd”XXXV. “Come, Gorgo, put the rug in place”XXXVI. “Yea, gold is son of Zeus: no rust”XLIV. “Nought to me! So I choose to say”LII. “Climbing the hill a coil of snakes”LVII. “My shell is mute; Apollo doth refuse”LXI. “There is laughter soft and free”LXIII. “Grow vocal to me, O my shell divine!”LXV. “Prometheus fashioned man”LXVIII. “Thou burnest us; thy torches’ flashing spires”“O free me, for I take the leap”2. From Sight and Song (1892)[Epigraph]PrefaceL’Indifférent,WatteauVenus, Mercury and Cupid, CorreggioLa Gioconda, Leonardo da VinciThe Faun’s Punishment, CorreggioThe Birth of Venus, Sandro BotticelliSpring, Sandro BotticelliA Portrait, Bartolommeo VenetoSaint Sebastian, CorreggioVenus and Mars, Sandro BotticelliA Fête Champêtre, Antoine WatteauSaint Sebastian, Antonello da MessinaA Pen-Drawing of Leda, SodomaMarriage of Bacchus and Ariadne, TintorettoThe Sleeping Venus, GiorgioneL’Embarquement Pour Cythère, Antoine Watteau3. From Underneath the Bough (1893)[Epigraph]InvocationThe First Book of Songs“Mortal, if thou art beloved”“Death, men say, is like a sea”“Ah, Eros doth not always smite”“Men, looking on the Wandering Jew”“Love’s wings are wondrous swift”An Apple-Flower“Through hazels and apples”“Say, if a gallant rose my bower doth scale”“Ah me, if I grew sweet to man”The Second Book of Songs“Others may drag at memory’s fetter”“Little Lettuce is dead, they say”A Death-Bed“A curling thread”“She mingled me rue and roses”Unconsciousness“When the cherries are on the bough”“Thanatos, thy praise I sing”The Third Book of Songs“Already to mine eyelids’ shore”Cowslip-Gathering“A girl”“Methinks my love to thee doth grow”“If I but dream that thou art gone”Love’s Sour Leisure“I sing thee with the stock-dove’s throat”“A gray mob-cap and a girl’s”“It was deep April, and the morn”An InvitationThe Fourth Book of Songs“Across a gaudy room”“As two fair vessels side by side”“The lady I have vowed to paint”“The iris was yellow, the moon was pale”“I lay sick in a foreign land”“The roses wither and die”“There are tears in my heart”“On, o Bacchus, on we go”“I would not be a fugitive”“Sunshine is calling”4. From Wild Honey from Various Thyme (1908)[Epigraph]Pan AsleepPenetrationOnychaVioletsSweet-Basil“The woods are still that were so gay at primrosespringing”EmbalmmentWhat Is Thy Belovéd More Than Another Belovéd?Love: A LoverA Violet BankRealityEnchantmentFrom BaudelaireFifty QuatrainsReveilleThe PoetA Forest Night“I love you with my life—’tis so I love you”A VisionIV:The Mummy Invokes His SoulOctoberEbbtide at SundownSirenusaAvowalRenewalLife PlasticAbsencePartingOld IvoriesBalsamConstancyA PalimpsestAbsenceWhym ChowA Minute-HandGood Friday5. From Poems of Adoration (1912)Of SilenceReal PresenceAnother Leadeth TheeRelicsA Dance Of DeathImple Superna GratiaAfter AnointingViaticumTransit 6. From Mystic Trees (1913)The Captain JewelThe Winding-SheetThe Five Sacred WoundsWhite Passion-FlowerPraisesBefore RequiemThe Rosary of BloodDread St. MichaelShe is Singing to Thee, Domine!Caput Tuum ut Carmelus7. From Whym Chow: Flame of Love (1914)[Epigraph]IV. “O Dionysus, at thy feet”V.TrinityVI. “What is the other name of Love?”VIII. Out of the EastIX. “My loved One is away from me”XXII. “Sleeping together: Sleep”XXIX. “O Chow, the Peace of her I love above”8. From Dedicated: an Early Work by Michael Field (1914)Dionysus ZagreusThe Genethliacs of WineDe ProfundisSylvanus CupressiferCaenis CaeneusErosThe MaskFellowship9. From The Wattlefold: Unpublished Poems by Michael Field (1930)Blessed HandsMy BirthdayPoetsHow Letters Became PrayersHow Prayers Became Letters AgainPomegranatesLovers“Lo, my loved is dying”RespiteThey Shall Look on Him“I am thy charge, thy care!”A Cradle SongFading“What shall I do for Thee to-day?”Life-Writing1. DiariesFrom Works and Days: The Diaries of Michael Field, 1888–19142. Letters Katharine Bradley and Edith Cooper to Each Other and to Family (1885) From John Ruskin (1877) To and From Robert Browning (1884–85) To John Miller Gray (1893) To and From Bernard Berenson (1891–?1912) To Mary Costelloe, later Mary Berenson (1892–?1912) To and From Charles Ricketts and Charles Shannon (1895–1907) To and From John Gray (1907–?1912) Other Interlocutors (1884–90) Reviews Review of Long Ago by John M. Gray, The Academy (8 June 1889). Review of Sight and Song by W.B.Yeats, The Bookman (July 1892). “Women and Men:Women Laureates,” by T.W.H. [T.W. Higginson], Harper’s Bazar (17 June 1893). Review of Underneath the Bough [Anon], The Athenaeum (9 September 1893). Review of Wild Honey [Anon], The Academy (8 February 1908). Appendix: Index to Names of Major Artists and Literary Figures Appearing in the Life-Writing SectionBibliography of Bradley and Cooper’s Major Published VolumesSelect Bibliography of Critical and Related Work

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Book SynopsisThe Ganges and the Tay, the largest water courses in their two countries, are sources of life, conflict and industrial and historical change. The Ganga and the Tay is an epic concrete poem in which the River Ganges and the River Tay relate the historical importance of the ties between India and Scotland and their contemporary relevance as a natural symbol of continuity and peace. The poem is illustrated with beautiful photographs of both great rivers, which explore their shared, but unique, personalities through their histories, geographies, mythologies and environments.Trade ReviewThe book is certainly a conceptual and poetic achievement... THE NEWSTATESMAN Bashabi Fraser's epic tale of two nations, Scotland and India, as told by the competing voices of the River Tay and the Ganges, brilliantly reinvents the flyting tradition in Scottish poetry. A rich blend of mythic, historical, and geographical storytelling, her poem explores aspects of India and Scotland from a radically unusual perspective, paying tribute to the close links between both post-colonial nations. The framework of Hindu imagery for the voice of the Ganges come across most vividly, as does the 'leaping salmon' vigour of the Tay. Passages of sublime lyricism, combined with bardic narrative energy, fuse into a poem which displays very much her own vision, a 21st. century one. And it is a great read! Mario Relich. In the art of Bashabi Fraser the cultures of India and Scotland richly blend, and in this magnificent poem the two living traditions speak to each other through the riverine oracles of the Ganges and the Tay.' RICHARD HOLLOWAY

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Book SynopsisBetween the world wars, a generation of Jewish leftists reached out to other embattled peoples of the earth—Palestinian Arabs, African Americans, Spanish Republicans—in Yiddish verse. Songs in Dark Times examines the richly layered meanings of this project, grounded in Jewish collective trauma but embracing a global community of the oppressed.Trade ReviewSongs in Dark Times arrives at just the right moment. The internationalist visions of cross-ethnic, multiracial solidarity that Glaser finds in Yiddish poetry of the 1930s are more urgent than ever in our own dark times of crisis. Her original account of the multilingual ‘passwords’ that allowed left-wing poets to connect Jewish experiences to those of other minority groups grows out of an acute sensitivity to the way literary language can forge powerful political affiliations. -- Michael Rothberg, author of The Implicated Subject: Beyond Victims and PerpetratorsBefore there was Google, there was poetry. This is a book about passwords that performed not in the technical but in the aesthetic realm: words that allowed for the crossing of the border from Jews to others who suffered. Today, when the uses and abuses of historical comparisons are so intensely debated, Glaser reminds us that thinking through analogies—translating untranslatable suffering—is inextricably bound up with empathy. Though set in the catastrophic ‘long 1930s,’ Songs in Dark Times speaks uncannily to our present moment. -- Marci Shore, author of Caviar and Ashes: A Warsaw Generation's Life And Death In Marxism, 1918–1968Glaser takes us on a truly international journey: from China to riot-torn Palestine to the Jim Crow American South to war-torn Spain to Soviet Ukraine. It is a compelling journey guided by an astute literary scholar with a keen sense of historical context. Intriguing, original, and acutely intelligent, Songs in Dark Times will take its place as one of the finest analyses of Yiddish literature to have been written in several decades. It is a joy to read, and I recommend it heartily. -- Joshua M. Karlip, author of The Tragedy of a Generation: The Rise and Fall of Jewish Nationalism in Eastern EuropeSongs in Dark Times impresses and delights with close readings, careful analysis, breadth of vision, and unmistakably transnational sensibility. Glaser uses the key term ‘passwords’ to enter a radically reconfigured space in which Yiddish writers of the interwar period used markers of Jewish identity to embrace other marginalized groups. This welcome intervention in Jewish studies and comparative literature has an added bonus: Glaser’s translations of ten Yiddish poems, with work by women writers not readily available elsewhere. -- Harriet Murav, author of David Bergelson’s Strange New World: Untimeliness and FuturityGlaser tells the story of too-little-known interventions in modernist Jewish and North American poetry, chronicling the ingenuity of Yiddish communist poets, who used their ethnic and social particularity as a means to join international struggles against injustice, racism, and economic inequality. Chock full of provocative poems, still simmering debates, and irresolvable contradictions, Songs in Dark Times is fascinating, informative, challenging, exuberantly archival, and necessary. -- Charles Bernstein, author of Near/MissRescues long-forgotten poems from communist periodicals in the United States and Soviet Union and shows how they used Jewish ‘passwords’ in behalf of a vision of multi-ethnic and racial solidarity. Challenging but accessible, poignant and provocative, Songs in Dark Times makes an invaluable contribution to Jewish studies, Yiddish literature, and transnational political discourse. -- Glenn C. Altschuler * Jerusalem Post *Deeply probing…Glaser lifts up the work of Yiddish poets grappling with the issues of their day. -- Eric A. Gordon * People’s World *

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