Poetry Books

Book SynopsisA selection from the work of one of modern Greece's poets. It is drawn from various periods of his career and traces his development from early surrealism, in which he transforms French influence into a distinct personal voice and mythology, through the dramatic style of The Axion Esti with its blend of spirituality and earthiness.

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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 SynopsisDavid A. Campbell is Emeritus Professor of Greek and Roman Studies at the University of Victoria, Canada.Table of ContentsPreface Introduction Abbreviations Archilochus Cal linus Tyrtaeus Semonides Alcman Mimnermus Solon Stesichorus Sappho Alcaeus Ibycus Anacreon Xenophanes Phocylides Demodocus Theognis Hipponax Simon ides Pratinas Timocreon Corinna Bacchylides Praxilla Carmina popularia Scolia Appendix on Metre Index

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Book SynopsisThis court epic describes events leading up to the birth of Kumára, the war god who will defeat the demon Táraka. The gods try to use Kama, the Indian Cupid, to make the ascetic god Shiva fall in love with the daughter of the Himalaya mountain. Kama fails, and is burnt to ashes by the angry Shiva. Then Parvati, the daughter of the mountain, herself turns to asceticism to win the husband she longs for. She is successful, and the climax of the poem is the marriage and lovemaking of Shiva and Parvati, parents of the universe.The greatest long poem in classical Sanskrit, by the greatest poet of the language, Kalidasa''s The Birth of Kumára is not exactly a love story but a paradigm of inevitable union between male and female, played out on the immense scale of supreme divinity. In this court-epic, the events are described leading up to but not including the birth of Kumára, the war god destined to defeat the demon Táraka.Co-published by New York University Press and tTrade Review"The books line up on my shelf like bright Bodhisattvas ready to take tough questions or keep quiet company. They stake out a vast territory, with works from two millennia in multiple genres: aphorism, lyric, epic, theater, and romance" -- Willis G. Regier * The Chronicle Review *"Published in the geek-chic format." * BookForum *"The Clay Sanskrit Library represents one of the most admirable publishing projects now afoot. . . . Anyone who loves the look and feel and heft of books will delight in these elegant little volumes." * New Criterion *"No effort has been spared to make these little volumes as attractive as possible to readers: the paper is of high quality, the typesetting immaculate. The founders of the series are John and Jennifer Clay, and Sanskritists can only thank them for an initiative intended to make the classics of an ancient Indian language accessible to a modern international audience." * The Times Higher Education Supplement *"Very few collections of Sanskrit deep enough for research are housed anywhere in North America. Now, twenty-five hundred years after the death of Shakyamuni Buddha, the ambitious Clay Sanskrit Library may remedy this state of affairs." * Tricycle *

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Book SynopsisCarol Shields received both the Pulitzer Prize and the Governor General’s Award for Fiction for her novel The Stone Diaries. Yet she also wrote hundreds of poems over the span of her career. This collection includes three previously published collections and over eighty unpublished poems, ranging from the early 1970s to Shields’s death in 2003.Trade Review"The Collected Poetry of Carol Shields will send Shields's followers back to her novels with a new understanding of their metaphoric and imagistic richness. Scholars and those familiar with her work will be grateful that the book has awakened them to another side of a writer of such renown." Lorna Crozier, University of Victoria and author of Through the Garden: A Love Story (with Cats)"The poems in this book are witty, sparked by Shields's signature interests in gender, class, and the frames of subjectivity; they are smartly formal and, like her novels, often subversively feminist. It is intriguing to see the kind of breadth that Shields brought to multiple projects throughout her poetic practice and this book has the ring of a well-kept secret." Tanis MacDonald, Wilfrid Laurier University and author of Mobile“Nearly twenty years after [Sheilds’] death, we have the welcome edition of her Collected Poetry. With the annotated addition of unpublished poems, Stovel’s volume reveals the intricate web of Shields’s humane creative intelligence.” British Journal of Canadian Studies

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Book SynopsisA diverse and cacophonous poetry collection tackling subjects from identity to current events. At once comic and cantankerous, tender and discomfiting, piercing and irreverent, Genghis Chan on Drums is a shape-shifting book of percussive poems dealing with aging, identity, PC culture, and stereotypes about being Chinese. Employing various forms, John Yau’s poems traverse a range of subjects, including the 1930s Hollywood actress Carole Lombard, the Latin poet Catullus, the fantastical Renaissance painter Piero di Cosimo’s imaginary sister, and a nameless gumshoe. Yau moves effortlessly from using the rhyme scheme of a sixteenth-century Edmund Spenser sonnet to riffing on a well-known poem-rant by the English poet Sean Bonney, and to immersing himself in the words of condolence sent by a former president to the survivors of a school massacre. Yau’s poems are conduits through which many different, conflicting, and unsavory voices strive to be heard. Trade Review"Yau’s latest brilliant (after Bijou in the Dark) brims with social critique and the linguistic play for which the poet is known, while also being suggestive of a writer and artist eager to situate his multifaceted work in the context of a collapsing society. . . . Self-aware yet self-effacing, these necessary poems testify to the power of language to transform reality." -- Starred review * Publishers Weekly *"Yau considers history, poets of the past, aging, personal and political identity, mass shootings, and stereotypes of Chinese citizens in poems that address various crises of the times." -- Top 10 Poetry Books for Fall 2021 * Publishers Weekly *"Even knowing that John Yau is a prolific and adventurous poet, one can’t begin to anticipate the work in Genghis Chan on Drums... This poet-scholar... has gifted us with a lot to ponder." * On the Seawall *“Once again Yau delivers a spectacularly tantalizing book of poems, recent and relevant to exigencies and booby traps of the times: PC culture, identity politics. A poet’s aging body as he’s turning 69, and other twilight musings, razor sharp curmudgeonry, meditations on Gumshoes, Piero di Cosimo’s Sister, Carole Lombard, the language of Philosophers. All masterfully pulled off with sleight of hand, deft language, gleeful irreverence. As devil’s advocate, Yau mercilessly torques all the cliches about being Chinese, in the ‘O Pin Yin’ series. . . . Each section of this generous book has a particular intensity of shape-shifting personae. Surreal prose poems sit comfortably with ‘A Painters’ Thought,’ an especially winning section from a poet who has written expertly, profusely on art. Two pieces movingly invoke artist Tom Nozkowski, close friend who passed in 2019. . . . Genghis Chan on Drums arrives on time with a drumming shout-out for the human comedy, a perfect antidote for the enormity of our world’s woes. Yet Yau also has the heart of a humble Taoist philosopher as when ‘we become our own destiny: military sardines side-by-side sliding together in the dark.’” -- Anne Waldman, author of Sanctuary: (Addenda)“By turns gorgeous, hilarious, and enraged, this astonishing collection takes the reader on a mineshaft-deep descent past the nuanced multiform measures of racism I am humiliated to admit I had never before fathomed. Then, in short poems suggesting the richness of dreamt novels, Yau discloses his enormous inner life in a virtuosic redeployment of language that blooms on each passing page, in wave upon wave of buoyant wonders, in mischievous self-cancelling miracles of speech, until we reach the depths of English I never thought possible. This is a beautiful book in which I finally found my feeble self. It understands me and I want to stay here forever!” -- Guy Maddin“It’s hard to overstate the profound influence that Yau’s poetry has on my work, and on so many other poets and artists across generations. I’ve followed his sometime OG alter-ego Genghis Chan across many decades, many books, and it’s glorious to see him finally slouch into the spotlight for this long-awaited extended solo—a mashup of speed metal plus free improv plus paigu with the occasional brassy rimshot. But in this latest book, the propulsive beat of war-drums underlies even the vaudeville, the exquisite, the slyly cantankerous. Yau’s shots have real targets, real firepower, even when his targets hold his own consciousness hostage. From a collage of other people’s stereotypes, myths, and dissimulations, these poems emerge with breathtaking clarity and gut-wrenching force. Perhaps Yau’s most powerful book to date, this is essential reading.” -- Monica Youn, author of Blackacre: Poems

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Book SynopsisWritten by a team of leading international scholars, The Cambridge Companion to Shakespeare and War illuminates the ways Shakespeare''s works provide a rich and imaginative resource for thinking about the topic of war. Contributors explore the multiplicity of conflicting perspectives his dramas offer: war depicted from chivalric, masculine, nationalistic, and imperial perspectives; war depicted as a source of great excitement and as a theater of honor; war depicted from realistic or skeptical perspectives that expose the butchery, suffering, illness, famine, degradation, and havoc it causes. The essays in this volume examine the representations and rhetoric of war throughout Shakespeare''s plays, as well as the modern history of the war plays on stage, in film, and in propaganda. This book offers fresh perspectives on Shakespeare''s multifaceted representations of the complexities of early modern warfare, while at the same time illuminating why his perspectives on war and its consequences continue to matter now and in the future.Trade Review'The Cambridge Companion to Shakespeare and War is much more than an overview of a field or guide to an area and performs valuable intellectual work in bringing together diverse perspectives on a subject that embarrasses as well as attracts readers, many of whom want a straightforward understanding of a complicated subject that will inevitably resist mastery.' Andrew Hadfield, Times Literary SupplementTable of Contents1. Beyond shallow and silence: war in the age of Shakespeare Paul E. J. Hammer; 2. Just war theory and Shakespeare Franziska Quabeck; 3. Shakespeare on civil and dynastic wars David Bevington; 4. Foreign war Claire McEachern; 5. War and the classical world Maggie Kilgour; 6. 'The question of these wars': Shakespeare, warfare, and the chronicles David Scott Kastan; 7. Instrumentalizing anger: warfare and disposition in the Henriad Gail Kern Paster; 8. War and Eros David Schalkwyk; 9. Shakespeare's language and the Rhetoric of war Lynne Magnusson; 10. Staging Shakespeare's wars in the twentieth and twenty-first centuries Michael Hattaway; 11. Reading Shakespeare's wars on film: ideology and montage Gregory Semenza; 12. Shakespeare and World War II Garrett A. Sullivan Jr; 13. Henry V and the pleasures of war Paul Stevens; 14. Macbeth and Trauma Willy Maley; 15. Coriolanus and the use of power Catherine M. S. Alexander.

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Book Synopsis 'What happens when the man of your dreams turns out to be a nightmare with sharp teeth and claws?' Winner of the 2016 Goodreads Choice Award for Best Poetry, amanda lovelace presents her new illustrated duology, “things that h(a)unt.” In this first installment, to make monsters out of girls, lovelace explores the memory of being in an abusive relationship. She poses the eternal question: Can you heal once you’ve been marked by a monster, or will the sun always sting?Trade Review“With this hauntingly poignant and provocative collection, amanda lovelace has once again cemented her place as one of the top poets of our time. Shaking off old memories of heartbreak and love gone wrong, lovelace is showing young women how to arm themselves against the pain of past relationships. Never have I felt a more unshakable sense of warmth and empowerment than while reading this book. monsters has burrowed under my skin and made its home deep within my soul. This is a collection that will not be forgotten.” (summer webb @buttermybooks)“to make monsters out of girls by amanda lovelace is an emotional triumph. this inspiring collection winds through the roots of an abusive relationship and then leads the reader from the shadows, all the way back out into the sun.” (Trista Mateer, author of The Dogs I Have Kissed and Honeybee)"Uncompromising and unforgettable. To Make Monsters Out of Girls is a bold, poignant, and sensitively crafted collection exploring the consequences of past trauma. Amanda Lovelace's balance of a sharp, hard reality paired with her fearless optimism and unwavering belief in the resilience and strength of herself and all women has me returning to her work again and again and again. Her poems are a powerful testament to self-recovery." (Courtney Summers, author of Sadie)“A triumphed survivor, Amanda Lovelace takes us through her journey of heartache and once again saving herself in to make monsters out of girls. Lovelace weaved her words gently while impacting my very being with her power. Showing us that yes, we can recognize the toxins and still move forward with all our strength. You will not regret picking up this collection." (Gretchen Gomez, author of love, and you)

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Book Synopsis`It would still be me... they make it like me, look like me, smell like me, talks like me, feels like me... me. And you... most importantly... you get me...' Welcome to a world where your partner can arrive by special delivery, you can replace your ex with a replica, or supplement your waning love life with regular updates. It could be the answer to all our problems... but what might we lose along the way? Nessah Muthy's fearless examination of the future of sex offers a fascinating vision of where humanity could be heading next. It won the King's Head Theatre's Adrian Pagan Award and the Live Theatre Newcastle Elevator Lab Bursary, and premiered at the King's Head Theatre, LondonTrade Review'A fascinating show which leaves lots of questions open and gives a chilling glimpse into a future that is, rather scarily, not that far away' * LondonTheatre1 *'Creepy and inventive... a thoughtful and well-judged meditation on future sexual possibilities' * The Stage *

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Book SynopsisA TIMES BOOK OF THE YEARWhat is the nature of things? Must I think my own way through the world? What is justice? How can I be me? How should we treat each other?Before the Greeks, the idea of the world was dominated by god-kings and their priests, in a life ruled by imagined metaphysical monsters. 2,500 years ago, in a succession of small eastern Mediterranean harbour-cities, that way of thinking began to change. Men (and some women) decided to cast off mental subservience and apply their own worrying and thinking minds to the conundrums of life.These great innovators shaped the beginnings of philosophy. Through the questioning voyager Odysseus, Homer explored how we might navigate our way through the world. Heraclitus in Ephesus was the first to consider the interrelatedness of things. Xenophanes of Colophon was the first champion of civility. In Lesbos, the Aegean island of Sappho and Alcaeus, the early lyric poets asked themselves How can I be true to myself?' In Samos, Pythagoras Trade Review A TIMES BOOK OF THE YEAR ‘What links all Nicolson’s writing, though, is a tireless and tigerish sense of wonder and curiosity; a bounding willingness to immerse himself and his reader deeply in his subject: life… I’m not sure I’ve ever read a book that marries such profundity with such a sense of fun. How to Be delivers wholeheartedly on the promise of its vaunting title. It is like a net strung between the deep past and the present, a blueprint for a life well lived’ OBSERVER ‘This eminently readable tour of Greek philosophy from approximately 650 to 450 B.C. brings the ‘sea-and-city world’ of Heraclitus and Homer to life . . . [He shows] the early Greeks developed intellectual habits, chief among them the use of questioning as the basis of knowing, which laid the groundwork for Socrates, Plato, and Aristotle, and for how we reason today’ NEW YORKER ‘Wise, elegant . . . richer and more unusual than [the self-help genre], an exploration of the origins of Western subjectivity’ WASHINGTON POST 'Seductive… a poetic tour of philosophical thought’ SPECTATOR ‘Passionate, poetic, and hauntingly beautiful, Adam Nicolson’s account of the west’s earliest philosophers brings vividly alive the mercantile hustle and bustle of ideas traded and transformed in a web of maritime Greek cities.. In this life-affirming, vital book, those ideas sing with the excitement of a new discovery’ David Stuttard ‘It’s hard not to be dazzled by this book … No one else writes with the originality, energy and persuasiveness of Adam Nicolson. It’s like encountering the Greek sea. It takes your breath away’ Laura Beatty, bestselling author of Lost Property

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Book SynopsisRuth Pitter (1897–1992) may not be widely known, but her credentials as a poet are extensive; in England from the mid-1930s to the mid-1970s she maintained a loyal readership. In total she produced 17 volumes of new and collected verse. Her A Trophy of Arms (1936) won the Hawthornden Prize for Poetry in 1937, and in 1954 she was awarded the William E. Heinemann Award for The Ermine (1953). Most notably, perhaps, she became the first woman to receive the Queen’s Gold Medal for Poetry in 1955; this unprecedented event merited a personal audience with the queen.In addition, from 1946 to 1972 she was often a guest on BBC radio programs, and from 1956 to 1960 she appeared regularly on the BBC’s The Brains Trust, one of the first television talk shows; her thoughtful comments on the wide range of issues discussed by the panelists were a favorite among viewers. In 1974 the Royal Society of Literature elected her to its highest honor, a Companion of Literature, and in 1979 she received her last national award when she was appointed a Commander of the British Empire.Pitter’s many admirers included Owen Barfield, Hilaire Belloc, Lord David Cecil, Philip Larkin, C. S. Lewis, Kathleen Raine, May Sarton, and Siegfried Sassoon. At her death in 1992, one writer claimed, “She came to enjoy perhaps the highest reputation of any living English woman poet of her century.”Pitter’s best poems focus on nature and the human condition, taking us to hidden or secret places, just beyond the material, to the meaning of life. Her poems are often the result of a heightened sense of felt experience—intuitive and evocative. If human life is lived behind a veil faintly obscuring reality, Pitter’s poems often lift the edge of the veil.Sudden Heaven arranges Pitter’s poems in chronological order, allowing readers to follow her maturation as a poet, and it features a number of poems that have never before appeared in print.

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Book SynopsisRunning Upon The Wires is Kae Tempest’s first book of free-standing poetry since the acclaimed Hold Your Own. In a beautifully varied series of formal poems, spoken songs, fragments, vignettes and ballads, Tempest charts the heartbreak at the end of one relationship and the joy at the beginning of a new love; but also tells us what happens in between, when the heart is pulled both ways at once.Running Upon The Wires is, in a sense, a departure from their previous work, and unashamedly personal and intimate in its address – but will also confirm Tempest’s role as one of our most important poetic truth–tellers: it will be no surprise to readers to discover that she’s no less a direct and unflinching observer of matters of the heart than they are of social and political change. Running Upon The Wires is a heartbreaking, moving and joyous book about love, in its endings and in its beginnings.Trade ReviewIn terms of visibility, Kate Tempest is currently way ahead of her performance-poet peers. Out on her own, she sounds like a woman who knows exactly what she's doing -- ObserverOne of the brightest British talents around. [Tempest's] spoken-word performances have the metre and craft of traditional poetry, the kinetic agitation of hip-hop and the intimacy of a whispered heart-to-heart * Guardian *Dazzling wordsmithery. . . As anyone who has seen her perform will know, she doesn't just paint pictures with words when she performs, she paints fireworks in the night sky * Metro *Tempest’s first book of free-standing poetry since 2014’s Hold Your Own is a whirlwind of formal poems, spoken songs, ballads and fragments. Capturing the total loss at the breakdown of a beloved relationship or the dangers of catching a song on the radio that can floor you in an instant, Tempest uses words like a time traveller taking the reader into fragments of their own lives, successes and heartbreaks. Read and lose yourself in a total adventure. * Stylist *A cathartic and deeply moving read - a go-to for the love-stricken and heartbroken * The Skinny *Reading from the page, without accompaniment, allows her word-craft to shine. * Manchester Evening News *An honest, witty, mosaic-like view of love in the 21st century. -- Roger Cox * The i *

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Book SynopsisBen Lawson was preparing for another Christmas away from home when the Black Summer bushfires began to burn their way across Australia's eastern coast. As the bushfires continued to rage into the new year on an unprecedented scale, Ben, feeling angry, helpless and broken-hearted as he watched the devastation from across the ocean, sat down and put his feelings into words. To My Country is an ode to the endurance of the Australian spirit and the shared love of our country.In the true Aussie spirit, Ben and Allen & Unwin will be donating proceeds of To My Country to The Koala Hospital.Trade ReviewA delightful love letter to a homeland: the kind only an Australian could write. Full of humour, charm and deeply felt belonging. And to think of all the orphaned koalas who will benefit from you buying and enjoying this wonderful little book... -- Stephen FryAn impassioned cry from the big, kind heart of a big, kind man. -- Tim MinchinBen Lawson's love of his homeland inspires us all to think of our own roots . . . and the need to protect them. -- Dolly PartonBen Lawson's book is a heartfelt reminder of how desperately we need to think about our future as a country. His sincerity is moving. I dare you not to cry. -- Julia StoneBen Lawson writes in the tradition of his namesake Henry Lawson; an eloquent bush ballad that mourns the tragic fate of one billion bushfire victims. -- Barry Humphries

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Book SynopsisGao Xingjian is the leading Chinese dramatist of our time. He is also one of the most moving and literary writers for the contemporary stage. His plays have been performed all around the world, including China, Hong Kong, Taiwan, Japan, Australia, the Ivory Coast, the United States, France, Germany and other European countries. Born and educated in China, Gao studied French literature at the Beijing Foreign Languages Institute between 1957-1962. After the Cultural Revolution, he became a resident playwright at the Beijing People's Art Theatre. His works, including Bus Stop, Absolute Signal, and Wilderness Man, were trend-setting and have created many controversies and a wave of experimental drama in China. In 1987 he settled in Paris, France and continued to write in Chinese and in French. He was awarded the Chevalier de l'Ordre des Arts et des Lettres by the French Government in 1992. The present collection contains five of Gao Xingjian's most recent works: The Other Shore (1986), Between Life and Death (1991), Dialogue and Rebuttal (1992), Nocturnal Wanderer (1993), and Weekend Quartet (1995). One finds poetry, comedy as well as tragedy in the plays, which are graced by beautiful language and original imagery. Combining Zen philosophy and a modern worldview, they serve to illuminate the gritty realities of life, death, sex, loneliness, and exile, all essential concerns in Gao's understanding of the existence of modern man. The plays are also manifestations of the dramatist's idea of the tripartite actor, a process by which the actor neutralizes himself and achieves a disinterested observation of his self in performance.

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Book SynopsisFollowing the convening of Hong Kong International Poetry Nights 2013, The World of Words is a collection of selected works by some of the most internationally acclaimed poets today. The poem of "A Moth Laid Its Eggs in My Armpit, and Then It Died " by Ye Mimi (Taiwan) is finest contemporary poetry in trilingual or bilingual presentation.

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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 the Nahda, or Arab Renaissance, from the early nineteenth to the early twentieth century, Arab culture and politics for the first time responded to European modernity and face the challenges to Arab power, tradition, and identity posed by the industrial, colonial nations of the West. In the process, Arab society both imitated and innovated, translating contemporary foreign texts, adopting new genres, developing journalism, creating a new publishing industry, and building new educational systems as it changed under conflicting forces: nationalism, secularism, Islamic revival, and language reforms. Collected in this anthology are texts by intellectuals, writers, clergy, and political figures that deal with authority, social norms, conventions and practices both secular and religious, gender roles, class, travel, and technology. Presented in the original Arabic and in English translation, they will be of interest of students of Arabic language and culture, history, cultural studies, gender studies, and other disciplines.

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Book SynopsisSondheim's landmark musical about a reunion of showgirls, with a book by James Goldman. New York, 1971. There’s a party on the stage of the Weismann Theatre. Tomorrow the iconic building will be demolished. Thirty years after their final performance, the Follies girls gather to have a few drinks, sing a few songs, and lie about themselves. Including such classic songs as ‘Broadway Baby’, ‘I’m Still Here’ and ‘Losing My Mind’, James Goldman and Stephen Sondheim’s legendary musical was originally staged in New York in 1971, and received its British premiere in 1987. This edition was published alongside the major revival at the National Theatre, London, in 2017, directed by Dominic Cooke and starring Tracie Bennett, Janie Dee, Philip Quast and Imelda Staunton.Trade Review'A stunning musical... a pastiche so brilliant as to be breathtaking' * New York Daily News *'A landmark musical... a work of art' * New York Times *'A grand and lilting pastiche of legendary musical styles... the songs are cunning, melodic motifs laced with provocative lyrics that dutifully define each character with clarity and purpose... merges past and present with resonating counterpoint' * Variety *'Uniquely powerful and evanescent' * Los Angeles Times *

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Book SynopsisThe stimulus for these poems is a collection of photographs taken of the poet’s father, originally from colonial Sri Lanka, who was serving as a radio operator in an otherwise all white platoon in the 1939-45 desert war in North Africa. As for so many who came back from war to start or resume a family life, there was a great gulf of silence, an unwillingness to speak of those experiences. The collection begins and ends in an imaginative recreation of the life suggested in those photographs, many reproduced in this collection. There is connection with a much-loved father, but also a sense of the unknowable. Speaking in the voice of the father and of the unknown photographer, poems explore the mix of male camaraderie and casual racism of that experience, but also the deep affection hinted at in the way the photographer has framed “Snowball” in his lens. From this imaginative core, poems move out to make connections with the remembered and known life of a father who died too soon, to self-reflections on the poet as remembrancer, creator and actor in the world. There are moving poems on the meaning of inherited objects – a paper-knife, letters – and inherited ways of being – the birdwatching that provides a rich source of imagery. The personal moves out to the resonances of what was, in its origins, a story of migration. Here the father’s success in finding of a home in Yorkshire is seen to contrast sharply with the tragedies of migrant deaths in the face of fortress Europe. This is a work of great beauty, whose lucid simplicity of language is married to a rich complexity of structure and the bird-flight of images that connect poem to poem. There is humour, too, in the revenant voice of the mother who inserts herself into the poet’s memory and demands in her “broad Yorkshire vowels […] ‘Why is your dad getting all the attention?’”

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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 SynopsisBritannia calls a meeting, to listen to her people. Caledonia, Cymru, East Midlands, North East, Northern Ireland and the South West bring the voices of their regions. The debate is passionate and opinions divided. Can there ever be a United Kingdom?In the days following the Brexit vote, a team from the National Theatre of Great Britain spoke to people nationwide, aged 9 to 97, to hear their views on the country we call home. In a series of deeply personal interviews, they heard opinions that were honest, emotional, funny, and sometimes extreme.These real testimonials are interwoven with speeches from party leaders of the time in this play by Poet Laureate Carol Ann Duffy and director Rufus Norris.My Country opened at the National Theatre, London, in March 2017 before playing at venues around the UK.

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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 SynopsisCavafy is by far the most translated and most well-known Greek poet internationally. His work exists in multiple translations in a wide range of languages and major 20th-century poets as diverse as Auden, Brecht, Brodsky, Durrell, Milosz and Montale have all paid tribute to Cavafy, either by writing poems in the style of Cavafy, or by openly admitting their debt to his poetry in their own work. Whether his subject matter is historical, philosophical or sensual, Cavafys unique poetic voice is always recognizable by its ironical, suave, witty, world-weary and aesthetic tones. It is a voice which lends itself to translation. Indeed, translations of Cavafys poetry are the best possible counter to the often quoted platitude that poetry is what is lost in translation. Cavafys is a poetry that not only survives but actually thrives in translation.Trade Reviewhe inventor of a modernity and an Alexandrianism of his own, so pungent and of such sad, dry elevation that his work transcends his language and his century. Robert Fitzgerald Poet and Translator; Cavafy is for me not only the great poet of the Levant, but of all culture in decline which makes him universal in this century. John Fowles Novelist; His complete sincerity, his angular stance to the world, his tenderness that is combined with the accuracy of a surgeon, his awareness of the past in the present and of the present in the past, his meticulousness, his grandeur these are some of the qualities which no reader can fail to observe and which, singly and together, make him one of the greatest writers of our times. Rex Warner Classicist and TranslatorTable of ContentsIntroduction; The City; The Satrapy; The God Forsakes Antony; Ithaca; As Far As You Can; Dionysus Entourage; Ionic; One Night; Return; He Vows; I Went; Aristobulus; Caesarion; Remember, Body; Voices; Candles; The Souls of Old Men; Thermopylae; Che fece il gran rifiuto; Walls; Waiting for The Barbarians; To Remain; Young Men of Sidon (A.D. 400); So They May Come ; I Brought to Art; In The Boring Village; Sophist Leaving Syria; Two Young Men, 23 or 24 Years Old; Days of 1901; He Asked About the Quality ; Chronology of Cavafys Life; English Translations of Cavafys Canon; Index of Greek Titles

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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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