Although best remembered today for his novels, Thomas Hardy thought of himself as a poet forced by circumstance to write fiction for a living. This generous selection of nearly two hundred poems includes such familiar pieces as "During Wind and Rain," "Channel Firing," "Afterwards," "The Darkling Thrush," and "The Oxen," but it will also acquaint readers with many less-celebrated works, among them "To Lizbie Browne," "After the Last Breath," "My Spirit Will Not Haunt the Mound," "The Haunter," "Old Furniture," "A Procession of Dead Days," "The Harbour Bridge," "At a Country Fair," "Last Love-Word," "Waiting Both," and "Proud Songsters." With an introduction and annotations by Robert Mezey, this new Penguin Classics edition will help readers to recognize Hardy as one of the greatest English poets of this century.

A beautiful new edition—the first in nearly twenty years—of the work of Wallace Stevens, a founding father of contemporary American poetry, with a dazzling range of work that is at once emotional and intellectual. As John N. Serio reminds us in his elegant introduction, Stevens has written more persuasively than any other poet about the significance of poetry itself in everyday life: “The imagination—frequently synonymous with the act of the mind, or poetry, for Stevens—is what gives life its savor, its sanction, its sacred quality.” This rich and thorough selection—published in the 130th anniversary year of Stevens’s birth—carries us from the explosion of Harmonium in 1923 to the maturity of The Auroras of Autumn in 1950 and the magisterial Collected Poems published by Knopf in 1954. To be drawn in once more by “The Emperor of Ice-Cream,” “Sunday Morning,” “The Idea of Order at Key West,” “Notes Toward a Supreme Fiction,” to name only a few, is to experience again the mystery of a poet who calls us to a higher music and to a deeper understanding of our vast and inarticulate interior world. This essential volume for all readers of poetry reminds us of Stevens’s nearly unparalleled contribution to the art form and his unending ability to puzzle, fascinate, and delight us.

A Fantastic Comic-book Collaboration Between The Artist Rosanna Bruno And The Poet Anne Carson, Based On Euripides's Famous Tragedy

A Stunning, New Translation By The Poet And Classicist Anne Carson, First Performed In 2015 At The Almeida Theatre In London. Anne Carson Writes, Euripides Was A Playwright Of The Fifth Century Bc Who Reinvented Greek Tragedy, Setting It On A Path That Leads Straight To Reality Tv. His Plays Broke All The Rules, Upended Convention And Outraged Conservative Critics. The Bakkhai Is His Most Subversive Play, Telling The Story Of A Man Who Cannot Admit He Would Rather Live In The Skin Of A Woman, And A God Who Seems To Combine All Sexualities Into A Single Ruinous Demand For Adoration. Dionysos Is The God Of Intoxication. Once You Fall Under His Influence, There Is No Telling Where You Will End Up.-- A New Version By Anne Carson.

Anne Carson’s haunting and beautiful Nox is her first book of poetry in five years—a unique, illustrated, accordion-fold-out “book in a box.” Nox is an epitaph in the form of a book, a facsimile of a handmade book Anne Carson wrote and created after the death of her brother. The poem describes coming to terms with his loss through the lens of her translation of Poem 101 by Catullus “for his brother who died in the Troad.” Nox is a work of poetry, but arrives as a fascinating and unique physical object. Carson pasted old letters, family photos, collages and sketches on pages. The poems, typed on a computer, were added to this illustrated “book” creating a visual and reading experience so amazing as to open up our concept of poetry.

Known as a remarkable classicist, Anne Carson weaves contemporary and ancient poetic strands with stunning style in Glass, Irony and God. This collection includes: "The Glass Essay," a powerful poem about the end of a love affair, told in the context of Carson's reading of the Brontë sisters; "Book of Isaiah," a poem evoking the deeply primitive feel of ancient Judaism; and "The Fall of Rome," about her trip to "find" Rome and her struggle to overcome feelings of a terrible alienation there.

Inger Christensen's masterpiece it, translated brilliantly by Susanna Nied, and with an illuminating introduction by Anne Carson.Publishers WeeklyChristensen's sprawling, cosmically ambitious, book-length poem became a national hit in Denmark soon after its 1969 publication, and it's not hard to see why. The segments' diverse shapes prose litany, chiming quatrains, stuttering free verse, telegram, prose diary show mastery enough for almost any taste, while the overarching ideology liberation for the whole human person from institutions, laws, mere forms perfectly fit the late '60s' radical mood. Christensen begins by describing the creation of the whole world, narrows her focus to modern Danish society, then imagines recreating it, first in lyrical fragments ("A happy machine/ A wild imagination/ A fantastic din") and then through extended parables in which patients from an insane asylum learn to love one another and orchestrate social protests involving mass nudity. Drawing on Nietzsche, quoting Blake and Novalis, Christensen promises "crowns of gold for the holy/ fables for the freedom of matter," and argues that "the completely unreasonable activity is in reality reasonable, because it ends in a vision." Nied (who also translated Christensen's Alphabet) duplicates the Danish poem's mathematical schemes while also conveying its freshness and sense of freedom. Poet and classicist Anne Carson contributes a helpful introduction. (Nov.) Copyright 2006 Reed Business Information.