American Poets Project Books
In his unconventional verse, Walt Whitman spoke in a powerful, sensual, oratorical, and inspiring voice. His most famous work, Leaves of Grass, was a long-term project that the poet compared to the building of a cathedral or the slow growth of a tree. During his lifetime, from 1819 to 1892, it went through nine editions. Today it is regarded as a landmark of American literature. This volume contains 24 poems from Leaves of Grass, offering a generous sampling of Whitman's best and most representative verses. Featured works include "I Hear America Singing," "I Sing the Body Electric," "Song of the Open Road," "Out of Cradle Endlessly Rocking," "When Lilacs Last in the Dooryard Bloom'd," and "O Captain! My Captain!"—all reprinted from an authoritative text.
Richard Wilbur, a former Poet Laureate of the United States and one of the most admired poets and critics of his generation, revisits the poetry of Poe, exploring the philosophical seriousness of verse often identified with its macabre and gothic surfaces. Here is the whole canon of Poe’s mature poetry, along with a judicious selection of prose writings that illuminate Poe’s poetic goals. “Our poetry, in Poe’s view, must specialize in aesthetic transcendence, eschewing the truth, morality, and passion which might entangle it with this present world. The whole movement of Poe’s poetry is away from the material here and now. . . . The poet’s strategy is to accomplish a mock-destruction of earthly things, estranging the reader from material reality and so, presumably, propelling his imagination toward the ideal.” — Richard Wilbur, from the introduction About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
From the recollections of his youth in Michigan to the visionary longings of the poems written just before his death, Theodore Roethke embarked on a quest to restore wholeness to a self that seemed irreparably broken. In the words of editor Edward Hirsch, “He courted the irrational and embraced what is most vulnerable in life.” Hirsch’s selection and perceptive introduction illuminate the daring and intensity of a poet who, in poems such as “My Papa’s Waltz” and “The Lost Son,” reached back into the abyss of childhood in an attempt to wrest self-knowledge out of memory. Roethke’s true subject was the unfathomable depths of his own being, but his existential investigations were always shaped and disciplined by an exacting formal stringency, as equally at ease with Yeats’ vigorous cadence (“Four for Sir John Davies”) as with the spacious Whitmanian idiom on display in the virtuoso efforts of The Far Field. This gathering of Roethke’s works also includes several of his poems for children, and a generous sampling from his notebook writings, offering a glimpse of the poet at work with the raw materials of language and ideas. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
Meditative, comic, emotionally wrenching, steeped in both the natural world and the life of the mind, the poetry of A. R. Ammons is at once cosmic in scope and intimate in its moment-to-moment transformations. With his mastery of description and cadence, his roiling wit and fearless gaze, Ammons was a philosopher of the everyday who found surprise everywhere he looked. “He is often witty, sometimes bawdy,” writes editor David Lehman, “on a perpetual quest to find forms capacious enough for an imagination intent on finding a place for everything.” A compound, in editor David Lehman’s words, of “wisdom, pathos, humor, mortal longing, and intimations of immortality,” the work of A. R. Ammons is like nothing else in modern American poetry. Ammons’s tireless formal invention and restless curiosity about every aspect of nature and of the mind are embodied in poetry that is effortlessly accessible and generous in its impulses. Whether spreading out in the long forms of Tape for the Turn of the Year or Garbage , or honing his perceptions down to the extreme brevity of his shorter lyrics, he holds tight to his vision of the way “all day / life itself is bending, / weaving, changing, / adapting, failing, / succeeding.” This new selection covering the whole range of Ammons’s career offers a superb introduction to the pleasures and surprises of his work. His uncanny ability to balance wide-ranging abstract speculation with meticulous observation of natural phenomena, in poetry that encompasses moods of tragic pathos, low comedy, and seemingly casual profundity marks him as one of the preeminent figures in our recent literature. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
With the publication of this book, Charles Tomlinson's edition of Williams's Selected Poems , New Directions has introduced a gathering larger and more comprehensive than the original 1963 edition. Opening with Professor Tomlinson's superbly clear and helpful introduction this selection reflects the most up-to-date Williams scholarship. In addition to including many more pieces, Tomlinson has organized the whole in chronological order. "It isn't what he [the poet] says that counts as a work of art," Williams maintained, "it's what he makes, with such intensity of purpose that it lives with an intrinsic movement of its own to verify its authenticity."
Praised by poets and critics ranging from A. E. Housman and Thomas Hardy to Edmund Wilson, Edna St. Vincent Millay’s bold, exquisite poems take their place among the enduring verse of the twentieth century Claiming a lyric tradition stretching back to Sappho and Catullus and making it very much her own, Millay won over her contemporaries—and readers ever since—with her passion, erotic candor, formal elegance, and often mischievous wit. J. D. McClatchy's introduction and selections offer new and surprising insights into Millay's achievement. Included are her most beloved and justly admired poems, such as the wry bohemian anthem “Recuerdo” and the sonnet sequence “Fatal Interview”, the poetic record of a love affair that is presented in its entirety. McClatchy has also chosen works that extend our sense of Millay’s range: translations, her play Aria da Capo , and excerpts from her libretto The King’s Henchman . “I have for the most part been guided by my taste for Millay at her tautest and truest," writes McClatchy. "There are precise and resonant images everywhere.” About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
With the publication of Chicago Poems in 1916, Carl Sandburg became one of the most famous poets in America: the voice of a Midwestern literary revolt, fusing free-verse poetics with hard-edged journalistic observation and energetic, sometimes raucous protest. By the time his first book appeared, Sandburg had been many things—a farm hand, a soldier in the Spanish-American War, an active Socialist, a newspaper reporter and movie reviewer—and he was determined to write poetry that would explode the genteel conventions of contemporary verse. His poems are populated by factory workers, washerwomen, crooked politicians, hobos, vaudeville dancers, and battle-scarred radicals. Writing from the bottom up, bringing to his poetry the immediacy of America’s streets and prairies, factories and jails, Sandburg forged a distinctive style at once lyrical and vernacular, by turns angry, gritty, funny, and tender. Paul Berman takes a fresh look at Sandburg’s work and what it can tell us about twentieth-century America in a volume that draws on such volumes as Cornhuskers , Smoke and Steel , and Slabs of the Sunburnt West . About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
A “maverick’s maverick,” Yvor Winters chose a poetic path that led him away from the free-verse fashions of his time to champion traditional literary form. This new selection, edited by his former student Thom Gunn, presents all of the essential poems of Winters’ idiosyncratic career, from his early Imagist experiments to his final meditative masterpieces. Rigorous, impassioned, and austere, these poems offer vivid proof that, as Gunn puts it, “The life of poetry is not just contained but is defined by its form.” About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
In this new selection, master literary craftsman John Updike provides a long-overdue reassessment of Karl Shapiro, a Pulitzer Prize-winning poet who has become one of the defining figures of the postwar period.
This anthology brings together 120 poems about World War II by sixty-two American poets, chosen, as editor Harvey Shapiro writes in his introduction, “with a purpose: to demonstrate that the American poets of this war produced a body of work that has not yet been recognized for its clean and powerful eloquence.” The poets are generally unsentimental, ironic, and often astonished by what they have experienced, and their insights still have the power to shake up our perceptions of that war and of war in general. Most of the poets included in the volume served in the armed forces; some—Louis Simpson, Anthony Hecht, Kenneth Koch—saw combat in the infantry, while others—James Dickey, Howard Nemerov, Richard Hugo, John Ciardi—fought in the air. Also included: poets who experienced the war as civilians, including Robinson Jeffers, Marianne Moore, and Conrad Aiken; poems by conscientious objectors and draft resisters, including William Stafford and Robert Lowell; and an elegy by James Tate for his father, who was killed in action when Tate was an infant. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
Irreverent, playful, and inventive, the American light verse of the past century offers a brimming feast of urbane pleasures. Bubbling over with engaging parodies, sparkling aphorisms, and wisecracking asides, the poems gathered here display a sure-footed handling of the poet’s art. The foremost practitioners of light verse “took delight not only in what they had to say but in their precise manner of saying it,” writes John Hollander in his introduction. “What makes it mean something is . . . the unique pleasure that poets and readers alike can take in that craft.” The poets in this volume included journalists, playwrights, screenwriters, and also some of the greatest poets of the century. We have Frost, Eliot, Millay, and Cummings, Don Marquis’ free-verse tales of Archy and Mehitabel, Newman Levy’s comic twists on grand opera, Samuel Hoffenstein’s disenchanted parsing of romantic sentiment, Dorothy Parker’s bitter epigrams, Ogden Nash’s brilliantly funny exercises in irregular meter: all are among the highlights from a century’s worth of poetic humor. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
A beloved figure in his own era——a household name for such poems as “Barbara Frietchie” and “The Barefoot Boy”—John Greenleaf Whittier remains an emotionally honest, powerfully reflective voice. A Quaker deeply involved in the struggle against slavery (he was harassed by mobs more than once) he enlisted his poetry in the abolitionist cause with such powerful works as “The Hunters of Men,” “Song of Slaves in the Desert,” and “Ichabod!”, his mournful attack on Daniel Webster’s betrayal of the anti-slavery cause. Whittier’s narrative gift is evident in such perennially popular poems as “Skipper Ireson’s Ride” and the Civil War legend “Barbara Frietchie,” while in his masterpiece “Snow-Bound” he created a vivid, flavorful portrait of the country life he knew as a child in New England. “His diction is easy, his detail rich and unassuming, his emotion deep,” writes editor Brenda Wineapple. “And the shale of his New England landscape reaches outward, promising not relief from pain but a glimpse of a better, larger world.” About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
Poet, journalist, and crime novelist, Kenneth Fearing wrote poems filled with the jargon of advertising and radio broadcasts and tabloid headlines, sidewalk political oratory, and the pop tunes on the jukebox. Seeking out what he called “the new and complex harmonies . . . of a strange and still more complex age,” he evoked the jitters of the Depression and the war years in a voice alternately sardonic and melancholy, and depicted a fragmenting urban world bombarded by restless desires and unnerving fears. But, in the words of editor Robert Polito, “Fearing’s poems carry no whiff of the curio or relic. If anything, his poems . . . insinuated an emerging media universe that poetry still only fitfully acknowledges.” This new selection foregrounds the energy and originality of Fearing’s prophetic poetry, with its constant formal experimenting and its singular note of warning: “We must be prepared for anything, anything, anything.” As a chronicler of mass culture and its discontents, Fearing is a strangely solitary figure who cannot be ignored. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
The poetry of Muriel Rukeyser confronts the turbulent currents of 20th-century history, as it explores with depth and honesty the realms of politics, sexuality, mythic imagination, technological change, and family life. She was a social activist of unwavering commitment, a tireless experimenter who opened fresh forms and fresh subject matter in modern American poetry, and a writer who was constantly testing her own limits in a life’s work of extraordinary scope. “She refused to compartmentalize herself or her work,” writes editor Adrienne Rich, “claiming her right to intellect and sexuality, poetry and science, Marxism and myth, activism and motherhood, theory and vision. . . . She was one of the great integrators, seeing the fragmentary world of modernity not as irretrievably broken, but in need of societal and emotional repair.” This new selection provides an indispensable introduction to her adventurous and prolific work. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
“Staggering, swaggering, intoxicating”: John Berryman achieved a poetry where (in the words of editor Kevin Young) “protagonists search for a lover or friend, ancestor or listener, with a recklessness that only Whitman allowed himself. . . . Berryman becomes Everyman attempting, falling short of, and often achieving greatness." Young’s selection, the first new selection of Berryman’s poems in over 30 years, encompasses the formal accomplishments of his early work, epitomized in the masterful Homage to Mistress Bradstreet ; the explosive and mesmerizing diction of Dream Songs , and his wrenching religious poems. At once traditional and radical, Berryman was a master of technique who remade language with gusto. No poet of his time wrote more distinctively or inventively, or with more relentless intensity. With its formal exuberance and its uncompromising, often heartbreaking expressiveness, his poetry continues to surprise and challenge. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
Writers on both sides of the American Civil War “brought to the crisis” (in editor J. D. McClatchys’ words) “poetry’s unique ability to stir the emotions, to freeze the moment, to sweep the scene with a panoramic lens and suddenly swoop in for a close-up of suffering or courage.” This vibrant collection brings together the most memorable and enduring work inspired by the conflict: the masterpieces of Whitman and Melville, Sidney Lanier on the death of Stonewall Jackson, the anti-slavery poems of Longfellow and Whittier, the front-line narratives of Henry Howard Brownell and John W. De Forest, the anthems of Julia Ward Howe and James Ryder Randall. Grief, indignation, pride, courage, patriotic fervor, ultimately reconciliation and healing: the poetry of the Civil War evokes unforgettably the emotions that roiled America in its darkest hour. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
The first important American Jewish poet, Emma Lazarus is remembered above all for her classic sonnet “The New Colossus,” whose phrases (“Give me your tired, your poor.”) have become part of the American language. In this new selection of Lazarus’s work, John Hollander demonstrates that in her relatively brief life she achieved real poetic mastery in a variety of modes. In early poems like “Phantasies” and “Symphonic Studies,” she explored fluently imagined inner landscapes suggested by the music of Schumann. Later, her deepening interest in Jewish history and culture was expressed in such powerful poems as “1492,” “The New Ezekiel,” and “The Guardian of the Red Disk.” Influenced both by American models, among them her poetic mentor Emerson, and by the poets whose work she translated, including Heinrich Heine and the medieval Hebrew poets Solomon Ibn Gabirol and Judah ha-Levi, she forged a poetic style of high technical accomplishment and moral passion. Long neglected, her work is revealed in this volume as an important contribution to American poetry. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
From first to last, poetry was part of Edith Wharton’s writing life. While rarely (after early youth) her primary focus, it always served her as a medium for recording the most vivid impressions and emotions, an intimate journal of longings and regrets. “Poetry was important to Wharton,” writes editor Louis Auchincloss, “because it enabled her to express the deeply emotional side of her nature that she kept under such tight control, not only in her life but in the ordered sweep of her fiction.” In later years her poetry also engaged with the public passions of wartime, as she found herself involved with the plight of Allied soldiers in France. Her first models were Romantic, but in the course of her life she absorbed the influences of Symbolism and Modernism; and throughout her poetic career she showed a care for form even in her most private utterances, as in the erotic ode “Terminus,” never published in her lifetime. This volume collects the bulk of Wharton’s significant poetry, including much work previously uncollected or unpublished. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
Discover the most enduring works of the legendary poet and first black author to win a Pulitzer Prize—now in one collectible volume “If you wanted a poem,” wrote Gwendolyn Brooks, “you only had to look out of a window. There was material always, walking or running, fighting or screaming or singing.” From the life of Chicago’s South Side she made a forceful and passionate poetry that fused Modernist aesthetics with African-American cultural tradition, a poetry that registered the life of the streets and the upheavals of the 20th century. Starting with A Street in Bronzeville (1945), her epoch-making debut volume, The Essential Gwendolyn Brooks traces the full arc of her career in all its ambitious scope and unexpected stylistic shifts. “Her formal range,” writes editor Elizabeth Alexander, “is most impressive, as she experiments with sonnets, ballads, spirituals, blues, full and off-rhymes. She is nothing short of a technical virtuoso.” That technical virtuosity was matched by a restless curiosity about the life around her in all its explosive variety. By turns compassionate, angry, satiric, and psychologically penetrating, Gwendolyn Brooks’ poetry retains its power to move and surprise. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
Cole Porter possessed to a singular degree the art of expressing depth through apparent frivolity. The effervescent wit and technical bravura of his songs are matched by their unguarded revelations of feeling. In the words of editor Robert Kimball, “Porter wrote tellingly of the pain and evanescence of emotional relationships. He gently mocked propriety and said that few things were simple or lasting or free from ambiguity.” Of the masters of twentieth-century American songwriting, Porter was one of the few who wrote both music and lyrics, and, even in the absence of his melodies, his words distill an unmistakable mixture of poignancy and wit that marks him as a genius of light verse. Selected from over eight hundred songs, here are Porter’s finest flights of invention, lyrics that are an indelible part of 20th-century culture: “Let’s Do It,” “Love for Sale,” “I Get a Kick Out of You,” “Anything Goes,” “In the Still of the Night,” “I Concentrate on You,” and dozens more. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
With an ear tuned to the most delicate musical effects, an eye for exact and heterogeneous details, and a mind bent on experiment, Louis Zukofsky was preeminent among the radical Objectivist poets of the 1930s. This is the first collection to draw on the full range of Zukofsky’s poetry——containing short lyrics, versions of Catullus, and generous selections from “A” , his 24-part “poem of a life”—and provides a superb introduction to a modern master of whom the critic Guy Davenport has written: “Every living American poet worth a hoot has stood aghast before the steel of his integrity.” The most formally radical poet to emerge among the second wave of American modernists, Louis Zukofsky continues to influence younger poets attracted to the rigor, inventiveness, and formal clarity of his work. Born on New York’s Lower East Side in 1904 to emigrant parents, Zukofsky achieved early recognition when he edited an issue of Poetry devoted to the Objectivist poets, including George Oppen and Charles Reznikoff. In addition to an abundance of short lyrics and a sound-based version of the complete poems of Catullus, he worked for most of his adult life on the long poem “A” of which he said: “In a sense the poem is an autobiography: the words are my life.” Zukofsky’s work has been described as difficult although he himself said: “I try to be as simple as possible.” In the words of editor Charles Bernstein, “This poetry leads with sound and you can never go wrong following the sound sense. . . . Zukofsky loved to create patterns, some of which are apparent and some of which operate subliminally. . . . Each word, like a stone dropped in a pond, creates a ripple around it. The intersecting ripples on the surface of the pond are the pattern of the poem.” Here for the first time is a selection designed to introduce the full range of Zukofsky’s extraordinary poetry. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
Kenneth Koch, in the words of editor Ron Padgett, wrote poetry that became a part of “the mystery and pleasure of being alive.” A center of the New York School, he gained notoriety by mocking the stodginess and academicism of much mid-century verse. This enthralling selection encompasses the full range of Koch’s poetry, and includes such already classic works as “Fresh Air” (his devastatingly satirical assault on mid-1950s poetic conformism), “The Pleasure of Peace” (with its defiant assertion that “One single piece of pink mint chewing gum contains more pleasures / Than the whole rude gallery of war!”), “The Art of Poetry,” his astonishing and light-footed survey of the aims and methods of poetry, and poems from the late collection New Addresses , including “To World War Two,” “To Psychoanalysis,” and “To the French Language.” A poet at once directly accessible and deeply mysterious, Kenneth Koch was the master of an art of surprise in which the world is constantly reimagined. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
When American poets turn to the sonnet, they invest it with a glamour and intensity equal to anything they have to show in more flamboyant, new-minted shapes. Like a symphony by Copland or a nude by de Kooning, an American sonnet marries European artistic tradition to New World innovation and expansiveness. Something old and familiar—the themes and schemes and history of the 14-line lyric—becomes something new, vital, and characteristically American. This unique anthology presents one critic’s selection from two centuries of American sonnets. Some of David Bromwich’s choices—Hart Crane’s tribute to Emily Dickinson, for example, or Emma Lazarus’s dedication of Lady Liberty to the world’s tired and poor—are classics cast in bronze. Others—Elizabeth Bishop’s short-lined “Sonnet” or any sonnet typed by Cummings—are hammers that shatter the mold. The heart of the book is in the clusters of sonnets by Longfellow, Very, Tuckerman, Robinson, Frost, Stickney, Wylie, and Millay. Here are our Petrarchs and Shakespeares, the American masters who, by living within the strictures of the octave and the sestet, found full voice, enlarged a tradition, and changed the sonnet forever. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
Better known for writing in a variety of other genres, James Agee always thought of himself as essentially a poet. Winner of the Yale Younger Poets competition in 1934 for Permit Me Voyage , Agee was, in the words of editor Andrew Hudgins, "as restless in his poetry as he was later in his prose, exhibiting a variety . . . that we expect from the protean mind that excelled in so many different kinds of writing." Ranging from intense religious sonnets to lyrics for musical comedy, Agee?s verse takes us into the heart of his unique genius, what Robert Fitzgerald called his "sense of being . . . a raging awareness of the sensory field in depth and in detail." About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
“In 1965, Sylvia Plath’s posthumous Ariel took the literary world by storm with its fierce and undeniably female voice. For the next 15 years, America saw a historic outpouring of women’s poetry supported by and supporting the women’s movement. As editor Moore points out, poetry was vital to the movement, articulating previously unexpressed lives, empowering others as the poets found their own power. . . . And all who missed these missiles and epistles then will find them still demanding and invigorating.”— Booklist (starred review) “What would happen if one woman told the truth about her life? / The world would split open.” These lines by Muriel Rukeyser epitomize the spirit that animated a whole generation of women poets, from the 1960s to the 1980s, who in exploring the unspoken truths of their lives sparked a literary revolution. Honor Moore’s anthology presents fifty-eight poets whose work defines an era, among them Sylvia Plath, Adrienne Rich, Anne Sexton, Sonia Sanchez, May Swenson, Alice Walker, Audre Lorde, Anne Waldman, Sharon Olds, Diane Di Prima, Lucille Clifton, Judy Grahn, Alice Notley, and Eileen Myles. Here is a fresh and revelatory look at a crucial time in American poetry that presents the full range of its themes and approaches and a generous sampling of its most compelling voices. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
A keepsake edition gathering the lyrics of more than 80 of Gershwin’s most popular songs Ira Gershwin once remarked that he always tried to “capture the way people spoke to each other—their slang, their clichés, the catch phrases.” Few people in ordinary life, of course, can muster the humor, vivacity, and emotional directness that Gershwin brought to his lyrics. His collaboration with his brother George—one of the summits of American popular music—produced masterpieces that reflect, perhaps, the way people would like to talk. “Someone to Watch Over Me,” “Nice Work If You Can Get It,” “They Can’t Take That Away from Me,” “’S Wonderful”: these have entered the culture and become part of our common language. The insouciant, improvisational air of his lyrics belies the meticulous craftsmanship that Ira brought to every syllable. Robert Kimball has gathered more than 80 examples of Ira Gershwin at his best: the comic invention of songs such as “They All Laughed” and “Let’s Call the Whole Thing Off,” the poignancy of “The Man I Love,” the wry edge of “The Saga of Jenny,” the sheer exuberance of “Fascinating Rhythm,” and dozens more. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
Stephen Foster is the trunk of the tree of American song. His blackface minstrel songs, including “Oh! Susanna,” “Old Folks at Home” (“Way down upon the Swanee River…”), and “My Old Kentucky Home,” and his parlor ballads, such as “Jeanie with the Light Brown Hair,” and “Beautiful Dreamer,” have inspired composers, songwriters, and performers from Charles Ives and George Gershwin to Ray Charles and James Taylor. Foster devoted as much care and craft to his lyrics as he did to his timeless melodies. In this comprehensive new selection, acclaimed music historian Ken Emerson introduces and annotates the lyrics to more than thirty of Foster’s best and best-known songs. These masterpieces by America’s first full-time professional songwriter, forebear of Irving Berlin, Hoagy Carmichael, Carole King, and Bob Dylan, have been so deeply absorbed into our culture that they are often assumed to be folk music. Alongside are fifty other 19th-century American popular songs that influenced Foster or that he in turn influenced, from “Home! Sweet Home!” in the 1820s to “Western Home” (the original “Home on the Range”) in the 1870s. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.
The American Poets Project series continues with this stunning collection from a major—and sometimes controversial—figure of the Harlem Renaissance In his early twenties, Countee Cullen emerged as a central figure in the tumultuous, defiant, intensely creative cultural movement now known as the Harlem Renaissance. Here is the most comprehensive collection of Cullen’s poetry ever assembled. It begins with his astonishing first book, Color (1925)—a debut that made him “famous, like Byron, overnight” (as H. L. Mencken put it). Cullen’s intricate, deceptively simple lyrics shocked some early readers with their frank explorations of racial, sexual, and religious themes. They have since become touchstones of the African American poetic tradition. The collection follows the evolution of Cullen’s prodigious talents through Copper Sun (1927), The Ballad of the Brown Girl (1927), The Black Christ & Other Poems (1929), and The Medea and Some Poems (1935)—reprinted for the first time with the illustrations from the original editions. Also included are playful verses from his children’s book The Lost Zoo (1940); haunting late poems he intended to add to On These I Stand (1947) before his death; and dozens of uncollected poems, some never before published, which reveal an intense engagement with the politics of civil rights. Together, they afford an unprecedented occasion to revisit a dazzling and distinctive poetic voice.
Originally published in 1926, this book by Clement Wood is a critical study of the creative work and influence of noted American poet Amy Lawrence Lowell (1874-1925), whose "glittering verses, her militant prefaces and critical studies, her constant packed platform appearances had elevated her to a commanding place," and had earned her a posthumous Pulitzer Prize for Poetry in 1926. Born in Brookline, Massachusetts, Amy Lowell, who was sister to astronomer Percival Lowell and Harvard president Abbott Lawrence Lowell, published her first work in 1910 in Atlantic Monthly. This was followed two years later by her first published collection of her poetry, A Dome of Many-Coloured Glass. An avid adherent to the "free verse" method of poetry, Amy Lowell became one of the major champions of this method of poetry-writing. Throughout her working life, she was a promoter of both contemporary and historical poets. Her 1921 book Fir-Flower Tablets was a poetical reworking of literal translations of the works of ancient Chinese poets, notably Li Tai-po (A.D. 701-762). Her writing also included critical works on French literature. At the time of her death in 1925, she was attempting to complete her two-volume biography of John Keats, of whom she wrote: "the stigma of oddness is the price a myopic world always exacts of genius."