Books by ALSCW Members

Poetic Song Verse: Blues-Based Popular Music and Poetry invokes and critiques the relationship between blues-based popular music and poetry in the twentieth and twenty-first centuries. The volume is anchored in music from the 1960s, when a concentration of artists transformed modes of popular music from entertainment to art-that-entertains. Musician Mike Mattison and literary historian Ernest Suarez synthesize a wide range of writing about blues and rock―biographies, histories, articles in popular magazines, personal reminiscences, and a selective smattering of academic studies―to examine the development of a relatively new literary genre dubbed by the authors as “poetic song verse.” They argue that poetic song verse was nurtured in the fifties and early sixties by the blues and in Beat coffee houses, and matured in the mid-to-late sixties in the art of Bob Dylan, the Beatles, the Rolling Stones, the Doors, Jimi Hendrix, Joni Mitchell, Leonard Cohen, Gil Scott-Heron, Van Morrison, and others who used voice, instrumentation, arrangement, and production to foreground semantically textured, often allusive, and evocative lyrics that resembled and engaged poetry.

Among the questions asked in Poetic Song Verse are: What, exactly, is this new genre? What were its origins? And how has it developed? How do we study and assess it? To answer these questions, Mattison and Suarez engage in an extended discussion of the roots of the relationship between blues-based music and poetry and address how it developed into a distinct literary genre. Unlocking the combination of richly textured lyrics wedded to recorded music reveals a dynamism at the core of poetic song verse that can often go unrealized in what often has been considered merely popular entertainment. This volume balances historical details and analysis of particular songs with accessibility to create a lively, intelligent, and cohesive narrative that provides scholars, teachers, students, music influencers, and devoted fans with an overarching perspective on the poetic power and blues roots of this new literary genre.

In Flourish, multiple meanings catch light—as the leaves of growing things might, or the facets of cut gemstones, or a signal mirror flashing in distress. These poems explore themes of thriving, growth, innovation, and survival, while immersing the reader in the pleasures of language itself—the “flourish” of linguistic gesture, play, form, turn, and adornment.

Here, the lens zooms in and out to micro and macro levels, asking us to see the familiar with new eyes. The collection engages with the materials of the worlds we inhabit—natural worlds and those of our own making—and a full spectrum of poetry’s own materials, building worlds of words and illuminating the shadowed terrain of our interior landscapes as well.

The Algorithm of I is Jack Crocker’s second collection of poems.

Jack Crocker holds up a mirror to the human condition whose reflections, while intensely personal, are timeless in their search for an essential self.

Sean O Riordain (1916-77) was the most important and most influential Irish-language poet of modern times. He revitalised poetry in Irish, combining the world of Irish literature with that of modern English and European literature, thus adding to the Irish tradition from the other side. His poems ‘seek to answer fundamental questions about the nature of human existence and the place of the individual in a universe without meaning’ (Gearóid Denvir). Many of Ó Ríordáin’s poems came out of his struggle with the isolation, guilt and loneliness of life in mid-century Catholic Ireland experienced in Cork, the native locale also of the poet Greg Delanty, translator of Apathy Is Out. Ó Ríordáin’s poems have been translated by many poets, but until now no single writer has translated the majority of the poems. This collection gives a much more unified sense of Ó Ríordáin’s work, catching the poetry’s verve, playfulness and range and also ‘the music you still hear in Munster,/even in places where it has gone under’. It includes the dark, sorrowful poems Ó Ríordáin has usually represented with in anthologies but also poems of exuberance and celebration, notably ‘Tulyar’, one of the funniest satirical critiques of the Irish Church’s attitude to sex which matches any similar attack by Patrick Kavanagh or Austin Clarke. Seán Ó Ríordáin renewed poetry in Irish by writing out of the modernist sense of alienation, fragmentation and identity, but he also saw beyond Modernism’s confines to the connective matrix of our world.

By unpacking antebellum senses of the "real," Finan casts new light on the formal traits of the period’s literature, the pressures of the literary marketplace in nineteenth-century America, and the surprising possibilities of literary reading.

It is our everyday explorations—the small explosions within life, family, and “ordinary” survival—that make up Gregory Fraser’s fourth collection of poetry, Little Armageddon. Fraser writes at eye level, detailing the experiences of fatherhood, love, and the quiet of daily life, poised at the brink of abrupt upheaval.

These poems are an exercise in precision and reflection. Free verse and prose show readers the life within the landscape. In “My Daughter and the Lizard,” the speaker reflects on grace, meditating on the reptile his child is inspecting: “I scissor-jab three holes through the lid / of a Mason jar and tell her to be gentle, / ‘It’s a living thing,’ I say, ‘not a toy.’”

We are how we live. These poems balance imagination and truth telling with rich verse that brings the reader’s ear closer to the quiet—and how intense it truly is.

In the midst of a crisis of democracy, we have much to learn from Walt Whitman’s journey toward egalitarian selfhood.

Walt Whitman knew a great deal about democracy that we don’t. Most of that knowledge is concentrated in one stunning poem, Song of Myself.

Esteemed cultural and literary thinker Mark Edmundson offers a bold reading of the 1855 poem, included here in its entirety. He finds in the poem the genesis and development of a democratic spirit, for the individual and the nation. Whitman broke from past literature that he saw as “feudal”: obsessed with the noble and great. He wanted instead to celebrate the common and everyday. Song of Myself does this, setting the terms for democratic identity and culture in America. The work captures the drama of becoming an egalitarian individual, as the poet ascends to knowledge and happiness by confronting and overcoming the major obstacles to democratic selfhood. In the course of his journey, the poet addresses God and Jesus, body and soul, the love of kings, the fear of the poor, and the fear of death. The poet’s consciousness enlarges; he can see more, comprehend more, and he has more to teach.

In Edmundson’s account, Whitman’s great poem does not end with its last line. Seven years after the poem was published, Whitman went to work in hospitals, where he attended to the Civil War’s wounded, sick, and dying. He thus became in life the democratic individual he had prophesied in art. Even now, that prophecy gives us words, thoughts, and feelings to feed the democratic spirit of self and nation.

In his seventieth year, the award-winning poet looks back on what was and accepts what is, in a deeply moving and beautiful sequence about what sustains him.

Beginning with "My Friends Don't Get Buried," the lament of a delinquent mourner as his friends have begun to die, and ending with the plaintive note to self "don't write elegies/anymore," Edward Hirsch takes us backward through the decades in these memory poems of startling immediacy. He recalls the black dress a lover wore when he couldn't yet know the tragedy of her burning spirit; the radiance of an autumn day in Detroit when his students smoked outside, passionately discussing Shelley; the day he got off late from a railyard shift and missed an antiwar demonstration. There are direct and indirect elegies to lost contemporaries like Mark Strand, William Meredith, and, most especially, his longtime compatriot Philip Levine, whom he honors in several poems about daily work in the late midcentury Midwest. As the poet ages and begins to lose his peripheral vision, the world is "stranger by night," but these elegant, heart-stirring poems shed light on a lifetime that inevitably contains both sorrow and joy.

100 of the most moving and inspiring poems of the last 200 years from around the world, a collection that will comfort and enthrall anyone trapped by grief or loneliness, selected by the award-winning, best-selling, and beloved author of How to Read a Poem.

Implicit in poetry is the idea that we are enriched by heartbreaks, by the recognition and understanding of suffering—not just our own suffering but also the pain of others. We are not so much diminished as enlarged by grief, by our refusal to vanish, or to let others vanish, without leaving a record. And poets are people who are determined to leave a trace in words, to transform oceanic depths of feeling into art that speaks to others.

In 100 Poems to Break Your Heart, poet and advocate Edward Hirsch selects 100 poems, from the nineteenth century to the present, and illuminates them, unpacking context and references to help the reader fully experience the range of emotion and wisdom within these poems.

For anyone trying to process grief, loneliness, or fear, this collection of poetry will be your guide in trying times.

If by Song is a poetry of loneliness, grief, love, joy, and self-confrontation. Its music comes as much from movement of mind and feeling as from technical and syntactic inventiveness. The volume is organized into sections of related poems, and the book is itself a coherent whole. A small section of translations includes poems from ancient Greek and Latin, as well as Anglo-Saxon riddles. Though a first collection by Marcia Karp, the work is the work of years, and is both artistic and mature.

Confluenze: Poesie Scelte is a bi-lingual edition of selected poems written by award-winning poet and translator Geoffrey Brock and translated into Italian by Paolo Febbraro, Damiano Abeni, and Moira Egan.

Famed for his brevity, Giuseppe Ungaretti's early poems swing nimbly from the coarse matter of tram wires, alleyways, quails in bushes, and hotel landladies to the mystic shiver of pure abstraction. These are the kinds of poems that, through their numinous clarity and shifting intimations, can make a poetry-lover of the most stone-faced non-believer. Ungaretti won multiple prizes for his poetry, including the 1970 Neustadt International Prize for Literature. He was a major proponent of the Hermetic style, which proposed a poetry in which the sounds of words were of equal import to their meanings. This auditory awareness echoes through Brock's hair-raising translations, where a man holding vigil with his dead, open-mouthed comrade, says, "I have never felt / so fastened / to life."

A first-hand account of the creative process that engages with the language of oppression and with politics in our time.

How does the poet become attuned to the language of the world's upheaval? How does one talk insightfully about suffering, without creating more of it? What is freedom in language and how does the poet who has endured political oppression write himself or herself free? What is literary testimony?

Poetry and the Language of Oppression is a consideration of the creative process that rests on the conviction that poetry is of help in moments of public duress, providing an illumination of life and a healing language. Oppression, repression, expression, as well as their tools (prison, surveillance, gestures in language) have been with us in various forms throughout history, and this volume represents a particular aspect of these conditions of our humanity as they play out in our time, providing another instance of the communion, and sometimes confrontation, with the language that makes us human.

In Wild Juice, the poet and novelist Ashley Mace Havird confronts global and personal change. Her subjects range from the extinction of a prehuman species to the present-day reduction in sea life due to the climate crisis. Closer to home, she confronts the death of her father and her own aging.

Running throughout these lyrics of loss is the richness of communal life, a current of hope given substance by the juice of wild grapes that baptizes the poet’s chin and that of her elderly father, whose presence haunts the book. Havird’s poems move from sea coasts to the rural South to landlocked suburbia, in language characterized by wit, pluck, and ironic candor.

Through striking evocations of the natural world, conveyed in a voice steeped in mature human experience, Wild Juice speaks memorably on behalf of a life that embraces us all.

Though less of a household name than his contemporaries in early twentieth century Paris, Jewish homosexual poet Max Jacob was Pablo Picasso’s initiator into French culture, Guillaume Apollinaire’s guide out of the haze of symbolism, and Jean Cocteau’s loyal friend. As Picasso reinvented painting, Jacob helped to reinvent poetry with compressed, hard-edged prose poems and synapse-skipping verse lyrics, the product of a complex amalgamation of Jewish, Breton, Parisian, and Roman Catholic influences.

In Max Jacob, the poet’s life plays out against the vivid backdrop of bohemian Paris from the turn of the twentieth century through the divisions of World War II. Acclaimed poet Rosanna Warren transports us to Picasso’s ramshackle studio in Montmartre, where Cubism was born; introduces the artists gathered at a seedy bar on the left bank, where Max would often hold court; and offers a front-row seat to the artistic squabbles that shaped the Modernist movement.

Jacob’s complex understanding of faith, art, and sexuality animates this sweeping work. In 1909, he saw a vision of Christ in his shabby room in Montmartre, and in 1915 he converted formally from Judaism to Catholicism―with Picasso as his godfather. In his later years, Jacob split his time between Paris and the monastery of Benoît-sur-Loire. In February 1944, he was arrested by the Gestapo and sent to Drancy, where he would die a few days later.

More than thirty years in the making, this landmark biography offers a compelling, tragic portrait of Jacob as a man and as an artist alongside a rich study of his groundbreaking poetry―in Warren’s own stunning translations. Max Jacob is a nuanced, deeply researched, and essential contribution to Modernist scholarship.

Inspired by Rita Dove's groundbreaking Thomas and Beulah, Connor & Seal is a masterful queering of poetic lineage. With oracular grace and whimsy, these poems innovate the public and private axes of gay love in a tumescent future. We meet Connor, a native Nebraskan and fledgling grant writer, and Seal, a financial analyst from Kingston, Jamaica, as they flummox the space between desire and demise, "the sun again a big orange pill / stuck in the blue throat of the sky." Connor & Seal serves as almanac to a time not far off, of techno-queer bots, state-sponsored violence, and individual resistance. With imaginative dexterity and stylistic flexibility, each poem in Connor & Seal becomes a cipher of the labor of tomorrow's construction: "a bench where two old faggots had to stop," an emblem of a future history, "as quiet as the siren / is alarming."

In Code was born out of Maryann Corbett's years of work for the Minnesota Legislature, with a nonpartisan office that mandated that she maintain a public silence about politics. In poems that go from elegiac to fiery to funny, she examines behind-the-scenes legislative labor and the people who do it, the tensions of working for government in a climate hostile to government, and the buildings and grounds that put a beautiful face on a history full of ambiguities. This well-honed collection, Corbett's fifth, reflects on doublespeak and public poses; on coworkers and commutes; on legalese, courts, and elections; on news and history; and at last on retirement--through poems masterfully deployed in a dazzling array of forms: including the prose poem, the sonnet, the ghazal, the villanelle, and the canzone. Maryann Corbett is a candid, wistful, purposeful, and meditative poet in command of her craft.

Of her years working for the Minnesota Legislature, Maryann Corbett writes in Rattle "There was the frisson supplied by the constant presence of the media, the satisfaction of believing one's work served the public, the thrill of working with smart, motivated people, the pleasure of being surrounded by the striking buildings and gardens of the Capitol grounds, the sense of history. There was also the uncomfortable awareness that with every legislative session there are winners and losers, and that the same battles for justice are fought, and often lost, by the same people, year after year."
In Code features poems that reflect on both those pleasures and that discomfort, as in these lines from "Seven Little Poems about Making Laws"

Bruce Bond’s trilogy of sonnet sequences explores trauma and self-alienation and the power of imaginative life to heal―to reawaken with the past; to better understand its influence, both conscious and unconscious; to gain some measure of clarity, empathy, and freedom as we read the world around us.

The rescue of a literary manuscript results in a war of words over the interpretation of 107 haiku about New York’s Central Park. In the battle of commentaries, what is at stake is nothing less than the meaning of America in an imaginary but highly plausible future. Reenvisioning Vladimir Nabokov’s Pale Fire for a technologized age, Snow at 5 PM discovers revolutionary uses, and abuses, for literature and history.

In No More Time, Greg Delanty offers a celebration of the natural environment that also bemoans its mistreatment at the hands of humans. The collection’s long sequence, “A Field Guide to People,” is an alpha-bestiary of twenty-six sonnets, each a meditation on a species of flora or fauna that is thriving, endangered, or extinct. Evoking an earthly heaven, purgatory, and hell for plants and animals, these poems function also as love letters to the biosphere as they connect the past with the present in both form and content. In the middle of this sonnet sequence, a section labeled “Breaking News” gives voice in poetry to the political state of our planet with a balance of pathos, wit, and hope.

Delanty stresses the deep underlying connections within and between the natural world and humankind, rather than the fragmented world stressed at the beginning of the twentieth century. No More Time witnesses the effects of climate change and presents a vital view of what remains at stake for engaged global citizens in the twenty-first century.

The Skin of Meaning is award-winning poet Keith Flynn’s sixth and most wide-ranging collection, seeking to find the tangible analogs and visceral meanings hidden behind the daily bombardment of digital information and hoping to restore the mystery in our involvement with language. From the etymologies of pop culture, history, astronomy, and rock and roll, these poems fan out into a bold multiplicity of voices and techniques. Flynn’s work illustrates the meaning that is also created through tense collisions and is populated with figures in resistance to the status quo, a gathering as varied as Caravaggio, Nina Simone, Gaudí, Villon, Wonder Woman, and Manolete. The final section examines America’s fascination with violence and death, revealing that “a human being in love with mystery is never finished.” This collection constantly challenges our assumptions about the world we think we see and is teeming with evidence of another invisible world bristling like an underground river beneath our feet.

In this knock-out collection, Major Jackson savors the complexity between perception and reality, the body and desire, accountability and judgment.

Inspired by Albert Camus’s seminal Myth of Sisyphus, Major Jackson’s fifth volume subtly configures the poet as “absurd hero” and plunges headfirst into a search for stable ground in an unstable world. We follow Jackson’s restless, vulnerable speaker as he ponders creation in the face of meaninglessness, chronicles an increasingly technological world and the difficulty of social and political unity, probes a failed marriage, and grieves his lost mother with a stunning, lucid lyricism.

The arc of a man emerges; he bravely confronts his past, including his betrayals and his mistakes, and questions who he is as a father, as a husband, as a son, and as a poet. With intense musicality and verve, The Absurd Man also faces outward, finding refuge in intellectual and sensuous passions. At once melancholic and jubilant, Jackson considers the journey of humanity, with all its foibles, as a sacred pattern of discovery reconciled by art and the imagination.

A lyrical new volume from a poet “beyond the achievement of all but a double handful of living American poets” (Harold Bloom).

With irony, in mourning tinged with eros, one of our most extraordinary poets blends the personal and the political to meditate on damage, aging, and injustice. The poems in So Forth surge back in memory, pondering guilt and forgiveness. Consciousness flows from singular to plural; identity in these poems does a round dance with other personae, with formidable women artists of the past in the powerful sequence “Legende of Good Women,” with pre-Socratic philosophers, and with lovers, children, and strangers―the strangest of whom is the face in the mirror. In response to griefs both historical and contemporary, So Forth contemplates the quest for the holy and traditions of the sacred.

In her intimately compelling debut collection Moon Jar, Didi Jackson explores the life-altering and heart-rending loss of a husband to suicide. In an effort to understand this unforeseen and inexplicable act, she maps with immense candor the emotional difficulty of continuing her responsibility as a mother while attempting to regain a sense of normalcy. While grief never fully subsides, Jackson allows herself over time to rediscover love as she contends with the brutal and haunting grip of human trauma. These affirmative poems, precise and grace-begetting, exhibit an admirable self-devotion to healing and recovery that is metamorphic and cathartic. Turning to biblical narratives as well as seminal works of art by the likes of Hildegard of Bingen, Pablo Picasso, Sappho, Mark Rothko, Kazimir Malevich, Hieronymus Bosch, and Frédéric Chopin, she orchestrates a tableau of conversations around human suffering, the natural world, and impermanence. And like the Korean porcelain moon jar, these poems mark and celebrate the imperfection of existence. At once raw and vulnerable, Moon Jar shows lyric poetry to be a fundamental and permanent force for survival.

“In this wonderful collection of essays, Mark Jarman explores with wit and passion the practice of poetry―of making it, of reading it, of living it. In his vivid analyses of works by Brooks, Boisseau, Donne, Herbert, Rukeyser and Twichell, among others, he explores how the poems and their authors negotiate time and mortality, faith and devotion. He also offers an intimate examination of his own gorgeous work and how it comes onto the page. A delight for readers and writers of poetry.”―Margot Livesey, author of The Flight of Gemma Hardy and Mercury

The essays in Dailiness are about how a poet makes a poem. For Mark Jarman a poem results from a deliberate and conscious act. He is especially interested in the way human consciousness connects devotional prayer to poetry. In these essays he considers poems written millennia apart―from Gilgamesh to George Herbert’s work, from the poems of Robert Frost to those of Seamus Heaney, to his own recently-written poems and those of his contemporaries. As the poems celebrate the work of daily creation, they possess a religious aspect. In Dailiness Jarman sheds light on how poems accomplish this work.

Robert Penn Warren, Randall Jarrell, and Robert Lowell maintained lifelong, well­-documented friendships with one another, often discussing each other’s work in private correspondence and published reviews. Joan Romano Shifflett’s Warren, Jarrell, and Lowell: Collaboration in the Reshaping of American Poetry traces the artistic and personal connections between the three writers. Her study uncovers the significance of their parallel literary development and reevaluates dominant views of how American poetry evolved during the mid­-twentieth century.

Familiar accounts of literary history, most prominently the celebration of Lowell’s Life Studies as a revolutionary breakthrough into confessional poetry, have obscured the significance of the deep connections that Lowell shared with Warren and Jarrell. They all became quite close in the 1930s, with the content and style of their early poetry revealing the impact of their mentors John Crowe Ransom and Allen Tate, whose aesthetics the three would ultimately modify and transform. The three poets achieved professional maturity and success in the 1940s, during which time they relied on one another’s honest critiques as they experimented with changes in subject matter and modes of expression. Shifflett shows that their works of the late 1940s were heavily influenced by Robert Frost. This period found Warren, Jarrell, and Lowell infusing ostensibly simple verse with multifaceted layers of meaning, capturing the language of speech in diction and rhythm, and striving to raise human experience to a universal level.

During the 1950s, the three poets became public figures, producing major works that addressed the nation’s postwar need to reconnect with humanity. Warren, Jarrell, and Lowell continued to respond in interlocking ways throughout the 1960s, with each writer using innovative stylistic techniques to create a colloquy with readers that directed attention away from superficial matters and toward the important work of self­-reflection.

Drawing from biographical materials and correspondence, along with detailed readings of many poems, Warren, Jarrell, and Lowell offers a compelling new perspective on the shaping of twentieth-­century American poetry.

"A virtuosic, witty, charming translation of the greatest epic ever written about mice, with wonderful illustrations by Grant Silverstein. Stallings' elegant rhyming couplets are the perfect choice to honor the mousy Muse."―Emily Wilson, Professor of Classics, University of Pennsylvania

"Stallings' translation of this ancient epic is a delight: charming, witty, and vividly alive, with buoyant rhymes and eye-catching illustrations. I suspect this will become a beloved addition in many home libraries."―Madeline Miller, bestselling author of Circe

From the award-winning poet and translator A. E. Stallings comes a lively new edition of the ancient Greek fable The Battle between the Frogs and the Mice. Originally attributed to Homer, but now thought to have been composed centuries later by an unknown author, The Battle is the tale of a mouse named Crumbsnatcher who is killed by the careless frog King Pufferthroat, sparking a war between the two species. This dark but delightful parable about the foolishness of war is illustrated throughout in striking drawings by Grant Silverstein.

The clever introduction is written from the point of view of a mouse who argues that perhaps the unknown author of the fable is not a human after all: “Who better than a mouse, then, to compose our diminutive, though not ridiculous, epic, a mouse born and bred in a library, living off lamp oil, ink, and the occasional nibble of a papyrus, constantly perched on the shoulder of some scholar or scholiast of Homer, perhaps occasionally whispering in his ear? Mouse, we may remember, is only one letter away from Muse.”

In One Hundred Autobiographies, poet and scholar David Lehman applies the full measure of his intellectual powers to cope with a frightening diagnosis and painful treatment for cancer. No matter how debilitating the medical procedures, Lehman wrote every day during chemotherapy and in the aftermath of radical surgery. With characteristic riffs of wit and imagination, he transmutes the details of his inner life into a prose narrative rich in incident and mental travel. The reader journeys with him from the first dreadful symptoms to the sunny days of recovery.

This "fake memoir," as he refers ironically to it, features one-hundred short vignettes that tell a life story. One Hundred Autobiographies is packed with insights and epiphanies that may prove as indispensable to aspiring writers as Rilke's Letters to a Young Poet.

Set against the backdrop of Manhattan, Lehman summons John Ashbery, Kenneth Koch, Edward Said, and Lionel Trilling among his mentors. Dostoyevsky shows up, as does Graham Greene. Keith Richards and Patti Hansen put in an appearance, Edith Piaf sings, Clint Eastwood saves the neighborhood, and the Rat Pack comes along for the ride. These and other avatars of popular culture help Lehman to make sense of his own mortality and life story.

One Hundred Autobiographies reveals a stunning portrait of a mind against the ropes, facing its own extinction, surviving and enduring.

A Kirkus Best Fiction of 2019 Pick!

A cross between Daniel Woodrell and Annie Proulx, Wyoming is about the stubborn grip of inertia and whether or not it is possible to live without accepting oneself.
It’s 1988 and Shelley Cooper is in trouble. He’s broke, he’s been fired from his construction job, and his ex-wife has left him for their next door neighbor and a new life in Kansas City. The only opportunity on his horizon is fifty pounds of his brother’s high-grade marijuana, which needs to be driven from Colorado to Houston and exchanged for a lockbox full of cash. The delivery goes off without a hitch, but getting home with the money proves to be a different challenge altogether. Fueled by a grab bag of resentments and self punishment, Shelley becomes a case study in the question of whether it’s possible to live without accepting yourself, and the dope money is the key to a lock he might never find. JP Gritton’s portrait of a hapless aspirant at odds with himself and everyone around him is both tender and ruthless, and Wyoming considers the possibility of redemption in a world that grants forgiveness grudgingly, if at all.

Celebrated poet Daniel Tobin takes on the largest questions of the meaning and durability of language turned to art in his new book, On Serious Earth: Poetry & Transcendence. In the aftermath of Postmodernism, is there any lasting reason to believe that the timeless might inform our art? And if so, are we able to make value judgments about what among the productions of time most deserves to endure? Tobin finds guiding lights in a wide range of thinkers and poets, including Simone Weil, David Bentley Hart, Marilynne Robinson, Agha Shahid Ali, R. S. Thomas, Gwendolyn Brooks, B. H. Fairchild, and Natasha Trethewey. Navigating deftly between relativism and authority, nihilism and positivism, Tobin strikes a wise, informed balance.

An illuminating journey to racial reconciliation experienced by two Americans—one black and one white.

The 1919 Elaine Race Massacre, arguably the worst in our country’s history, has been widely unknown for the better part of a century, thanks to the whitewashing of history. In 2008, Johnson was asked to write the Litany of Offense and Apology for a National Day of Repentance, where the Episcopal Church formally apologized for its role in transatlantic slavery and related evils.

In his research, Johnson came upon a treatise by historian and anti-lynching advocate Ida B. Wells on the Elaine Massacre, where more than a hundred and possibly hundreds of African-American men, women, and children perished at the hands of white posses, vigilantes, and federal troops in rural Phillips County, Arkansas.

As he worked, Johnson would discover that his beloved grandfather  had participated in the Massacre. The discovery shook him to his core. Determined to find some way to acknowledge and reconcile this terrible truth, Chester would eventually meet Sheila L. Walker, a descendant of African-American victims of the Massacre.  She herself had also been on her own migration in family history that  led straight to the Elaine Race Massacre.  Together, she and Johnson committed themselves to a journey of racial reconciliation and abiding friendship.

Damaged Heritage brings to light a deliberately erased chapter in American history, and Chester offers a blueprint for how our pluralistic society can at last acknowledge—and deal with— damaged heritage and follow a path to true healing.

In WEATHERING: POEMS AND RECOLLECTIONS an aging poet greets a "phalanx" of memories and finds himself amid "an epic transmigration of echoes." At the heart of this collection of poetry and prose are three retrospective essays that narrate the adolescent poet's coming of age through encounters with such eminent elders as James Dickey, who was Havird's early mentor, Robert Lowell, and Archibald MacLeish. These prose memoirs also explore this poet's ambivalent relation to his native South and reveal the emergent cosmopolitan stance of his mature poetry. The poems, set mainly outside the South--amid the rubble of ancient Greece, in galleries at the Louvre, on hurricane-pummeled Cayman Brac--ponder mortality and metamorphosis; explore relationships, especially the complex relationships of child to parent and husband to wife; and engage with cultural artifacts--a Byzantine church, a derelict windmill, Puebloan petroglyphs--as well as traditional works of art and literature. These poems of Havird's maturity, together with a clutch of early ones rooted in the aspiring poet's youthful encounters with those elders, are elegant artifacts themselves, at once rueful and wry, thought-ridden and visionary.

Sooner or later, our words take on meanings other than we intended. How Words Make Things Happen suggests that the conventional idea of persuasive rhetoric (which assumes a speaker's control of calculated effects) and the modern idea of literary autonomy (which assumes that 'poetry makes nothing happen') together have produced a misleading account of the relations between words and human action. Words do make things happen. But they cannot be counted on to produce the result they intend.

This volume studies examples from a range of speakers and writers and offers close readings of their words. Chapter 1 considers the theory of speech-acts propounded by J.L. Austin. 'Speakers Who Convince Themselves' is the subject of chapter 2, which interprets two soliloquies by Shakespeare's characters and two by Milton's Satan. The oratory of Burke and Lincoln come in for extended treatment in chapter 3, while chapter 4 looks at the rival tendencies of moral suasion and aestheticism in the poetry of Yeats and Auden. The final chapter, a cause of controversy when first published in the London Review of Books, supports a policy of unrestricted free speech against contemporary proposals of censorship. Since we cannot know what our own words are going to do, we have no standing to justify the banishment of one set of words in favour of another.

The poems of In the Months of My Son’s Recovery inhabit the voice and point of view of the mother of a heroin addict who enters recovery. With clear perception and precise emotional tones, Kate Daniels explores recovery experiences from multiple, evolving vantage points, including active addiction, 12-step treatment, co-occurring mental illness and addiction (known as dual diagnosis), and relapse. These intimately voiced, harrowing poems reveal the collateral damage that addiction inflicts on friends and families, in addition to the primary damage sustained by addicts themselves. Offering bold descriptions of medical processes, maternal love, and the potential for hope as an antidote to despair, this timely collection offers a firsthand account of the many crises at the heart of the opioid epidemic.

The thought-tormented characters in T. S. Eliot’s early poetry are paralyzed by the gap between mind and body, thought and action. The need to address this impasse is part of what drew Eliot to philosophy, and the failure of philosophy to appease his disquiet is the reason he gave for abandoning it. In T. S. Eliot’s Dialectical Imagination, Jewel Spears Brooker argues that two of the principles that Eliot absorbed as a PhD student at Harvard and Oxford were to become permanent features of his mind, grounding his lifelong quest for wholeness and underpinning most of his subsequent poetry.

The first principle is that contradictions are best understood dialectically, by moving to perspectives that both include and transcend them. The second is that all truths exist in relation to other truths. Together or in tandem, these two principles―dialectic and relativism―constitute the basis of a continual reshaping of Eliot’s imagination. The dialectic serves as a kinetic principle, undergirding his impulse to move forward by looping back, and the relativism supports his ingrained ambivalence.

Brooker considers Eliot’s poetry in three blocks, each represented by a signature masterpiece: "The Love Song of J. Alfred Prufrock," The Waste Land, and Four Quartets. She correlates these works with stages in the poet’s intellectual and spiritual life: disjunction, ambivalence, and transcendence. Using a methodology that is both inductive―moving from texts to theories―and comparative―juxtaposing the evolution of Eliot’s mind as reflected in his philosophical prose and the evolution of style as seen in his poetry―Brooker integrates cultural and biographical contexts. The first book to read Eliot’s poems alongside all of his prose and letters, T. S. Eliot’s Dialectical Imagination will revise received readings of his mind and art, as well as of literary modernism.

"This selection of Carmen Bugan's poems offers readers an experience with all the surprise and continuity of a long, complex novel. Childhood, youth, the move from a traditional rural world, dominated by lovingly described grandparents, to exile, urban life, parents ageing, children growing - all the private normalities which are so often the material of poetry are here. But, from the striking opening, where the poet's parents work secretly on a typewriter, buried and dug up after the children are in bed, on Samizdat protests against the government of Romania, normality collides with history. A reality of state surveillance, abuse and incarceration fills the poems with urgency, even as memories are revisited and sometimes revised.

Carmen Bugan has written over twenty-five years in fluent, graceful English verse (Romanian, Latin and French words sometimes dazzling with multiple meanings); what marks this book is awareness of a sinister other language. With the poet, we realise that this is the record of a life already recorded, in the distorting staccato of the surveillance transcript, a distortion that leaks into the language of the later poems. Yet faith in the capacity of words to deliver truth survives, reflecting and recalling the exhuming of the typewriter, even if memory is vitiated and language is profaned." --Eiléan Ní Chuilleanáin

* Illustrates how Beckett's work draws from, and responds to, political conflicts such as the executions after the Irish Civil War, Nazi newspapers and propaganda, and war atrocities
* Explores how Beckett consistently uses Irish political history to illuminate, ironize, and complicate developments in Europe
* Provides fresh and new readings of Beckett's most famous work including Endgame
* Draws on archival material including Beckett's letters and German Diaries

"In a culture that has become progressively more skeptical and materialistic, the desires of the individual self stand supreme, Mark Edmundson says. We spare little thought for the great ideals that once gave life meaning and worth. Self and Soul is an impassioned effort to defend the values of the Soul.

Edmundson guides readers back to the ancient sources of the three great ideals: courage, contemplation, and compassion. Homer’s Iliad presents two contrasting versions of the heroic ideal: Achilles, who risks everything to become the greatest of warriors, and Hector, who sacrifices his life to defend his people. Plato’s quest is for timeless truth: he is the prime example of the authentic thinker, concentrating the ideal of contemplation. The third great ideal, compassion, is embodied by Jesus, the Buddha, and Confucius, who taught loving kindness, forgiveness, and forbearance in a world where such qualities are difficult and sometimes dangerous to espouse.

Shakespeare and Freud are the modern world’s great enemies of these ideals, Edmundson argues. Shakespeare detests chivalry and has little time for faith and philosophy. Freud sees ideals as illusions that will inevitably betray us. But between them, a new ideal arises: imaginative creation, exemplified by Blake and Shelley."

Not Only / But Also is book of poetry in which Anne Higgins looks back at youth and life’s trials and joys with the wisdom of age. Her poems echo the canon of English poetry in a unique honesty beyond mere allusion. She has absorbed the lessons of Shakespeare, Milton, Hopkins, Dickinson and Blake and filtered them back to us in slices of contemporary American life, the cruelty of musical chairs, the joy of hopscotch, the agony of aging and loss. She Not Only / But Also stakes her claim to the heart of American poetry.

Maryann Corbett's Street View is a panorama of views: suburban and urban avenues, shown in leaf and in snow; alleyways where misfits lurk in darkness, but also where "Adonis, charioteer of municipal waste collection, rides with the morning"; and boulevards of old buildings whose elegance remains undeniable, even when "prinked in the clown suit of commerce." Street View also navigates the resiliency and failings of the human body, and the memories of family and pivotal acquaintances that shape viewpoints for good or ill. This is the work of a seasoned poet in command of her craft, and deservedly, a finalist for the 2016 Able Muse Book Award.

In the tradition of second-century writer Pausanias, George Kalogeris offers a series of meditative poems on his Greek heritage, both through the intimate lens of his upbringing and the vast historical view of the country’s great literature and philosophy. Kalogeris’s Guide to Greece is a warm and personal collection that ambitiously ties the diaspora of Greek people and ideas into a single literary experience. The struggles of a displaced, working-class family, in turn, give rise to musings on Antigone and Odysseus. Ancient Greek heroes inspire considerations of modern-day greats, such as billionaire Aristotle Onassis and baseball player Harry Agganis. Mirroring the familiar yet mythic call of the Aegean Sea, these poems at once evoke vivid childhood memories and provide new explorations of time-honored epics.

"I'm still alive and now I'm in Bratislava," says the speaker of one of Salter's poems, as she travels with her unlikely late-in-life love, a military man. She never expected to be here, to know someone like him, to be parted from her previous life; how did it happen? Time is hurtling, but these poems try to slow it down to examine its curious by-products--the prints of Dürer, an Afghan carpet, photographs of people we've lost. The title poem, a crown of sonnets, takes up key moments in the poet's past, the quirky advent of poetic inspiration, and the seemingly sci-fi future of the universe. Throughout, in a tone of ironic wonderment, placing rich new love poems alongside some inevitable poems of leavetaking, Salter invites the reader to weigh and ponder the way things have turned out--for herself, for all of us--in this new century, and perhaps to conclude, as she does, "That's funny . . . "

The poems in Carl Dennis’s thirteenth collection, Night School, are informed by an engagement with a world not fully accessible to the light of day, a world that can only be known with help from the imagination, whether we focus on ourselves, on people close at hand, or on the larger society.  Only if we imagine alternatives to our present selves, Dennis suggests, can we begin to grasp who we are. Only if we imagine what is hidden from us about the lives of others can those lives begin to seem whole. Only if we can conceive of a social world different from the one we seem to inhabit can we begin to make sense of the country we call our own. To read these poems is to find ourselves invited into a dialogue between what is present and what is absent that proves surprising and enlarging.

When Rap Spoke Straight to God isn’t sacred or profane, but a chorus joined in a single soliloquy, demanding to be heard. There’s Wu-Tang and Mary Magdelene with a foot fetish, Lil’ Kim and a self-loving Lilith. Slurs, catcalls, verses, erasures―Dawson asks readers, “Just how far is it to nigger?” Both grounded and transcendent, the book is reality and possibility. Dawson’s work has always been raw; but, When Rap Spoke Straight to God is as blunt as the answer to that earlier question: “Here.” Sometimes abrasive and often abraded, Dawson doesn’t flinch.

A mix of traditional forms where sonnets mash up with sestinas morphing to heroic couplets, When Rap Spoke Straight to God insists that while you may recognize parts of the poem’s world, you can’t anticipate how it will evolve.

With a literal exodus of light in the book’s final moments, When Rap Spoke Straight to God is a lament for and a celebration of blackness.  It’s never depression; it’s defiance―a persistent resistance. In this book, like Wu-Tang says, the marginalized “ain’t nothing to f--- with.”

Poetry. THE MEAN GAME--John Wall Barger's fourth book-length entry in what might be called, collectively, a savage comedy--bristles with allegories that explore human cruelty and suffering. Gathering narratives that feel both ancient and modern, Barger forges an apocalyptic vision without sacrificing poetry's underlying sense of joy, humour and revelation. Part comic book translated from a dead language, and part nightmare dreamscape, THE MEAN GAME is a must-read from one of Canada's most kinetic writers.

 David Yezzi’s Schnauzer is a bold play-in-verse about our feral need for love untethered. Wild. Rabid. Reminiscent of early Albee, across leaps of time in vivid scenes suffused with a haunting lyricism and humor, Yezzi conjures characters struggling to wake up to the animal appetites of life. Dan O’Brien, Author of Body of an America

Rachel Hadas's remarkable new book treats the Aeneid as a commentary on our times. Just as Virgil wrote against the backdrop of the self-conflicted, imperial turbulence of Rome, Hadas examines our republic as it veers off into possibly irreversible disorder. The good news, as Hadas reminds us with her characteristic humanity and intelligence, is that individuals and societies often survive crises rather than succumbing to them. Against the jolts and jars of history, she asserts life's quiet miracles, including, in her case, the generational continuity extending from her revered father to the beloved grandchild to whom this book is dedicated.

Ernest Hilbert’s Last One Out traces the poet’s life from childhood memories of his father, both elegiac and nostalgic, to poems of celebration on the birth of his own son. Along the way, myth and history mingle with private reminiscences, drawing the reader from the haunted halls of the Chelsea Hotel to tank-littered Sinai battlefields, the tough streets of Philadelphia to the siege of Leningrad, as he dines with representatives from Vatican Museum, rows in the Oxford dawn, and scales retreating glaciers. This new volume finds Hilbert in his element, always the daring explorer, avid performer, and vexed observer of the terrors and temptations of the modern world and the troubled history from which it proceeds. Last One Out represents a decade’s effort, an astonishing achievement and essential reading.

A Finalist for the Pulitzer Prize in Poetry

A stunning new collection by the award-winning young poet and translator

Like, that currency of social media, is a little word with infinite potential; it can be nearly any part of speech. Without it, there is no simile, that engine of the lyric poem, the lyre’s note in the epic. A poem can hardly exist otherwise. In this new collection, her most ambitious to date, A. E. Stallings continues her archeology of the domestic, her odyssey through myth and motherhood in received and invented forms, from sonnets to syllabics. Stallings also eschews the poetry volume’s conventional sections for the arbitrary order of the alphabet. Contemporary Athens itself, a place never dull during the economic and migration crises of recent years, shakes off the dust of history and emerges as a vibrant character.

Known for her wry and musical lyric poems, Stallings here explores her themes in greater depth, including the bravura performance Lost and Found, a meditation in ottava rima on a parent’s sublunary dance with daily-ness and time, set in the moon’s Valley of Lost Things.

Like "sunlight stroking the birds' throats so it comes out as song," Ann Fisher-Wirth's graceful and sturdy lines unsettle the seemingly familiar. A writer of moral gravity, her distilled attentiveness presses against our all-too-common ambivalence and detachment from the ordinary world. Whether set in Mississippi, California, the Ozarks, or France, the poems in The Bones of Winter Birdsexhibit an abundance of compassion and civility. As Fisher-Wirth praises, laments, lets go, language salvages what might otherwise be missed. It's with attentiveness and emotional poise that these poems lay everything bare. Despite fear and everyday darkness, "I think we are provided for" she reminds us, a consolation for which I am grateful. This is a beautiful book.

A comic novel about a Midwestern professor who tries to prop up his failing prospects for happiness by setting out on the Journey of a Lifetime.

Louie Hake is forty-three and teaches architectural history at a third-rate college in Michigan. His second marriage is collapsing, and he's facing a potentially disastrous medical diagnosis. In an attempt to fend off what has become a soul-crushing existential crisis, he decides to treat himself to a tour of the world's most breathtaking architectural sites. Perhaps not surprisingly, Louie gets waylaid on his very first stop in Rome--ludicrously, spectacularly so--and fails to reach most of his other destinations. He embarks on a doomed romance with a jilted bride celebrating her ruined marriage plans alone in London. And in the Arctic he finds that turf houses and aluminum sheds don't amount to much of an architectural tradition. But it turns out that there's another sort of architecture there: icebergs the size of cathedrals, bobbing beside a strange and wondrous landscape. It soon becomes clear that Louie's grand journey is less about where his wanderings have taken him and more about where his past encounters with romance have not. Whether pursuing his first wife, or his estranged current wife, or the older woman he kissed just once a quarter-century ago, Louie reveals himself to be endearing, deeply touching, wonderfully ridiculous . . . and destined to find love in all the wrong places.

In Ned Balbo's new book, the deep time of the stars collides with the brief span of our lives as technology offers a world ever more dystopian: online ties give way to mobbing, the Web yields a hidden crime, and even a text message can be lethal. Standing against these forces are the grace of love and memory, the exhilaration of music, and the hope revealed in glimpses where "a clockwork cosmos meets / horizons that a greater dark augments." Balbo shows his virtuosity in a range of meters and forms: from poems on Elizabeth Bishop and Edna St. Vincent Millay to elegies about Prince and David Bowie, from ocean depths and tainted rivers to interstellar voyages that raise questions about our origins and place. This is a book about contemporary America and beyond, where politics can generate both laughter and despair, and even an adversary can look with sympathy on a nation he has come to know through undisclosed surveillance. 3 Nights of the Perseids, winner of the 2018 Richard Wilbur Award, is a powerful, and provocative, collection.

“I believe in the power of original sin,” writes James Arthur, “in the wound /  that keeps on wounding.” Set against a backdrop of political turmoil in the United States, The Suicide’s Son is about the complicated personal histories that parents inherit, add to, and pass on to their children. This is a confessional book of masks and personae, of depopulated landscapes haunted by history’s violence, of speakers whose conflicted truth-telling is marked by sense of complicity in the falsehoods they glimpse around them. “I’m aging very slowly, because every part of me / is already dead," says Frankenstein’s monster. With his formidable powers of observation and inimitable ear for the cadences of speech, Arthur shows himself to be, in only his second book, one of the best English-language poets writing today.

Jan Schreiber has published poems over five decades. His books include Digressions (1970), Wily Apparitions (1992), Bell Buoys (1998), and Peccadilloes (2014), as well as two books of translations: A Stroke upon the Sea and Sketch of a Serpent. A cycle of his poems, Zeno’s Arrow, was set to music by Paul Alan Levi in 2001. His criticism has appeared widely and was collected in his book Sparring with the Sun (2013). He teaches in the BOLLI program at Brandeis University and runs the annual Symposium on Poetry Criticism at Western State Colorado University. He was Poet Laureate of Brookline, Massachusetts from 2015 to 2017.

"Inspired by ancient, modern, and contemporary writings, Fred Chappell’s sprightly new collection of verse, As If It Were, presents tales, anecdotes, pointed stories, and aphorisms to spark the conscience of readers young and old. Playful and even zany, the humor in these poems pulls readers into a world filled with noble lions, crafty foxes, predacious wolves, longsuffering asses, and fashionable peacocks. Chappell illustrates how the fable offers a timeless form of wisdom, surprising us with revelations that challenge what we think we already know, along with fresh observations of daily experiences. With its informal, even nonchalant tone of address and lush, polished language, As If It Were endows homespun materials with alchemical insights."

"The ancient Greeks revered Hesiod, believing he had beaten Homer in a singing contest and that after his dead body was thrown to sea, it was brought back by dolphins. His Works and Days is one of the most important early works of Greek poetry. Ostensibly written by the poet to chide his lazy brother, it recounts the story of Pandora’s box and humanity’s decline since the Golden Age, and can be read as a celebration of rural life and a hymn to work. Alicia Stallings’s new translation breathes new life into Hesiod’s work, rendering its vivid poetry for a new generation of classics readers."

"This new translation brings Virgil’s masterpiece newly to life for English-language readers. It’s the first in centuries crafted by a translator who is first and foremost a poet, and it is a glorious thing. David Ferry has long been known as perhaps our greatest contemporary translator of Latin poetry, his translations of Virgil’s Eclogues and Georgics having established themselves as much-admired standards. He brings to the Aeneid the same genius, rendering Virgil’s formal metrical lines into an English that is familiar and alive. Yet in doing so, he surrenders none of the feel of the ancient world that resonates throughout the poem, and gives it the power that has drawn readers to it for centuries. In Ferry’s hands, the Aeneid becomes once more a lively, dramatic poem of daring and adventure, of love and loss, of devotion and death. Never before have Virgil’s twin gifts of poetic language and urgent, compelling storytelling been presented so powerfully for English-language readers. Ferry’s Aeneid will be a landmark, a gift to longtime lovers of Virgil, and the perfect entry point for new readers."

"Selected translations by Harry Thomas: Catullus, Li Bai, Sor Juana Inés de la Cruz, Giacomo Leopardi, Salvador Díaz Mirón, Paul Valéry, Antonio Machado, Umberto Saba, Giuseppe Ungaretti, Pedro Salinas, Eugenio Montale, Jorge Luis Borges, Pablo Neruda, Primo Levi, Yves Bonnefoy, Joseph Brodsky."

"Maryann Corbett's Street View is a panorama of views: suburban and urban avenues, shown in leaf and in snow; alleyways where misfits lurk in darkness, but also where "Adonis, charioteer of municipal waste collection, rides with the morning"; and boulevards of old buildings whose elegance remains undeniable, even when "prinked in the clown suit of commerce." Street View also navigates the resiliency and failings of the human body, and the memories of family and pivotal acquaintances that shape viewpoints for good or ill. This is the work of a seasoned poet in command of her craft, and deservedly, a finalist for the 2016 Able Muse Book Award."