Alicia Ostriker seizes the opportunity to take us where too few poets have been able to take us: into a domain of what our fabulists like to call the \u201cgolden years.\u201d as we live longer, we become inevitably curious about the actual texture of these late years, curious about what happens in the soul. Out of that curiosity is a new kind of poetry born, an elderstile that has passion and irony, wisdom, folly, clarity and tenderness. In her keen engagement with the self and the world, Ostriker offers us a voice and a perspective that explore the territory of seventy and beyond.

An accessible new and selected collection of poems for poetry insiders and general readers. Powerful, passionate, humorous, and often complex, yet fun to read. They go down easy, but pack a whallop.

Kirby Flower Smith explores the development of Greek and Latin elegiac meter from its origins to Imperial Rome.

Wilfred Mustard finds references to Vergil's Georgics in a variety of English authors from the 15th to the 19th century.

This groundbreaking, transgenre work-part detective story, part literary memoir, part imagined past-is intensely autobiographical and confessional. Proceeding sentence by sentence, city by city, and backwards in time, poet and essayist Kazim Ali details the struggle of coming of age between cultures, overcoming personal and family strictures to talk about private affairs and secrets long held. The text is comprised of sentences that alternate in time, ranging from discursive essay to memoir to prose poetry. Art, history, politics, geography, love, sexuality, writing, and religion, and the role silence plays in each, are its interwoven themes. Bright Felon is literally "autobiography" because the text itself becomes a form of writing the life, revealing secrets, and then, amid the shards and fragments of experience, dealing with the aftermath of such revelations. Bright Felon offers a new and active form of autobiography alongside such texts as Theresa Hak Kyung Cha's Dictee, Lyn Hejinian's My Life, and Etel Adnan's In the Heart of the Heart of Another Country. A reader's companion is available at http://brightfelonreader.site.wesleyan.edu/

Temper is at once violent and controlled, unflinching and unforgiving in temperament. The poems are mercilessly recursive, placing pressure on the lyric as a mode of both the elegiac and the ecstatic. The result is an enforced silence, urgent with grief.

Persephone Rising is the story of the Greek goddess Persephone that brings to life the ancient world of Greek myth to a modern audience. Involved in a passionate love-triangle, the story of Persephone moves through mythic realms and brings light into the darkness of personal and universal journeys.

The poems in this collection are the proverbial spring bulbs abandoned in the basement, growing toward a slim crack of sunlight. They are both aware of the limitations of social structures and forcefully committed to breaking out of those traps, urging toward a better way of living. The characters in these poems resist the twenty-first century\u2019s prescription for a life of emotional-spiritual bankruptcy, reaching toward an ever-elusive glimmer on the horizon.

This collection of the works of ancient Arabic poets encompasses the original three volumes of the collection by Ahlwardt from 1902 and 1903. The substantial introductions and comments are in German while the works referenced appear in the original Arabic. The three volumes contain material from al Asma Iyyat of al Asmai, al Ajjah, az Zafayan, and Ruba ben al Ajjaj, poets of the pre-Islamic period. This title, bound into one volume for affordability, is increasingly difficult to acquire. The selections of the poems themselves are essential reading for any historian of Arabic poetry while the comments of the editor add interpretive value to the original material from the hands of the poets themselves.

This collection of the works of ancient Arabic poets encompasses the original three volumes of the collection by Ahlwardt from 1902 and 1903. The substantial introductions and comments are in German while the works referenced appear in the original Arabic. The three volumes contain material from al Asma Iyyat of al Asmai, al Ajjah, az Zafayan, and Ruba ben al Ajjaj, poets of the pre-Islamic period. This title, bound into one volume for affordability, is increasingly difficult to acquire. The selections of the poems themselves are essential reading for any historian of Arabic poetry while the comments of the editor add interpretive value to the original material from the hands of the poets themselves.

This collection of the works of ancient Arabic poets encompasses the original three volumes of the collection by Ahlwardt from 1902 and 1903. The substantial introductions and comments are in German while the works referenced appear in the original Arabic. The three volumes contain material from al Asma Iyyat of al Asmai, al Ajjah, az Zafayan, and Ruba ben al Ajjaj, poets of the pre-Islamic period. This title, bound into one volume for affordability, is increasingly difficult to acquire. The selections of the poems themselves are essential reading for any historian of Arabic poetry while the comments of the editor add interpretive value to the original material from the hands of the poets themselves.

Drawing upon intersections of astronomy and mathematics, history, literature, and lived experience, the poems in Open Interval locate the self in the interval between body and name.

“An artist who moonlights as a dentist. A worm who's eternal. A farmer who milks his cow to death. Not to mention the guy with a belly button for an eye. Russell Edson, self-named Little Mr. Prose Poem, returns with See Jack, a book of fractured fairy tales, whose impeccable logic undermines logic itself, a book that champions what he has called elsewhere 'the dark uncomfortable metaphor.' 'What better way to die,' he writes in the final prose poem, 'than waiting for the fat lady to sing in the make-believe of theater, where nothing's real, not the fat lady, not even death . . . ' See Jack may be Edson's best book yet—proof that his imaginative powers keep growing. What a deliciously scary thought!” —Peter Johnson

This volume includes the Greenlandic originals and English translations of selections from Aqqaluk Lynge's poetic output over the course of the last thirty-five years. It launches the International Polar Institute Press's bilingual Greenlandic Literature in Translation series, the first cultural project arising from the US-Greenland Joint Declaration signed in 1993. This series examines the decline of ritual and physical traditions as Greenlanders adapt to modern technology while struggling to retain their cultural heritage in the midst of challenges posed by modern commerce and climate change. It reproduces for the first time in English the voices of a distinct and proud people in poetry, fiction, and performance/mixed media. Speaking from the universal heart and mind, Lynge's powerful verses rely on strong images drawn from traditional life, the people, and the geography of his beloved Greenland as it moves toward sovereignty.

This collection is a love letter to language with poems that are drunk and filled with references to the hyperkinetic world of the twenty-first century. Yet Zeus and Hera tangle with Leda on the interstate; Ava Gardner becomes a Hindu princess; and Shiva, the Destroyer, reigns over all. English is the primary god here, with its huge vocabulary and omnivorous gluttony for new words, yet the mystery of the alphabet is behind everything, a funky puppet master who can make a new world out of nothing.

Ka-Ching! is a book of poems that explores America’s obsession with money. It also includes a crown of sonnets about e-bay, sestinas on the subjects of Sean Penn and the main characters of fairytales, a pantoum that riffs on a childhood riddle, and a villanelle inspired by bathroom grafitti.