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Incandescent poems about living and aging—about being awake in this young century—by one of our most moving and eloquent poets. These poems chart the journeys of sleepless nights when whole lifetimes seem to pass with their stories: loves lost and gained; children and seasons in their phases; and the world beyond, both threatening and enriching life. The time before sleep acts as an invitation to reflect on the world's quieter movements—from gardens heavy after a first storm to the moon slipping into darkness in an eclipse—as well as on the subtle but relentless passage of time. Insomnia embodies Linda Pastan's graceful and iconic voice, both lucid and haunting.

"A moving and incandescent volume from a poet celebrated for her 'unfailing mastery of her medium' (New York Times Book Review). In poems of graceful lyricism and penetrating observation, award-winning poet Linda Pastan sheds new light on the complexities of ordinary life and the rising tide of mortality. Drawing from Pastan's five most recent volumes-including The Last Uncle (2002), Traveling Light (2011), and Insomnia (2015)-and with over thirty new poems, Almost an Elegy reflects on beauty, old age, and the probability of loss. Whether in a lush evocation of an impressionist painting or a wry and wistful ode to a car key, Pastan finds lucid meaning in the passage of time"--

Excerpt from The Queen of Sheba: Opera in Four Acts, From a d104 by Mosenthal Kano awaits thecoming of the Queen of Sheba. He has dispatched his favorite courtier, Assad, to escort the royal guest to Jerusalem. Assad, the betrothed of Sulamith, the High Priest's daughter, was to celebrate his nuptials during the Queen' s sojourn in the Jewish capital; but at the foot of the Lebanon he has surprised the beautiful queen in a bath, and, inflamed by her charms, has become deeply enam ored with her, as she with him. On his return to Jerusalem he 18 met by his betrothed and her father, but conscious of his guilty passion he shrinks from their welcomes. Solomon who half divines the truth, questions him closely, whereupon Assad confesses the truth so far as it is known to himself, for he is not yet aware of the fact that it was the Queen herself whom he had espied in the bath. Solomon exhorts himto remain faithful to Sulamith; Assad promises obedience, but finds his resolution shaken when, at the Queen's reception of the royal court, she raises her veil and gazes at him. Dining the night the Queen has a secret meeting with Assad in the royal gardens and urges him to abandon Sulamith and to return with her (the Queen) to Arabia. The day set for his nuptials with Sulamith arrives Solomon himself appears in the temple to witness the celebration Assad seems inclined to return to his faith, but on seeing the Queen enter the sacred edifice, his unhahowed passxon revives, and be publicly spurns his devoted bride. Solomon, suspecting the truth, conjures the Queen to solve this mystery, but she declares that she does not know Assad and has never seen him. The latter is condemned to death by the priests, but the execution of judgment is stayed by the Ling. The Queen pleads for him, but Solomon remains deaf to her prayers, where upon the Queen departs from Jerusalem. Sulamith declares her intention to retire from the world and to devote her remaining days to God. Assad, whose life has been spared, but who is condemned by the King to perpetual banishment, strays repent nully in the Syrian desert. Once more he meets the false Queen who exhausts her seductive eloquence, but m vain. Assad remains deaf to her pleadings and is resolved to atone his guilt by sincere repentance. He expires in the arms of Sulamith who, accompanied by her maidens, is traversing the desert on her way to her cloistral seclusion and has found her faithless lover fainting and dying. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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Self-Shadowing Prey, one of the final texts by the Romanian poet Ghérasim Luca (1913-1994), is clearly constructed around the sought complications of language. Embodying the surrealist operation of play with considerable exactitude and rigor, Self-Shadowing Prey is rich with neologistic stupors, nouns made verbs, and compelling repetitions and linguistic expansions. Language is not merely put into play but made to participate in an erotic act, and words become the locus of an exploding self. This linguistically-joyous text reveals the arresting syntactic creation and creative stammering which Deleuze and Guattari both saw in Luca and what led Deleuze to call him a great poet among the greatest. "If Ghérasim Luca's speech is eminently poetic," Deleuze pronounced, "it is because he makes stuttering an affect of language and not an affectation of speech. The entire language spins and varies in order to disengage a final block of sound, a single breath at the limit of the cry, JE T'AIME PASSIONNÉMENT." Transformed for the first time into English by distinguished translator Mary Ann Caws, this bi-lingual edition of Self-Shadowing Prey gives us yet one more important text by a key figure of the Romanian branch of Surrealism. In addition, it is the first book of Luca's verse ever to be translated into English. "Ghérasim Luca is a great poet among the greatest: he invented a prodigious stammering, his own." -Deleuze "Mary Ann Caws' passionate translations render deft, delightful facets of the formidable Ghérasim Luca: virile servings of refreshment and tumult, liberating language from the yoke of Duty. This collection pairs and contrasts well with the churning self-surgery we had the pleasure of smuggling from Romanian. Self-Shadowing Prey calls for vertiginous reading, in exhilarating reflection of the sonorous scintillations of Luca's own reading performances." -Julian and Laura Semilian, translators of Ghérasim Luca's The Inventor of Love & Other Works

In this much-anticipated new collection, poet and musician Gary Barwin both continues and extends the alchemical collision of language.

In Outside the Hat lies a landscape of CanaDada and SurRielism, populated by dancing medieval woodcuts, Franglais--speaking dogs, sadistic provincial politicians and melodious bison. Including work culled from a plethora of micro-press chapbooks such as Mike Harris Made Me Eat My Dog , The Irridescent Phlegm of Bagpipers Glorious with Flu and The Stars Are a Pale Pox on the Sky's Dark Chicken , this is the definitive Gary Barwin collection: stranger than you (can) think.

"Ulysses, a book-length poem, details Fondane's voyages and various parts of his life, including an Atlantic passage, the experience of living as a cultural and linguistic exile, the precarity of growing up Jewish in early 20th-century Romania, and the desperate streams of emigrants and refugees searching new lives across the ocean" --

Poems.

The critic George P. Elliott once declared: "Hecht's voice is his own, but his language, more amply than that of any other living poet writing in English, derives from, adds to, is part of the great tradition." The Darkness and the Light , Anthony Hecht's seventh volume - whose 44 poems include fine translations of poems by Horace, Baudelaire, Goethe, Vaillant and d'Orleans - vividly demonstrates that Elliott's claim is as apt now as it was when he made it, a quarter of a century ago.

Manas is an epic novel in free verse, an extraordinary blend of Hindu mythology and existentialism depicting in a language of enormous vigor and many voices a mesmerizing story of love, death and rebirth

The poems cover the travel experiences Ada Aharoni had during her tumultuous voyages around the world. Part I is on "Women and Peace," Part II on "Peace With Our Neigbors," Part III Peace Poems by Israeli poets and poets from the Global Village. Part IV includes her Letters to Kadreya and to Mrs. Jehan Sadat, on the necessity of having peace in the Middle East. And the last part includes some of her poems put to music. This moving lyrical and philosophical collection illuminates several of our dilemmas with hope and fresh vision.