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The poems of Anna Margolin (1887?1952), appearing here both in the original Yiddish and in English translation. Winner of the 2007 Yiddish Literature and Translation from Yiddish presented by the Helen and Stan Vine Annual Canadian Jewish Book Awards 2007 Runner Up of the National Jewish Book Award in Poetry Born Rosa Lebensboym in Belarus, Anna Margolin (1887?1952) settled permanently in America in 1913. A brilliant yet largely forgotten poet, her reputation rests on her volume of poetry published in Yiddish in 1929 in New York City. Although written in the 1920s, Margolin's poetry is remarkably fresh and contemporary, dealing with themes of anxiety, loneliness, sexual tensions, and the search for intellectual and spiritual identity, all of which were clearly reflected in her own life choices. Sensitively and beautifully translated here, the poems appear both in the original Yiddish and in English translation. Shirley Kumove's fascinating critical-biographical introduction highlights Margolin's tempestuous and unconventional life. An exceptionally beautiful and gifted woman, Margolin adopted a bohemian and an eccentric lifestyle, and threw herself into both intellectual pursuits and romantic attachments beyond her two marriages.

This collection of literature attempts to compile many of the classic works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.

'In the later twentieth century Robert Burns was sorely in need of commentators to provide fuller analysis of a figure whose cultural reputation too often overshadowed his literary achievement. The brilliance of David Daiches as a literary critic filled much of the gap. His readings are a cornerstone of modern Burns studies.' Gerry Carruthers, Director, Centre for Robert Burns Studies, University of Glasgow An Edinburgh graduate in the 1930s, the early part of David Daiches' long and distinguished academic career was spent in the United States. However, after spells at Chicago and Cornell Universities, in 1951 he returned to Cambridge as a Lecturer in English. Ten years later he chose to leave Cambridge for the new University of Sussex where he was the first Professor and Dean in the School of English Studies. Retiring in 1977, he returned to Edinburgh where he continued to play an exceptionally active role in Scotland's intellectual and cultural life until his death in 2005. A polymath of English letters, Daiches' scholarly interests ranged extremely widely, but in no field is his influence more creative and enduring than in that of Scottish Literature. Our understanding of Scotland's literary culture in the eighteenth century, of Burns, of Scott, of Stevenson and McDiarmid, was transformed by his work. Originally published in 1951, his Robert Burns is a brilliant example of his ground-breaking scholarship and criticism at its most illuminating.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

William Carlos Williams was born on September 17, 1883 in Rutherford, New Jersey. As well as being a poet he painted and maintained a lifelong interest in it. Williams was also a physician in both paediatrics and general medicine. He served at the Passaic General Hospital in Passaic, New Jersey as chief of paediatrics from 1924 until his death. Williams is most well-known for his poems that are closely associated with the Modernism and Imagism movements. In addition to poetry he occasionally wrote short stories, plays, novels, essays, and worked on translations. He practiced medicine by day and wrote at night. Early in his career, he briefly became involved in the Imagist movement via friendships with Ezra Pound and Hilda Doolittle (H.D.). Soon his opinions moved away from theirs and his style began to confirm his alignment to a modernist expression of his surrounding environment. From the late 40's health became a major issue in his life but with himself as the patient. He suffered a heart attack in 1948 and, after 1949, a series of strokes. One such stoke in 1953 left him in hospital for four months and brought about severe depression. In these later years, Williams mentored and influenced many younger poets especially the American literary movements of the 1950s; the Beat movement, the San Francisco Renaissance, the Black Mountain school, and the New York School. One of Williams's most productive relationships was with fellow New Jersey poet Allen Ginsberg. Williams included several of Ginsberg's letters in Paterson, stating that one of them helped inspire the fifth volume of that work. Williams also wrote the introduction to Ginsberg's Howl and Other Poems in 1956. William Carlos Williams died on March 4th, 1963, at the age of 79 at his home in Rutherford. He was buried in Hillside Cemetery in Lyndhurst, New Jersey.

A musician, musicologist, and self-defined “poet of research,” Amelia Rosselli (1930–96) was one of the most important poets to emerge from Europe in the aftermath of World War II. Following a childhood and adolescence spent in exile from Fascist Italy between France, England, and the United States, Rosselli was driven to express the hopes and devastations of the postwar epoch through her demanding and defamiliarizing lines. Rosselli’s trilingual body of work synthesizes a hybrid literary heritage stretching from Dante and the troubadours through Ezra Pound and John Berryman, in which playful inventions across Italian, English, and French coexist with unadorned social critique. In a period dominated by the confessional mode, Rosselli aspired to compose stanzas characterized by a new objectivity and collective orientation, “where the I is the public, where the I is things, where the I is the things that happen.” Having chosen Italy as an “ideal fatherland,” Rosselli wrote searching and often discomposing verse that redefined the domain of Italian poetics and, in the process, irrevocably changed the Italian language. This collection, the first to bring together a generous selection of her poems and prose in English and in translation, is enhanced by an extensive critical introduction and notes by translator Jennifer Scappettone. Equipping readers with the context for better apprehending Rosselli’s experimental approach to language, Locomotrix seeks to introduce English-language readers to the extraordinary career of this crucial, if still eclipsed, voice of the twentieth century.

"American readers who want to see rejuvenated form in untroubled action, giving brisk shape to contemporary and classical events, will find it in Lasdun." —Helen Vendler With this, his second collection of poetry, James Lasdun consolidates his reputation as a writer of rich, emotionally charged poems of utter virtuosity. The poems in this book concern themselves with transformations, dislocations, and metamorphoses. Vividly rendered landscapes from Tuscany to New Jersey evolve into meditations on love, myth, and sexual and social politics. Woman Police Officer in Elevator is a rigorous and compelling mix of the classical and the cosmopolitan.

Jiri Orten was one of the great poets of the 20th century. A Czech Jew who narrowly avoided being sent to a concentration camp, Orten was hit by a speeding German car in Nazi-occupied Prague in 1941. He was refused admission to a nearby hospital and died shortly afterwards (at the age of 22) in a "Jewish Hospital" which was basically a warehouse. "Jiri Orten is a powerful, visionary poet whose work has been beautifully translated by Lyn Coffin. These are poems we can return to again and again-for their courage, for their sustenance." - Sam Hamill "Lyn Coffin's translations do justice to a great poet. I can think of no higher praise for a translation than that." - Joseph Brodsky (about Lyn's translations of Orten's Elegies) "I can now die a happy man.... These are the poems my brother would have written if he'd written in English." - Ota Ornest, Jiri Orten's brother ... How dark it is outside! What was I going to say? Oh, yes, now I remember. Because of all those hours I slept soundly through calm nights, because of all those loved ones who are deep in dreams-- Now, when everything's running short, I can't stand being here by myself. The lamplight's too strong. I am sowing grain on the headland. I will not live long.

A meditative narrative of Jewish Experience and man's relation to the world. The Book of Questions, of which volumes IV, V, VI are together published here, is a meditative narrative of Jewish Experience, and, more generally, man's relation to the world. In these volumes the word is personified in the woman Yaël, silence in her still-born child Elya. Even though words imply ambiguity and lies, they are the home of the exile. A book becomes the Book, fragments of the law that are in some way unified, where past and present, the visionary, and the common place, encounter each other. For Jabès every word is a question in the book of being. Man defines himself in the world against all that threatens his existence- death, the infinite, silence, that is, God, his primal opponent. How can one speak what cannot be spoken?

Since 1941 Michael Hamburger has created a distinctive body of work. Collected Poems 1941-1994 reflects more than half a century's dedication to poetry and a consistent engagement with both the natural and the human world. Michael Hamburger was born in Berlin in 1924, and came to Britain as a child. He has taught widely in America and Britain and is the outstanding contemporary translator and critic of German literature. His awards include the German Federal Republic's Goethe Medal in 1986 for services to German literature. Anvil publishes his critical work The Truth of Poetry and several of his translations, including editions of Goethe , H�lderlin , Rilke and Poems of Paul Celan , which received the EC's European Translation Prize in 1990. His poem-sequence Late appeared in 1997.

Zoo is Tobias Hill’s third collection of poems. It shows the growing maturity of a voice already distinctive three years ago, when his first collection was noted for its ‘grand irony and playful humour, with episodes of tenderness and even charm’. Hill’s poems combine narrative impetus with musical lyricism. Influenced by the poetry of Japan and the paintings of Edward Hopper, they are full of intense sound, smell, and visions, Often through a nocturnal eye, Hill describes an urban-pastoral landscape, full of the greenhouse luxuriance of city flora, fauna and humanity. “Hill’s special territory, in poetry and prose, is the ‘urban-pastoral’ … his native North London is transformed, with many deftly dark touches, into an uneasy realm of the imagination. Hill clearly appreciated Simon Armitage’s storytelling persona; he also drew upon observation of the natural world in ways associated with Ted Hughes. Much of his imagery is by turns delicately ‘Japanese’, or reminiscent of the heyday of Craig Raine’s ‘Martian’ style. Hill has a romantic dimension in his work that is all his own. As a young man with an intense curiosity about the world, his work is full of sensual images, vignettes of city life – and romance … these are poems of flirtation and desire.”—contemporarywriters.co.uk“The closeup detail taken directly from nature, then skewed through 90° to give the reader something completely new, even unique … with this third collection, Hill promises to be a real force in poetry, displaying an utterly contemporary understanding of how nature continues to work.”—Poetry Review“There is a fin de siècle decadence about them … not least in their brightly coloured diction, their luxuriant descriptiveness, their louche postures.”—Poetry Wales“Superb conjurations of place.”—Adam Mars Jones“Compassionate and intelligent … so full of action and interest and that brings alive such an array of people and places, that it is difficult to believe they sprang from the pen of one writer.”—Rachel Cusk

In this latest collection of poems, Hill invokes people and place, mythologizing and demythologizing city lives as they are led. From poignant vignettes and celebrations to urban-pastoral and elegy, these poems extend Hill’s romance with London’s psychic and surreal fabric. Selected as a Next Generation poet, Hill continues to delight us with sensuous observation and imaginative embrace.“Hill’s special territory, in poetry and prose, is the ‘urban-pastoral’ … his native North London is transformed, with many deftly dark touches, into an uneasy realm of the imagination. Hill clearly appreciated Simon Armitage’s storytelling persona; he also drew upon observation of the natural world in ways associated with Ted Hughes. Much of his imagery is by turns delicately ‘Japanese’, or reminiscent of the heyday of Craig Raine’s ‘Martian’ style. Hill has a romantic dimension in his work that is all his own. As a young man with an intense curiosity about the world, his work is full of sensual images, vignettes of city life – and romance … these are poems of flirtation and desire.”—contemporarywriters.co.uk“The closeup detail taken directly from nature, then skewed through 90° to give the reader something completely new, even unique … with this third collection, Hill promises to be a real force in poetry, displaying an utterly contemporary understanding of how nature continues to work.”—Poetry Review“There is a fin de siècle decadence about them … not least in their brightly coloured diction, their luxuriant descriptiveness, their louche postures.”—Poetry Wales“Superb conjurations of place.”—Adam Mars Jones“Compassionate and intelligent … so full of action and interest and that brings alive such an array of people and places, that it is difficult to believe they sprang from the pen of one writer.”—Rachel Cusk

This lively second collection from a young, much-travelled writer, falls into two parts. ‘Transit’ includes poems of abroad, especially Japan, where Tobias Hill lived for two years. ‘Back to the City’ is about London, from hangover to Underground; Hiroshima; and the `City of Clocks’, a fusion of cities and ages. They are poems crammed with a young man’s curiosity and eye for detail, and show his great ability for story-telling. Tobias Hill lives in London, and besides writing (his short stories and novels are published by Faber) he reviews and edits several new magazines. “Hill’s special territory, in poetry and prose, is the ‘urban-pastoral’ … his native North London is transformed, with many deftly dark touches, into an uneasy realm of the imagination. Hill clearly appreciated Simon Armitage’s storytelling persona; he also drew upon observation of the natural world in ways associated with Ted Hughes. Much of his imagery is by turns delicately ‘Japanese’, or reminiscent of the heyday of Craig Raine’s ‘Martian’ style. Hill has a romantic dimension in his work that is all his own. As a young man with an intense curiosity about the world, his work is full of sensual images, vignettes of city life – and romance … these are poems of flirtation and desire.”—contemporarywriters.co.uk“The closeup detail taken directly from nature, then skewed through 90° to give the reader something completely new, even unique … with this third collection, Hill promises to be a real force in poetry, displaying an utterly contemporary understanding of how nature continues to work.”—Poetry Review“There is a fin de siècle decadence about them … not least in their brightly coloured diction, their luxuriant descriptiveness, their louche postures.”—Poetry Wales“Superb conjurations of place.”—Adam Mars Jones“Compassionate and intelligent … so full of action and interest and that brings alive such an array of people and places, that it is difficult to believe they sprang from the pen of one writer.”—Rachel Cusk

This volume brings together 144 examples of lyric poetry, notable in quality and representative of their times. Besides an introduction to the nature of the lyric, there are commentaries at the head of each poem, textual and explanatory footnotes, a general bibliography, and a comprehensive glossary keyed to the text.

The poems in 'Songs from Two Continents' follow a tradition extended from the folk poetry of the common peoples of Turkey, infusing Moris Farhi's Turkish roots with his European upbringing.

In the first years of the 20th century, friends Max Jacob, Pablo Picasso and Guillaume Apollinaire, with associated artists and writers including Georges Braque, Jean Cocteau, Amedeo Modigliani, Henri Matisse, Gertrude Stein, Pierre Reverdy and Alfred Jarry, gathered in a ramshackle house in Paris. From its improvised studios and stages emerged the early expressions of Modernism: Cubism, Dada, Surrealism, incorporation of collage in painting and vernacular in poetry. Jacob's masterwork, The Dice Cup (Le Cornet à Dés), has never before been available in a full English edition. This completely new translation includes the Preface of 1916, with Jacob's critique of Rimbaud, Baudelaire and Mallarme, and his strictures and inspirations for the true prose poem: "The author who has situated his work can use all the enchantments: language, rhythm, musicality and spirit." "I am convinced that artistic emotion ceases where analysis and thought intersect: something else provokes thought and gives the feeling of beauty." "A work of art is a force that attracts, that absorbs the available forces of the one who comes close to it." "The poem is a constructed object... the prose poem is a jewel." from The Dice Cup: THE PRESS: I entered timidly: there was an ostrich that was losing its feathers and, on a white stucco pedestal, a bronze bird whose plumage was represented by a series of engraved shells. It was Mr. Abel Hermant or someone like Mr. Abel Hermant who appeared, as soon as the hallway door opened: "Ah! young man!" said he, "you come for the hundred sous!" I learned later that a hundred sous were given to everybody who came there. At the mention of a hundred sous, the ostrich dropped a feather and the bronze bird flew away. Anyway, the vestibule was deserted and dusty, pins were kept in iron boxes painted with the portraits of great men, Cuvier, Buffon, etc... "Ah! Young man," repeated Mr. Abel Hermant or someone of the same ilk, "you come for the hundred sous!" And the birds re-commenced their motions. "No, sir! It's free! It's a free delivery!" My future spiritual guide did not listen any further: "free delivery" had edified him, he turned his back on me. The ostrich put on his policeman's hat and looked at me with worried curiosity. The bronze bird was even more bronze.

In The Clinic, Memory , Elaine Feinstein has selected poems from the last half century of her writing life. They range widely: tender, early lyrics from 'In a Green Eye'; elegies for her father and close friends, amused reflections on ageing and longer poems such as 'Gold', based on the life of Lorenzo da Ponte, Mozart's librettist, or the lot of refugees in 'Migration'. Other poems explore the conflicts in a long marriage, teased out most poignantly in poems for her late husband in 'Talking to the Dead'.

An exciting new collection from the prize-winning poet Annie Freud - A PBS ChoiceAnnie Freud's award-winning first collection, The Best Man That Ever Was, introduced readers to a remarkably versatile new voice; The Mirabelles delivers a similarly exhilarating cornucopia - the Mask of Temporary Madness, Marc Almond, mini-novels a sonnet long, Carottes Vichy, and the most gripping account of a billiard game you'll ever read. However, in a new sequence derived from family letters, Freud has invented almost a new kind of writing: neither 'found' nor 'made' in the conventional sense, these poems are profoundly moving, and startling in their boldly unfashionable lack of irony. Elsewhere The Mirabelles is full of the world-stuff - the clothes and food, the art and social intrigues - with which we dress and conceal our deeper emotions and appetites. In the end, this is a book about reality and its representations, and the truth and lies we tell about ourselves.

Sassoon's fame as a novelist and autobiographer, and the success of his posthumously published Diaries , have somewhat obscured his achievement as a poet. Apart from the famous War Poems of 1919, which firmly established his reputation, he published eight volumes of verse during his lifetime. This collected edition represents his own choice of the poems he wished to preserve. It was first published in 1947 and subsequently enlarged to include the late poems in Sequences .