The Objectivist Press published George Oppen's first book Discrete Series, a collection of thirty-one short poems with a preface by Ezra Pound, in 1934. Four years earlier, the twenty-one-year-old poet had sent an unbound sheaf of typewritten poems with the title 21 Poems hand-written in pencil on the first page to the poet Louis Zukofsky, who forwarded them on to Pound in Paris. These poems, suffused with Oppen's love for his young bride Mary, as well as his love of sailing, are strikingly different from what they'd eventually become in Discrete Series. The scholar David B. Hobbs recently found 21 Poems buried in Ezra Pound's papers at Yale's Beinecke Library, and they appear here as a collection of their own for the first time.

"This is a collection of poetry & art by the author-artist Carolyn Mary Kleefeld, dedicated in memoriam to David Campagna, the great romantic interest in Kleefeld's life, co-published by Cross-Cultural Communications of Merrick, New York, and The Seventh Quarry Press of Swansea, Wales. What is "immortal"? That which is not subject to death and decay. As Hippocrates wrote, Ars longa, vita brevis. And what is a "seed"? Origin, root, fountainhead-come to mind. Immortal Seeds is a collection of art and poetry, of that which cannot decay and is a planting of creative eternality. Borne of a heart nurtured by true love, he love of David Campagna, Carolyn Mary Kleefeld, the artist-poet has, in image and word, produced a volume that brings to mind Shakespeare's: "So long lives this and this gives life to thee." Or, to paraphrase: "So long as these Immortal Seeds exist, they give life to Carolyn's beloved." -Stanley H. Barkan, Poet-Publisher Cross-Cultural Communications"--

This book of poems has intent, design, and purpose. They are written to touch something hidden deep within you, something latent, undiscovered, and mysterious. I hope that you may wish to discover more about that of which I speak.For there are answers to your questions if you but seek. That hidden something is true of everyone, almost without exception, but most of us have fallen asleep to the yearning and the searching that it can give rise to. If you are not in the category of the walking dead--and you are truly searching-- perhaps this book will be for you. If you loved fairy tales as a child, would rather travel to ancient sites than take cruises or hang out on a beach, appreciate the mythology from other cultures, enjoy classical art, perhaps read philosophy and great literature, are enthralled by the wonder of the natural world--and the list goes on and on--this book may be of interest to you. Even if your yearning takes other forms, you may love what I've written as well. But the book is not an answer to your yearnings. It can, though, be a window into a world where those same yearnings are addressed, satisfied, and shown a further and meaningful path to take. I wrote it in the language of today (including a small amount of crude language), with some references to literary or artistic works of the past. Despite the simplicity of many of the poems, there is great depth of meaning, if you are open to it. My suggestion would be to read only a few poems at a time, trying to ponder what I am talking about, letting them sink in emotionally, rather than dissecting them intellectually. And certainly don't continue to read until your eyes glaze over, as that will not profit you in the least. Enjoy!

Every Day in the Morning (slow) is a work that looks and reads like no other. Sam, a composer, reflects on his floundering career, life with his lover and tensions with his father. Some thoughts, like facial hair and breakfast, are mundane; others, like love, money and war, are often overwhelming. At turns laughable and vain, at others, tender and considered, Sam's feelings and ideas turn continuously. The result is an oddly lyrical streamof– consciousness that's as conversational as its appearance is unconventional. Spare text and the generous white space invite a distinct interaction with the story, one where every detail, every placement and every repetition influences meaning. The lack of punctuation allows the reader the freedom to internalize this exquisitely crafted work and understand the protagonist's state of mind. The exceptional style of Every Day in the Morning (slow) amounts to a kind of thinging , somewhere between singing and thinking, thing and thought, utter brilliance and complete crap. A novella with long poem features, slow breaks the rules of both genres, while at the same time offering an addictive and compulsive flow that may make it the fastest book you will ever (want to) read.

Ben Saltman's eleventh book of verse. These are the uncollected poems that includes a section of his essays on poetry and an article he wrote about his friend, poet Bert Meyers whom he befriended during the 1960s. This book offers over sixty poems and two essays on poetry. A must have for any reader who loves the poetry of Benjamin Saltman.

In the world of Chilean poet Ariel Dorfman, men and women can be forced to choose between leaving their country or dying for it. The living risk losing everything, but what they hold onto—love, faith, hope, truth—might change the world. It is this subversive possibility that speaks through these poems. A succession of voices—exiles, activists, separated lovers, the families of those victimized by political violence—gives an account of ruptured safety. They bear witness to the resilience of the human spirit in the face of personal and social damage in the aftermath of terror. The first bilingual edition of Dorfman’s work, In Case of Fire in a Foreign Land includes ten new poems and a new preface, and brings back into print the classic poems of the celebrated Last Waltz in Santiago. Always an eloquent voice against the ravages of inhumanity, Dorfman’s poems, like his acclaimed novels, continue to be a searing testimony of hope in the midst of despair.

A collection of poetry by Heinrich Heine, translated into English by Emil Alexander Charles Keppler. The poems, originally published in Heine's Buch der Lieder, cover a wide range of themes including love, nature, and politics. 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.

Born in the United States, Shirley Kaufman has lived for the past 20 years in Jerusalem, a city split by cultural and religious fault lines. In direct, sensitive language, Kaufman's poems occupy the shifting border between ordinary life and violence, Palestinian and Jew, young love and aging companionship. They grapple with the meaning of routine, of family, and of life among a daily existence punctured with bombs. Sometimes I need to be nowhere. A place without history. "Kaufman's poems flourish in the spaces between what is familiar and unfamiliar, between life in Israel and life in the U.S., and in those moments when the differences between Palestinians and Jews, mothers and daughters, history and the immediate moment play themselves out." -- American Book Review "Kaufman is adept at revealing the human face behind politics, carefully accumulating familiar details to make a large portrait." -- Publishers Weekly Shirley Kaufman is the author of seven books of poetry and several translations from the Hebrew. Her awards include the Shelley Memorial Award from the Poetry Society of America and the Alice Fay di Castagnola Award. A native of Seattle, Kaufman now lives in Jerusalem.

âeoeOn the Way to Willowdale: Being Other Songs From a Georgia Garden, With Sonnet Interludesâe is a collection of poems by Robert Loveman, showcasing his lyrical style and deep appreciation for nature. Loveman, often compared to Robert Browning, infuses his work with vivid imagery and emotional depth. This collection presents a diverse range of subjects, from the delicate beauty of 'Morning Glories' and 'Sally Dahlia' to the dramatic intensity of a comet and tempest. Loveman's romantic sensibilities shine through in poems addressing themes of love and loss, such as 'slain my love, ' 'Mary Marigold, ' and 'Juliet.' The included sonnet interludes offer moments of introspective beauty, capturing fleeting moments of 'rapture' and 'ecstasy.' With its evocative language and timeless themes, "On the Way to Willowdale" remains a testament to Loveman's contribution to American poetry, inviting readers to revel in the 'SKIES AND BUTTERFLIES' and the 'toy of joy' found within the Georgia landscape. 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 was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. 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. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. 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.

A captivating collection of poems that explore the themes of love, nature, and the human condition through vivid and evocative imagery. 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.

A 99-year-old Beat-era novelist is reactivated into writing when his sons send him poems by US Mail. Thus begins Father Verses Sons, a stunning poetic correspondence about life and death, and about men bumbling towards love

True-Love is the fulfillment of revered poet-critic Allen Grossman’s long service to poetry in the interests of humanity. Poetry’s singular mission is to bind love and truth together—love that desires the beloved’s continued life, knotted with the truth of life’s contingency—to help make us more present to each other. In the spirit of Blake’s vow of “mental fight,” Grossman contends with challenges to the validity of the poetic imagination, from Adorno’s maxim “No poetry after Auschwitz,” to the claims of religious authority upon truth, and the ultimate challenge posed by the fact of death itself. To these challenges he responds with eloquent and rigorous arguments, drawing on wide resources of learning and his experience as master-poet and teacher. Grossman’s readings of Wordsworth, Hart Crane, Paul Celan, and others focus on poems that interrogate the real or enact the hard bargains that literary representation demands. True-Love is destined to become an essential book wherever poetry and criticism sustain one another.

An anthology of poems, from many different countries and periods of time, reflecting various aspects of love.

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 was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. 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. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. 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.

Poetry. Jewish Studies. "Marc Kaminsky's A CLEFT IN THE ROCK is a monumental achievement. At home in no world, Kaminsky has an uncanny gift for walking between worlds, traveling like a courier from the personal to the archetypal. I know of no poet whose work, passionate and visceral, inscribes itself so readily in typological time, the perpetual present of Biblical story, psalm, and creation myth. Meticulously grounded--in Yiddishkeit, the maelstrom of the family, wholehearted married love, the struggles of the aging body--these poems open onto absolutes. The chords they strike have extraordinary resonance: a dying father and Moses' encounter with God, a hospital procedure and an interrogation site. Kaminsky visits the depths to find how to 'live / with catastrophe in the world / of signs and wonders.' His book is itself a cleft in the rock, a site of hard-won emotional possibility in a stone-hearted age. These are poems of naked vulnerability and contingency; they remind us what it means to be whole and human."--D. Nurkse

Product Description ". . . and what used to take me a decade and more to accomplish as a writer has suddenly fruited within a 12-month time frame." Joe Sherman was describing Beautiful Veins, his final poetry collection. Beautiful Veins begins with a child, "one life with all the promise of its beautiful veins." Some poems catch details of domestic life, its indwelling spirit and glancing irony. Others evoke history and landscape, opening them up to careful consideration. Always there is a love of language: its quirks and oddities, its split-levels and riches. Intricate and elliptical syntax reveals moments of joy, named against the threat of time and illness. A poem ends, in its own kind of triumph, "I would rather be beautiful than dead." About the Author Joseph Sherman (1945-2006) grew up in Whitney Pier, Nova Scotia, studied in Fredericton, taught in Edmundston, New Brunswick, and moved to Charlottetown in 1979. A superb editor, poet, and essayist, he won many awards, including the Bliss Carman Award and the Royal Society of Arts Silver Medal; he was also a Member of the Order of Canada. His practice and advocacy contributed immeasurably to the arts in Prince Edward island, the Atlantic region, and Canada.

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

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

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

"I like the way good food and diction go together so clearly... The poems are different to what one normally gets in English, the issues far bigger, as in 'Dhimmi Under Sharia Law' (A Lawyer's Poem) and in many others that one may benefit from." - Alan Sillitoe"These enthralling and lovely poems begin with rich recollections of another country ( so we ate, so we loved ), but darken into the shock of domestic violence. Her poems are absolutely straightforward to read, but quite unforgettable." - Alison Brackenbury"Yvonne Green takes us into the unfamilar world of Boukhara and Judeo Tajik culture with complete assurance. For all the lucidity of her poetry, her work has an unusual density. This is a fine new voice, which deserves to be widely heard." - Elaine Feinstein"Yvonne Green's poems are strange, evoking unfamiliar worlds and seeing them with their own kind of language. She effaces their merely subjective self and her poems get into their subjects. What matters is the voices out there, and she hears them. There is so much world, so many stories, included here. It is wonderful to encounter this vivid annex to experience and understanding." - Michael Schmidt