Here in the attic of Shel Silverstein you will find Backward Bill, Sour Face Ann, the Meehoo with an Exactlywatt, and the Polar Bear in the Frigidaire. You will talk with the Broiled Face, and find out what happens when Somebody steals your knees, you get caught by the Quick-Digesting Gink, a Mountain snores, and They Put a Brassiere on the Camel. From the creator of the classic WHERE THE SIDEWALK ENDS, here is a wondrous new collection of poems and drawings.

Collects poems and drawings that feature Runny and other woodland characters speaking his topsy-turvy language.

Presents a collection of traditional rhymes, rewritten to feature Russian characters and scenes.

The author presents her own poetry on witches, ghosts, magic, and other aspects of Halloween.

In this poem an old tin can becomes an urban conch shell when, held against a child's ear, it reveals the sounds of a bustling city.

Accompanied by enchanting artwork, this brilliant collection of more than 100 poems from the legendary author celebrates childhood, showing just how wonderful it is to be a kid.

Short and inspiring, but rarely surprising, this collection of remarks, aphorisms and exhortations about the nature and purpose of poetry began in the late 1950s, when Ferlinghetti was just coming into his own as a Beat poet and publisher of City Lights Books. After 50 years of revisions and additions, his claims may not strike experienced readers as fresh-and some may even seem cliched: "The state of the world," his first page declares, "calls out for poetry to save it." On the other hand, Ferlinghetti's very large body of fans (he is one of the bestselling 20th-century American poets) should find reason and justice in these eternal verities, couched in up-to-date lingo: "Poems are e-mails from the unknown beyond cyberspace," for example. Beginning teachers of creative writing should also find Ferlinghetti's instructions of use: "Read between the lines of human discourse." Two groups of aphorisms make up most of the volume, to which Ferlinghetti adds a short essay and two 1970s poems. "Modern Poetry Is Prose" encourages young writers to discover the "dark spirit of earth and blood"; "Populist Manifesto #1" hopes "Whitman's wild children," however pressed down by modernity, will soon "Awake and sing in the open.

A mother making a quilt for her child stitches the varied topography of their beautiful island into her patchwork pattern.

A collection of new and previously published stories and poems about unicorns by Jane Yolen.

Twenty-two poems reflect Frances' observations on the events in her life.

Fifteen poems portray three familiar bears and their friend Goldie engaged in such activities as taking a walk, eating porridge, and having a birthday party.

A collection of poems explores the underground, from animal burrows and subways to caves and magma. Includes scientific and personal notes on the poems.

This collection of poems is based on Mother Goose rhymes.

Presents nineteen poems, such as "Brazilian Moon Tale," "Green Cheese," and "Grandmother Moon," which in some way relate to the moon.

Like her celebrated short fiction, Paley's poems are street-smart yet vulnerable, full of earthy observations and a refreshing bemusement; they display a wonderful ear for the rhythm of the speech of her native New York, where "talk is cheap but comes in variety." She "tells the story of the stories" told by children and grandmothers, which resonate "in the mind's ear" as "talk talk talk/the tickling tongue/of strangers." These poems are rich with the fullness of everyday life: the doings of Paley's Greenwich Village neighborhood, summers in Vermont, fulltime political activism, memories of family and friends. Paley's wonderful economy with words recalls William Carlos Williams and the objectivist poets. ISBN 0-88448-098-4: $19.95.

Sixteen poems of feelings, thoughts, and behavior of childhood

This whimsical collection of poems in the haiku tradition celebrates the joy and wonder of nature. The twenty-eight playful poems take the young reader from early morning, through the day, and into the night's "gallery of diamonds". Sometimes serious, sometimes funny, but always surprising, these poems are sure to capture the imagination

Poems inspired by traditional nursery rhymes depict the grim reality of inner city life, including such topics as crime, drug abuse, unemployment, and inadequate housing.

My Mother's Body, Marge Piercy's tenth book of poetry, takes its title from one of her strongest and most moving poems, the climax of a powerful sequence of Poems to her mother. Rooted in an honest, harrowing, but ally ecstatic confrontation of the mother / daughter relationship in all its complexity and intimacy, it is at the same time an affirmation of continuity and identification. "The Chuppah" comprises poems actually used in her wedding ceremony with Ira Wood. This section sings with powerfully female love poetry. There is also a sustained and direct use of her Jewish identity and faith in these poems, as there is in a number of other poems throughout the volume. Readers of Piercy's previous collections will not be surprised to encounter her mixture of the personal and the political, her love of animals and the Cape landscape. There are poems about doing housework, about accidents, about dreaming, about bag ladies, about luggage, about children's fears of nuclear holocaust; about tomcats, insects in the rafters, the influence of a name, appleblossoms and blackberries, pollution, and some of the ways women objectify one another. In "Does the light fail us, or do we fail the light?" Piercy writes with lacerating honesty about our relationships with the elderly and about hers with her father. Some of the most moving poems are domestic, as in the final sequence, "Six underrated pleasures," which finds in daily women's tasks both pleasure and mystery, affirmation of serf and connection with the mother. In all, My Mother's Body is one of Piercy's most powerful and balanced collections.