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Black Moods
Collected Poems
Frank Marshall Davis
University of Illinois Press, 2001
Black Moods collects for the first time all of Frank Marshall Davis’s extant published poems as well as his previously unpublished work. From sharp-edged sketches of Southside Chicago’s urban landscape to the prismatic world that lay beneath Hawaii’s placid surface, Davis’s muscular poems blend social, cultural, and political concerns--always shaped by his promise to “try to be as direct as good blues.”

John Edgar Tidwell’s introduction examines both Davis’s poetry and his politics, presenting a subtle portrait of a complex writer devoted to exposing discriminatory practices and reaffirming the humanity of the common people.


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Collected Poems
Georg Trakl
Seagull Books, 2019
The work of poet Georg Trakl, a leading Austrian-German expressionist, has been praised by many, including his contemporaries Rainer Maria Rilke and Else Lasker-Schüler, as well as his patron Ludwig Wittgenstein, who famously wrote that while he did not truly understand Trakl’s poems, they had the tone of a “truly ingenious person,” which pleased him. This difficulty in understanding Trakl’s poems is not unique. Since the first publication of his work in 1913, there has been endless discussion about how the verses should be understood, leading to controversies over the most accurate way to translate them.
In a refreshing contrast to previous translated collections of Trakl’s work, James Reidel is mindful of how the poet himself wished to be read, emphasizing the order and content of the verses to achieve a musical effect. Trakl’s verses were also marked by allegiance to both the nineteenth and twentieth centuries, a fact which Reidel honors with impressive research into the historicity of the poet’s language.
Collected Poems gathers Trakl’s early, middle, and late work, ranging widely, from his haunting prose pieces to his darkly beautiful poems documenting the first bloody weeks of World War I on the Eastern Front. 

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Collected Poems
Thomas Bernhard
Seagull Books, 2017
Bernhard’s Collected Poem is a key to understanding Bernhard’s irascible black comedy found in virtually all of his writings—even down to his last will and testament. 

Beloved Austrian writer Thomas Bernhard (1931–89) began his career in the early 1950s as a poet. Over the next decade, Bernhard wrote thousands of poems and published four volumes of intensely wrought and increasingly personal verse, with such titles as On Earth and in Hell, In Hora Mortis, and Under the Iron of the Moon. Bernhard’s early poetry, bearing the influence of Georg Trakl, begins with a deep connection to his Austrian homeland. As his poems saw publication and recognition, Bernhard seemed always on the verge of joining the ranks of Ingeborg Bachmann, Paul Celan, and other young post-war poets writing in German. During this time, however, his poems became increasingly more obsessive, filled with undulant self-pity, counterpointed by a defamatory, bardic voice utterly estranged from his country, all of which resulted in a magisterial work of anti-poetry—one that represents Bernhard’s own harrowing experience with his leitmotif of success and failure, which makes his fiction such a pleasure. There is much to be found in these pages for Bernhard fans of every stripe.

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Collected Poems
Rainer Brambach
Seagull Books, 2014
Rainer Brambach, one of the most widely appreciated Swiss poets in the 1950s and '60s, was notorious for walking to the beat of his own drum, denying convention and standing his ground against popular styles and trends. He grew up in Basel and left school at the age of fourteen to become a manual laborer. He spent much of World War II in prison and in labor camps, an experience which greatly influenced his writing. After the war, Brambach began to make his name as a poet. Recognition and awards notwithstanding, Brambach remained an outsider in the literary world and lived for many years in poverty.

Marked by his disregard for material values, a profound engagement with the landscape of the Upper Rhine, and a lasting commitment to humanity, Brambach’s poems are direct, unadorned, and free of pomp or ideology. His quiet images conjure up landscapes, small rural scenes, and interiors of bars and cafes. Brambach was, above all, an observer whose poems provide insights of deceptive simplicity that form a poetic essence confirming the significance of this author’s voice. This collection of poems, masterfully translated by noted writer and poet Esther Kinsky, represents the first major English translation of a significant European poet.

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Collected Poems
Edwin Rolfe
University of Illinois Press, 1993
      Edwin Rolfe (1909-54) is best known as the poet laureate of the Abraham
        Lincoln Battalion, the Americans who volunteered to help defend the elected
        Spanish government during its 1936-39 civil war. His career began in the
        revolutionary Left in New York in the 1920s and continued into the 1950s,
        when Rolfe wrote searing poetry attacking the McCarthy-era witch-hunts.

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Collected Poems
Donald Davie
University of Chicago Press, 1991
Donald Davie's poems are here arranged chronologically from the 1950s to the beginning of the 1990s. Taken together, the poems display that reverence for the distinctive qualities of the English language which has earned him a name as one of Britain's finest living poets.

"Davie's voice—judgemental, ironic, epigrammatic, humorous, self-lacerating—speaks always with reference to an unhuman perpendicular standard that itself goes unquestioned. It is not a standard of Beauty or Truth; Davie is a poet of the third member of the Platonic triad, Justice."—Helen Vendler, The New Yorker

"[Davie's poems] are on the quiet side, often casual and musing in mood and tone; determined to resist large gestures of assent or denial. . .Donald Davie may just be the best English poet-critic of our time."—William Pritchard, The New Republic

"Donald Davie's Collected Poems does more than mark the culmination of one of the most distinguished careers in post-war British poetry; it is the autobiographical journey of a living poet at the height of his creative powers and the mastery of his craft. Davie is considered the most important and valuable contemporary link between poetry in England and America."—Sarah E. McNeil, Little Rock Free Press

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Collected Poems, 1936-1796
Robert Francis
University of Massachusetts Press, 1985
Gathered here in their entirety are the seven previous volumes of Robert Francis poetry — Stand with Me Here, Valhalla and Other Poems, The Sound I Listened For, The Face against the Glass, The Orb Weaver, Come Out into the Sun, and Like Ghosts of Eagles — together with a group of recent poems, many not previously published but "saved" to end this volume on a note of newness.

Because the original seven volumes are kept in chronological order, the reader can follow the author's journey from his quiet early work to poetry of greater color, warmth, vitality, vivacity, and sportiveness; and can note just when and where Francis' style becomes more and more diversified, with word-count, fragmented surface, and the celebration of words themselves.

The book is graced with eight wood engravings by Wang Hui-Ming.

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Collected Poems, 1945-1990
Barbara Howes
University of Arkansas Press, 1995

Finalist, 1995 National Book Award

This collection fills in a missing chapter in the history of American women’s poetry by bringing a significant voice back into print. Barbara Howes has perfected a personal style that had little to do with the fashionable currents of her time. Dana Gioia has said of her “[O]ne sees Howes very clearly as a woman writing in one of the oddest but most important traditions of American poetry. She stands with Marianne Moore, Elizabeth Bishop, and ultimately Emily Dickinson in a lineage of women writers passionately committed to the independence and singularity of the poetic imagination. Collected poems 1945-1990 contains the lifework of one of America’s irreplaceable poets.”

Forty years ago in The New Yorker Louise Bogan wrote: “Barbara Howes is the most accomplished women poet of the younger writing generation—one who has found her own voice, chosen her own material, and worked out her own form. Miss Howes is daring with language, but she is also accurate. Her originality stands in constant close reference to the material in hand, and although much of that material is fantastic or exotic, it is never so simply for its own sake.”

Drawing from seven previous books, this collection confirms and consolidates the reputation of Barbara Howes as a timeless poet whose fine voice and surprising insights will continue to delight all lovers of language.


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Collected Poems, 1952–1999
Robert Mezey
University of Arkansas Press, 2000
This important collection of poems, which spans a career of nearly fifty years, demonstrates Robert Mezey's development as a notable stylist, thinker, and poet. Moving from adaptations of Latin and Spanish poems to prayers and lamentations, from elegies and plaints of lost love to flights of comic and ribald fancy, his poetry reaches to the extremes of human experience. The death of friends and family, one's self-betrayals and self-infatuations, the comical confusion of a worried mother, the art of a doomed Jewish child in a Nazi concentration camp—all these human dramas play out bravely against the backdrop of the beautiful, indifferent path. Mezey can portray aging and death or sing of love and nature with an accuracy of perception and an intensity of feeling heightened by formal clarity and restraint. With his razor-sharp eye for the singular detail, he describes missed opportunities and moments of human weakness and loss in gestures so real the reader will ache. In capturing the pain of religious doubt, the pangs of tenderness and elation, and the vagaries of fate so honestly, Mezey has wrought a high finish to each poem so that, in the words of Donald Justice, they become "absolute classics of calm and beauty."

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The Collected Poems and Selected Prose
By Stanley Burnshaw
University of Texas Press, 2002

Stanley Burnshaw began to publish poems in the 1920s and founded his own verse journal in 1925. After serving as coeditor and drama critic of the New Masses weekly (1934-1936), he entered book publishing, directing the Dryden Press until 1958, when he joined Henry Holt. The first of his nineteen earlier works, André Spire and His Poetry, appeared in 1934 and the last in 1990, A Stanley Burnshaw Reader, with an introduction by Denis Donoghue.

The present volume—the definitive Burnshaw collection—offers all the poems he wishes to preserve and a full representation of his prose, including My Friend, My Father in its entirety. The Collected Poems and Selected Prose is vital reading for anyone wishing to be fully acquainted with the man whom Karl Shapiro called "one of the best-respected men of letters of our time."


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The Collected Poems of Ada Hastings Hedges
Ada Hastings Hedges
Oregon State University Press, 2020
Although for the most part forgotten today, Ada Hastings Hedges was among Oregon’s foremost mid–twentieth-century poets. Famous in her lifetime, she was best known for her superb poems set in Oregon’s high desert, which offer a fascinating counterpoint to C.E.S. Wood’s seminal The Poet in the Desert.

Except for a twelve-year sojourn in southeastern Oregon and two years in Los Angeles, Hedges lived in Portland from 1910 until her death in 1980. She was assistant editor at Binfords & Mort Publishers and a supervising editor in the Works Progress Administration. She taught briefly at Warner Pacific College in the 1960s.

Hedges wrote in a style notable for precision, clarity, and smoothness of line. More than half of her poems in this collection are sonnets.  A poet of the city as well as the desert, her work offers a compelling perspective on mid-century Portland life. In 1933 she published her only book, Desert Poems. That collection is reprinted here in its entirety, along with scores of additional poems published in a wide variety of venues, making this the first comprehensive collection of Hedges’s work.

A detailed introduction by the editors and annotations to the text provide information about revisions, publication dates, and notable features. Also included is an essay by Hedges asking “Can Poetry Be Taught?” In her afterword, Oregon poet Ingrid Wendt writes of her admiration for Hedges’s “fierceness of spirit, lack of sentimentality, and complex vision.”

For readers interested in women’s literature, Pacific Northwest poetry, and the literature of Eastern Oregon, this volume reintroduces a compelling regional voice.

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Collected Poems of Hazel Hall, The
Hazel Hall
Oregon State University Press, 2020
On the 100th anniversary of her debut poetry collection, Curtains, first published in 1920, Hazel Hall’s reputation as a major Oregon poet endures. During her short career, she became one of the West’s outstanding literary figures, a poet whose fierce, crystalline verse was frequently compared with that of Emily Dickinson. Her three books, published to critical acclaim in the 1920s, are reissued here in paperback for the first time. Together, they reintroduce an immediate and intensely honest voice, one that speaks to us with an edgy modernity.

Confined to a wheelchair since childhood, Hall viewed life from the window of an upper room in her family’s house in Portland, Oregon. To better observe passersby on the sidewalk, she positioned a small mirror on her windowsill. Hall was an accomplished seamstress; her fine needlework helped to support the family and provided a vivid body of imagery for her precisely crafted, often gorgeously embellished poems.

Hall’s writings convey the dark undertones of the lives of working women in the early twentieth century, while bringing into focus her own private, reclusive life—her limited mobility, her isolation and loneliness, her gifts with needlework and words. In his updated introduction to this volume, John Witte examines Hall’s brief and brilliant career and highlights her remarkably modern sensibilities. In a new afterword, Anita Helle considers Hall’s work in an era when modes of literary historical recovery have been widened and expanded—and what that means in the afterlife of Hazel Hall.

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Collected Poems of Howard Nemerov
Howard Nemerov
University of Chicago Press, 1981
The former Poet Laureate of the United States, Nemerov gives us a lucid and precise twist on the commonplaces of everyday life.

The Collected Poems of Howard Nemerov won both the National Book Award and the Pulitzer Prize in 1978.

"Howard Nemerov is a witty, urbane, thoughtful poet, grounded in the classics, a master of the craft. It is refreshing to read his work. . . . "—Minneapolis Tribune

"The world causes in Nemerov a mingled revulsion and love, and a hopeless hope is the most attractive quality in his poems, which slowly turn obverse to reverse, seeing the permanence of change, the vices of virtue, the evanescence of solidities and the errors of truth."—Helen Vendler, New York Times Book Review

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The Collected Poems of John Ciardi
John Ciardi
University of Arkansas Press, 1997
From twenty books of verse published between 1940 and 1993, John Ciardi gives us poems of love written with care and honest discernment and poems that tellingly render the ritual dance of human life and mortality.

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Collected Poems Of Muriel Rukeyser
Kaufman, Janet E.
University of Pittsburgh Press, 2006

Muriel Rukeyser held a visionary belief in the human capacity to create social change through language. She earned an international reputation as a powerful voice against enforced silences of all kind, against the violence of war, poverty, and racism. Her eloquent poetry of witness-of the Scottsboro Nine, the Spanish Civil War, the poisoning of the Gauley Bridge laborers-split the darkness covering a shameful world.

In addition to the complete texts of her twelve previously published books, this volume also features new poems discovered by the editors; Rukeyser's translations, including the first English translations of Octavio Paz's work; early work by Rukeyser not previously published in book form; and the controversial book-length poem Wake Island. An introduction by the editors traces Rukeyser's life and literary reputation and complements discerning annotations and textual notes to the poems.


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The Collected Poems of Sterling A. Brown
Sterling A. Brown; Edited by Michael S. Harper; With a New Foreword by Cornelius Eady
Northwestern University Press, 2020
Sterling A. Brown was renowned for his trenchant poetry and scholarship on African American folklife. A contemporary of Langston Hughes, Claude McKay, and Jean Toomer, Brown became the first poet laureate of the District of Columbia. His celebrated works, including Southern Road, address issues of race through collages of narrative and dialect unique to Brown’s unflinching poetic voice.

Edited by the late distinguished poet Michael S. Harper, this classic collection includes a new foreword by award-winning poet Cornelius Eady and the original introduction by Michael S. Harper, as well as introductions to Southern Road by James Weldon Johnson and Sterling Stuckey. The result is a tour de force by one of the most distinctive poets in American letters.

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The Collected Poems of Sterling A. Brown
Sterling A. Brown
Northwestern University Press, 1996
Arguably the greatest African American poet of the century, Sterling Brown was instrumental in bringing the traditions of African American folk life to readers all over the world. This is the definitive collection of Brown's poems, and the only edition available in the United States.

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The Collected Poems Of Édouard Glissant
Édouard Glissant
University of Minnesota Press, 2019

The complete poems of the two-time finalist for the Nobel Prize in Literature, available in English for the first time

This volume collects and translates—most for the first time—the nine volumes of poetry published by Édouard Glissant, a poet, novelist, and critic increasingly recognized as one of the great writers of the twentieth century. The poems bring to life what Glissant calls “an archipelago-like reality,” partaking of the exchanges between Europe and its former colonies, between humans and their geographies, between the poet and the natural world. 

Reciting and re-creating histories of the African diaspora, Columbus’s “discovery” of the New World, the slave trade, and the West Indies, Glissant underscores the role of poetic language in changing both past and present irrevocably. As translator Jeff Humphries writes in his introduction, Glissant’s poetry embraces the aesthetic creed of the French symbolists Mallarmé and Rimbaud (“The poet must make himself into a seer”) and aims at nothing less than a hallucinatory experience of imagination in which the differences among poem, reader, and subject dissolve into one immediate present.

Born in Martinique in 1928, influenced by the controversial Martinican poet/politician Aimé Césaire, and educated at the Sorbonne in Paris, Édouard Glissant has emerged as one of the most influential postcolonial theorists, novelists, playwrights, and poets not only in the Caribbean but also in contemporary French letters. He has twice been a finalist for the Nobel Prize in Literature as well as the recipient of both the Prix Renaudot and the Prix Charles Veillon in France. His works include Poetics of Relation, Caribbean Discourse, Faulkner Mississippi, and the novel The Ripening. He currently serves as Distinguished Professor of French at City University of New York, Graduate Center.


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Collected Poems
With Notes Toward the Memoirs
Djuna Barnes; selected and edited by Phillip Herrring and Osias Stutman
University of Wisconsin Press, 2005

This groundbreaking edition compiles many of the late unpublished works of American writer Djuna Barnes (1892–1982). Because she published only seven poems and a play during the last forty years of her life, scholars believed Barnes wrote almost nothing during this period. But at the time of her death her apartment was filled with multiple drafts of unpublished poetry and notes toward her memoirs, both included here for the first time. Best known for her tragic lesbian novel Nightwood, Barnes has always been considered a crucial modernist. Her later poetry will only enhance this reputation as it shows her remarkable evolution from a competent young writer to a deeply intellectual poet in the metaphysical tradition. With the full force of her biting wit and dramatic flair, Barnes’s autobiographical notes describe the expatriate scene in Paris during the 1920s, including her interactions with James Joyce and Gertrude Stein and her intimate recollections of T. S. Eliot. These memoirs provide a rare opportunity to experience the intense personality of this complex and fascinating poet.


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In Case of Fire in a Foreign Land
New and Collected Poems from Two Languages
Ariel Dorfman
Duke University Press, 2002
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.

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In the Home of the Famous Dead
Collected Poems
Jo McDougall
University of Arkansas Press, 2015
In the Home of the Famous Dead will appeal to newcomers as well as to avid followers of Jo McDougall’s long career and complex work, providing valuable insights to the development of a poet’s signature, inimitable style. This collection presents work known for its sparse, compact language; surprising metaphor; humor; irony; idiomatic speech; and a stoic, sadly earned wisdom concerning death and loss. In McDougall’s world, folks making do with what they have take the stage to speak of, in the words of one critic, “the tangled mysteries of their faltering lives.” Her work has been described as having “excruciating honesty” (Gerald Stern), giving voice to the “ineffable emotions of plain people” (Judith Kitchen). Miller Williams notes that the work has “cleanness and clarity . . . in all the funk and smell of humanity.” This is the poetry of midwestern plains and southern botttomlands, of waitresses and professors, farmers and bankers, the disadvantaged and privileged alike. Often beginning in the personal and expanding to the universal, this poet takes note of the phenomenological world with a mixture of joy, despair, and awe, providing a haunting look at the cosmic irony of our existence. McDougall’s style is indescribable, yet wholly accessible. As Kelly Cherry notes, “Call it magic, call it art; either way [Jo McDougall’s work] is something like a miracle.”

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Listening through the Bone
Collected Poems
Willy Conley
Gallaudet University Press, 2018
I don’t write "with the ear" as most poets do, but with the eye. As Deaf people are apt to do, we become attuned to our world through tactile means, listening through the bone for vibrations, sensing shifts in air currents, recognizing wafting odors, observing fluctuations and reflections of light and movements in the water.

In Listening through the Bone, Willy Conley bears witness to life’s moments and renders them into poems that are at once irreverent and tender. His poetry examines life cycles, the natural world, and his experiences as a Deaf individual. It is presented in five parts:
  • Inaudibles
  • Existentials
  • Quizzicals
  • Irrevocables
  • Environmentals
​​      Conley’s thoughts on the banal and the bizarre include translations of poetry from American Sign Language to English. His identity as a Deaf poet lends a strong visual aspect to his work. This collection is accompanied by the author’s photographs, including “watergraphs” that reveal inverted images reflected in pools of water.

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Moon on the Meadow
Collected Poems
Pia Taavila-Borsheim
Gallaudet University Press, 2008

As a child of deaf adults (CODA), Pia Taavila first learned to communicate when her deaf father fingerspelled the names of toys in her crib and her mother showed her the signs for objects in picture books. From this primary visual orientation, in combination with her own innate sense of imagery, Taavila crafted the lush verse featured in Moon on the Meadow: Collected Poems.

Taavila uses the graphic power of her poetry to evoke emotions about all aspects of existence — love, loss of love, family, death, and desire — feelings elicited through a lens attuned to the simple beauty of the natural. Most of the poems in Moon on the Meadow have been published at least once in established journals, testimony to the broad appeal of her passionate outlook on life. Yet, Taavila believes that her experiences as a CODA are essential to her ability to write at all. She never strays far from her home, her family, and the comforts they bring her through her art:

    At a wedding, a flautist’s
    languid notes lilt on the air.
    My mother, who cannot hear,
    leans forward, attentive
    to the dip and sway of his body.
    She signs to me:

    It sounds like butterflies


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New and Collected Poems
Dionne Brand
Duke University Press, 2022

Spanning almost four decades, Dionne Brand’s poetry has given rise to whole new grammars and vocabularies. With a profound alertness that is attuned to this world and open to some other, possibly future, time and place, Brand’s ongoing labors of witness and imagination speak directly to where and how we live and reach beyond those worlds, their enclosures, and their violences.

Nomenclature: New and Collected Poems begins with a new long poem, the titular Nomenclature for the Time Being, in which Dionne Brand’s diaspora consciousness dismantles our quotidian disasters. In addition to this searing new work, Nomenclature collects eight volumes of Brand’s poetry published between 1982 and 2010 and includes a critical introduction by the literary scholar and theorist Christina Sharpe.

Nomenclature: New and Collected Poems features the searching and centering cantos of Primitive Offensive; the sharp musical conversations of Winter Epigrams and Epigrams to Ernesto Cardenal in Defense of Claudia; and the documentary losses of revolutions in Chronicles of the Hostile Sun, in which “The street was empty/with all of us standing there.” No Language Is Neutral reads language, coloniality, and sexuality as a nexus. Land to Light On writes intimacies and disaffections with nation, while in thirsty a cold-eyed flâneur surveys the workings of the city. In Inventory, written during the Gulf Wars, the poet is “the wars’ last and late night witness,” her job is not to soothe but to “revise and revise this bristling list/hourly.” Ossuaries’ futurist speaker rounds out the collection and threads multiple temporal worlds—past, present, and future.

This masterwork displays Dionne Brand’s ongoing body of thought—trenchant, lyrical, absonant, discordant, and meaning-making. Nomenclature: New and Collected Poems is classic and living, a record of one of the great writers of our age.


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The Rising and the Rain
Collected Poems
John Straley
University of Alaska Press, 2008
John Straley crafts here a collection of poems that pay homage to his home of the Pacific Northwest and southeastern Alaska. His narrative poetry is infused with sharp wit and delicate details, as he meditates on the natural world of the Pacific coastline and its rhythmic seasonal patterns, cycles of rain, and rich abundance of earth. Straley intertwines the personal and political to create elegies of refreshing honesty and universal scope, making The Rising and Rain a powerful work by one of the top emerging poets today.

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The School of Solitude
Collected Poems
Luis Hernández
Swan Isle Press, 2014
Peruvian poet Luis Hernández is legendary in his native country. Haunted by addiction and spending periodic reclusion in rehabilitation centers, Hernández was exceptionally gifted in his youth, publishing three books of poetry by the time he was twenty-four. He did not publish another book before his untimely death at thirty-six, but he was not silent—he filled notebooks with poems, musical notations, quotes, translations, musings, newspaper clippings, and drawings.
Derived from these notebooks, The School of Solitude is the first book of Hernández’s poetry in English. The haunting voice of Hernández evokes an irrevocably distant past, with the poems contemplating happiness and joy, love and fulfillment, yet always with a sense of sadness, solitude, and dream. Including rare images from Hernández’s notebooks, as well as several poems never before published in any language, The School of Solitude will be read not only for its powerful poetry and imagery, but also as a means to learn more about this enigmatic Latin American poet and the mystery of his life and work.

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Some Jazz a While
Collected Poems
Miller Williams
University of Illinois Press, 1999

Some Jazz a While, the eagerly anticipated collected poems of one of America's best-loved poets, gathers Miller Williams's most representative work and adds some new pieces as well.

This generous collection welcomes newcomers as well as longtime admirers of Williams's trademark style: a compact and straightforward language, a masterful command of form, and an unsentimental approach to his subject matter. Williams treats the mundane interchanges, the lingering uncertainties, the missed opportunities, and the familiar sense of loss that mark daily life with the surgeon's deft touch.

An American original, Miller Williams involves the reader's emotions and imagination with an effective illusion of plain talk, continually rediscovering what is vital and musical in the language we speak and by which we imagine.


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