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          Alice Fulton's writing has been characterized by The New Yorker
          as "electrifying," and the poet herself, according to Publishers
          Weekly, "may be Dickinson's postmodern heir."
 

In Paradise, Stephen Gibson's fourth poetry collection, we are taken on a journey through history and myth, wars past and present, public discoveries and private loss. As the reader confronts past horrors and present truths as well as the speaker's personal ones (an abused mother, a shellshocked father), it becomes apparent that the paradise sought-not in the hereafter but in the here and now-lies just beyond reach. It all ends, suggest these verses, with the understanding that behind everything we find nothing more divine than the human.

Winner of the 2019 Ohioana Book Award for Poetry 

Pardon My Heart is an exploration of love in the contemporary African American ethos. In this lyrically complex collection, the speakers and subjects—the adult descendants of the Great Migration—reckon with past experiences and revelatory, hard-earned ideas about race and class.

With a compelling blend of narrative, musicality, and imagery, Jackson’s poems span a multitude of scenes, landscapes, and sensations. Pardon My Heart examines intimacy, memory, grief, and festivity while seeking out new, reflective sectors within emotion and culture. By means of concise portraiture and sonic vibrancy, Jackson’s poems ultimately express the urgency and pliability of the human soul. 

 

Penumbra—Michael Shewmaker’s debut collection—explores the half-shadows of a world torn between faith and doubt. From intricate descriptions of the rooms in a dollhouse, to the stark depiction of a chapel made of bones, from pre-elegies for a ghostly father, to his compelling treatment of his obsessed, human characters (a pastor, a tattoo artist, a sleepwalker, to name only a few), these are poems that wrestle with what it means to believe in something beyond one’s own mortality. Learned and formally adept, these poems consist of equal parts praise and despair. They announce Shewmaker as an important new voice in American poetry.

Photographing Eden presents the first full-length collection of poems by a major new talent. The work meditates on several ideas, the crux of which is Eden: spirituality, environmentalism, and the relationships between men and women. Observing, often through the lens of a camera, our state in the world, the poems try to focus sharply on what often seems a blur. The poems are always attentive to artistic mediums and the craft behind them because our struggle is to make something perfect in the imperfect world in which we live, while acknowledging the impossibility of that quest. Gray’s poems range all over, from adventures in Egyptian ruins with machine-gun-toting tourist police to the western edge of the foggy Irish coastline, and to the mythic past, where Adam and Eve visit a zoo and Eden has become a nature preserve.

 

Planted by the Signs brings us the contemporary Appalachian poetry—cultivated in the dirt of Elliott County, Kentucky—of Misty Skaggs. With an eye for details that exquisitely balance personal and social observation to communicate volumes, she tells the stories of generations of women who have learned to navigate a harsh world with a little help from the Farmers’ Almanac and the stars. The collection is separated into three sections that reference the best times to grow and harvest. Knowing and following these guidelines—planting by the signs—could mean the difference between prosperity and tragedy in the lives of Appalachian families.

Personal, political, and passionate, Planted by the Signs also explores what it means for Skaggs to care for her great-grandmother at the end of her life. Color photos by the poet further showcase her sidelong and fierce outlook. The images and poems together deliver an intimate look into the day-to-day reality of a backwoods woman embracing barefooted radicalism in the only place she could call home.

One of the most original and influential European poets of the Middle Ages, François Villon took his inspiration from the streets, taverns, and jails of Paris. Villon was a subversive voice speaking from the margins of society. He wrote about love and sex, money trouble, "the thieving rich," and the consolations of good food and wine. His work is striking in its directness, wit, and gritty urban realism. Villon’s writing spurred the development of the psychologically complex first-person voice in lyric poetry. He has influenced generations of avant-garde poets and artists. Arthur Rimbaud and Paul Verlaine have emulated Villon’s poetry. Claude Debussy set it to music, and Bertolt Brecht adapted it for the stage. Ezra Pound championed Villon’s poetry and became largely responsible for its impact on modern verse. With David Georgi’s ingenious translation, English-speaking audiences finally have a text that captures the riotous energy and wordplay of the original. With a newly revised French text that reflects the latest scholarship, this bilingual edition also features inviting and informative notes that illuminate the nuances of Villon’s poems and the world of medieval Paris.

Margaret Cavendish released her Poems and Fancies during a brief reprieve from exile, and at a time when international conversations on questions regarding science, mathematics, and metaphysics significantly advanced the state of knowledge across Britain and Europe despite war and political turmoil. This volume offers the first complete modernized version of the third edition of Cavendish’s book, including prefaces and dedications, all 274 poems on nature’s various avatars, interludes and masques, and the final prose parable, The Animal Parliament. Cavendish offers views on physics, chemistry, algebraic geometry, medicine, political philosophy, ethics, psychology, and animal intelligence, as she develops her own theory of vital matter within the scope of nature’s ordering principles.

The Other Voice in Early Modern Europe. The Toronto Series: Volume 64

Veronica Franco (whose life is featured in the motion picture Dangerous Beauty) was a sixteenth-century Venetian beauty, poet, and protofeminist. This collection captures the frank eroticism and impressive eloquence that set her apart from the chaste, silent woman prescribed by Renaissance gender ideology.

As an "honored courtesan", Franco made her living by arranging to have sexual relations, for a high fee, with the elite of Venice and the many travelers—merchants, ambassadors, even kings—who passed through the city. Courtesans needed to be beautiful, sophisticated in their dress and manners, and elegant, cultivated conversationalists. Exempt from many of the social and educational restrictions placed on women of the Venetian patrician class, Franco used her position to recast "virtue" as "intellectual integrity," offering wit and refinement in return for patronage and a place in public life.

Franco became a writer by allying herself with distinguished men at the center of her city's culture, particularly in the informal meetings of a literary salon at the home of Domenico Venier, the oldest member of a noble family and a former Venetian senator. Through Venier's protection and her own determination, Franco published work in which she defended her fellow courtesans, speaking out against their mistreatment by men and criticizing the subordination of women in general. Venier also provided literary counsel when she responded to insulting attacks written by the male Venetian poet Maffio Venier.

Franco's insight into the power conflicts between men and women and her awareness of the threat she posed to her male contemporaries make her life and work pertinent today.

Since 2002, at least 775 men have been held in the U.S. detention center at Guantánamo Bay, Cuba. According to Department of Defense data, fewer than half of them are accused of committing any hostile act against the United States or its allies. In hundreds of cases, even the circumstances of their initial detainment are questionable.

This collection gives voice to the men held at Guantánamo. Available only because of the tireless efforts of pro bono attorneys who submitted each line to Pentagon scrutiny, Poems from Guantánamo brings together twenty-two poems by seventeen detainees, most still at Guantánamo, in legal limbo.

If, in the words of Audre Lorde, poetry “forms the quality of light within which we predicate our hopes and dreams toward survival and change,” these verses—some originally written in toothpaste, others scratched onto foam drinking cups with pebbles and furtively handed to attorneys—are the most basic form of the art.

"The first translation from the Greek that I ever did was the apple orchard of Sappho in my fifteenth year. It left me so excited with accomplishment that I couldn't sleep well for nights. Since that time, on the freight trains of my youthful years of wandering, in starlit camps on desert and mountain ranges, in snow-covered cabins, on shipboard, in bed, in the bath, in love, in time of loneliness and despair, in jail, while employed as an attendant of the insane, and on many other jobs and in many other places, the Anthology and the lyric poets of Greece have been my constant companions." --Kenneth Rexroth from the Foreword
Friend to the Beats, organizer of the Six Gallery poetry reading in 1955, and iconoclastic poet extraordinare, Kenneth Rexroth here turns his imagination to a selection of verses from the Greek Anthology. In his lively style he successfully captures the spirit of the originals by such poets as Sappho, Anyte, Glykon, Antipatros, Leonidas, Askelpiades, and Ammianos. Students of the classics as well as poets and translators will welcome this collection for the insight and dexterity of its unconventional editor.
Kenneth Rexroth (1905-1982), poet, critic, and translator, is also noted for his translations from the Chinese and Japanese. Widely prolific, he helped usher in the Beat movement in the 1950s and is widely considered to have invented the idea of San Francisco as a center of literary innovation. David Mulroy is Associate Professor in the Department of Foreign Languages and Linguistics, University of Wisconsin, Milwaukee. He is the translator of Early Greek Lyric Poetry and Horace's Odes and Epodes.

Born on the island of Flores, between Europe and the United States, Pedro da Silveira captures the islander's longing for migratory movement, leading to departure and an inevitable return. These fresh and original poems, now available in this masterful translation, express a deep connection to place, particularly, the insular world of the mid-­Atlantic islands of the Azores. In Poems in Absentia & Poems from The Island and the World, we find yearning, hope, and loss in equal measure. In plain and direct language, we experience the emotions of dreaming and diminution as well as the discovery of illusions. Behind the poet's searing irony, we recognize a capacious and adventurous spirit.

The Bruges-born poet-priest Guido Gezelle(1830–1899) is generally considered one of the masters of 19th-century European lyric poetry. At the end of his life and in the first two decades of the 20th century, Gezellewas hailed by the avant-garde as the founder of modern Flemish poetry. His unique voice was belatedly recognised in the Netherlands and often compared with his English contemporary Gerard Manley Hopkins (1844–1889). In this bilingual anthology, award-winning translator Paul Vincent selects a representative picture of Gezelle’soutput, from devotional through narrative, to celebratory and expressionistic. Gezelle’sfavourite themes are childhood, the Flemish landscape, friendship, nature, religion and the Flemish vernacular, and his apparently simple poems conceal a sophisticated prosody and a dialogue with spiritual and literary tradition. However, an important barrier to wider international recognition of his lyric genius up to now has been the absence of translations that do justice to the vigour and musicality of Gezelle’sWest Flemish idiom. Two of the translations included go some way to redressing the balance: ‘TheWatter-Scriever’ by Scotland’s national poet Edwin Morgan and ‘A Little Leaf . . .’ by Francis Jones. Both translators make brilliant use of their own vernaculars (Glaswegian and North Yorkshire respectively) to bring Gezelleto life for the non-Dutch-speaking reader.

Collected from his published and heretofore unpublished work, the love poems of John Ciardi in Poems of Love and Marriage are a rich display of gentle wit, emotion, and craft. Not merely lyrics of youthful romance, these span the course of a love affair, of a life shared from first blush to old age.

These poems never disturb the sanctity of the private moment, but transcend the specific situation and bloom into universal recognition. And in his usual way of basking in those qualities which transform the ordinary into the unique, John Ciardi finds poignancy and truth in those elements of love and living together that so often go unnoticed.

“In the name of / Man, member, / and the holy fluid, / Amen,” begins Mutsuo Takahashi’s epic one-thousand-line erotic fantasy poem, “Ode,” the centerpiece of his groundbreaking collection of queer poetry, Poems of a Penisist. Takahashi’s work, reminiscent of Walt Whitman’s, is a celebration of the male body, treating homosexual desire as something sacred. Stunningly beautiful and passionate, Poems of a Penisist is one of the most important compilations of homoerotic poetry written in the twentieth century.

Poems of the American Empire argues that careful attention to a particular strain of twentieth-century lyric poetry yields a counter-history of American global power. The period that Phillis covers—from Ezra Pound’s A Draft of XXX Cantos in 1930 to Cathy Park Hong’s Engine Empire in 2012—roughly matches what some consider the ascent and decline of the American empire. The diverse poems that appear in this book are united by their use of epic forms in the lyric poem, a combination that violates a fundamental framework of both genres’ relationship to time.

This book makes a groundbreaking intervention by insisting that lyric time is key to understanding the genre. These poems demonstrate the lyric form’s ability to represent the totality of history, making American imperial power visible in its fullness. Neither strictly an empty celebration of American exceptionalism nor a catalog of atrocities, Poems of the American Empire allows us to see both.

Poems, 1922-1961 was first published in 1966.This volume contains a collection of the most important work of Donald Davidson, one of America’s greatest contemporary poets. The selection range from the time of his association with the Fugitive group of Southern writers during the 1920’s to his most recently published book of poems, The Long Street (1961). The Tall Men, first published in 1927, is included here in its revised version of 1938. Among the other early poems are selections from An Outland Piper (1924) and from Lee in the Mountains and Other Poems (1938).The critic Louis D. Rubin, Jr. calls this “the life work of a master poet.” He comments: “These poems don’t date; they represent no outmoded school or clique . . . and the new poems have a simplicity about them that does not hide so much as it enhances their rich imaginativeness and wealth of imagery. These are the poems of a man of great sensitivity and an exciting imagination and command of the language.”

Scholars who study early modern women’s writing have been eager for a full-text edition of the works of Hester Pulter since her manuscript was discovered in the mid-1990s. Now that Alice Eardley has brought together all of Pulter’s writing—poetry, emblems, and a prose romance—in a modern-spelling edition, students and academics will be able to access a remarkable body of work. The introduction does a brilliant job of situating Pulter in various milieux (the Civil War, religion, science) and in assessing the genres in which she worked. Eardley’s edition is clear and comprehensive enough to be useful to a wide audience of non-specialists, but its learned glosses are also illuminating for more experienced readers of early modern texts.

In Praise Nothing, Joshua Robbins writes from a suburban landscape of strip mall bars and vacant lots in which addicts and itinerant preachers, hymns and the turnpike's whine are all made to confess, to testify to the hard truths of faith and doubt in middle-class America. In this arresting and finely crafted debut collection, readers travel a via negativa of sidewalk weeds and patched asphalt that meanders past cheap motels and laundromats, trailer parks, and corner churches to a place where a truant God aimlessly and endlessly drives the neighborhood, where birds sing their "fevered hymn / over the dusty tract house roofs" and even the "gravel-throated hallelujahs of dumpsters" profess that "no one is looking for the infinite." Populated with figures as diverse as Janis Joplin, Ronald Reagan, the Big Bopper, and Søren Kierkegaard, these poems are wrought by reverence and skepticism. Praise Nothing navigates the religious, the political, and the sublime. In the lyric tradition of Gerard Manley Hopkins's Terrible Sonnets and James Wright's odes to the Midwest, Robbins's compassionate poems sing of our broken connection to the transcendent. Robbins shows us that if there is anything left to praise, it is Nothing. Praise Nothing is part of the University of Arkansas Press Poetry series, edited by Enid Shomer.

Finalist, 2017 Miller Williams Poetry Prize, edited by Billy Collins

“A poet of great heart and brave directness.”

—Billy Collins

In Protection Spell Jennifer Givhan explores the guilt, sadness, and freedom of relationships: the sticky love that keeps us hanging on for no reason other than love, the inky place that asks us to continue revising and reimagining, tying ourselves to this life and to each other despite the pain (or perhaps because of it). These poems reassemble safe spaces from the fissures cleaving the speaker’s own biracial home and act as witnesses speaking to the racial iniquity of our broader social landscape as well as to the precarious standpoint of a mother-woman of color whose body lies vulnerable to trauma and abuse. From insistent moments of bravery, a collection of poems arises that asks the impossible, like the childhood chant that palliates suffering by demanding nothing less than magical healing: sana sana colita de rana, si no sanas hoy, sanas mañana (the frog who loses his tail is commanded to grow another). In the end, Givhan’s verse offers a place where healing may begin.

In this sophisticated debut collection, Ronald F. Smits deftly weaves the comic with the tragic as he vividly recreates days past in rural Pennsylvania. With a boyish charm, the eighty poems in Push lyrically recall baseball games, campouts under the stars, and dusty treks along lonely back roads—bringing to life a vision of mid-century America that is by turns nostalgic and clear-eyed, humorous and heartfelt. A masterly evocation of a place and a time that feel quintessentially American, Push opens our eyes to the twinned power of literature and memory.