When New and Selected Poems, Volume One was originally published in 1992, Mary Oliver was awarded the National Book Award. In the fourteen years since its initial appearance it has become one of the best-selling volumes of poetry in the country. This collection features thirty poems published only in this volume as well as selections from the poet's first eight books. Mary Oliver's perceptive, brilliantly crafted poems about the natural landscape and the fundamental questions of life and death have won high praise from critics and readers alike. "Do you love this world?" she interrupts a poem about peonies to ask the reader. "Do you cherish your humble and silky life?" She makes us see the extraordinary in our everyday lives, how something as common as light can be "an invitation/to happiness,/and that happiness,/when it's done right,/is a kind of holiness,/palpable and redemptive." She illuminates how a near miss with an alligator can be the catalyst for seeing the world "as if for the second time/the way it really is." Oliver's passionate demonstrations of delight are powerful reminders of the bond between every individual, all living things, and the natural world.
These poems are based on religion, relationships and family. This book talks about how you can better yourself by making your dreams come to reality. It also lets the reader know that there is a heavenly God and he is our comforter. There is a topic in this book that talks about the consequences you could face in an intimate relationship when you or your partner refuses to use protection. If you are religious, heart broken, or you are longing for that special someone in your life, this is the right book for you. If you are parent or guardian and you want to write or read a delicate poem for your loved one, this is the right book for you. If you are a child, whether or not you love your parents or guardian, and you want to write or read a delicate poem for them, this is the right book for you. It is my hope and prayer that when you read and meditate on these poems, that they will speak to your life situation wherever you are, and that you would receive some guidance in what I have been through.
The first book of poetry from actor Mark Little. Previously collected and presented in a homemade zine, this book is presented in the style of the original. Divided into four sections, Existence, Love, Politik and Performance, the poems show Mark's depth of feeling across a range of
Whether you are a student with a keen interest in literature, or a teacher wondering where to start with those poems haunting your curriculum, "Art of Poetry" will show you the way. Comprising a series of intense, yet accessible, explorations of twenty famous poems, these books expose the inner circuitry of poetry.
Mary Oliver has been writing poetry for nearly five decades, and in that time she has become America's foremost poetic voice on our experience of the physical world. This collection presents forty-two new poems-an entire volume in itself-along with works chosen by Oliver from six of the books she has published since New and Selected Poems, Volume One.
PREFACE. THE Author of this very practical treatise on Scotch Loch - Fishing desires clearly that it may be of use to all who had it. He does not pretend to have written anything new, but to have attempted to put what he has to say in as readable a form as possible. Everything in the way of the history and habits of fish has been studiously avoided, and technicalities have been used as sparingly as possible. The writing of this book has afforded him pleasure in his leisure moments, and that pleasure would be much increased if he knew that the perusal of it would create any bond of sympathy between himself and the angling community in general. This section is interleaved with blank shects for the readers notes. The Author need hardly say that any suggestions addressed to the case of the publishers, will meet with consideration in a future edition. We do not pretend to write or enlarge upon a new subject. Much has been said and written-and well said and written too on the art of fishing but loch-fishing has been rather looked upon as a second-rate performance, and to dispel this idea is one of the objects for which this present treatise has been written. Far be it from us to say anything against fishing, lawfully practised in any form but many pent up in our large towns will bear us out when me say that, on the whole, a days loch-fishing is the most convenient. One great matter is, that the loch-fisher is depend- ent on nothing but enough wind to curl the water, -and on a large loch it is very seldom that a dead calm prevails all day, -and can make his arrangements for a day, weeks beforehand whereas the stream- fisher is dependent for a good take on the state of the water and however pleasant and easy it may be for one living near the banks of a good trout stream or river, it is quite another matter to arrange for a days river-fishing, if one is looking forward to a holiday at a date some weeks ahead. Providence may favour the expectant angler with a good day, and the water in order but experience has taught most of us that the good days are in the minority, and that, as is the case with our rapid running streams, -such as many of our northern streams are, -the water is either too large or too small, unless, as previously remarked, you live near at hand, and can catch it at its best. A common belief in regard to loch-fishing is, that the tyro and the experienced angler have nearly the same chance in fishing, -the one from the stern and the other from the bow of the same boat. Of all the absurd beliefs as to loch-fishing, this is one of the most absurd. Try it. Give the tyro either end of the boat he likes give him a cast of ally flies he may fancy, or even a cast similar to those which a crack may be using and if he catches one for every three the other has, he may consider himself very lucky. Of course there are lochs where the fish are not abundant, and a beginner may come across as many as an older fisher but we speak of lochs where there are fish to be caught, and where each has a fair chance. Again, it is said that the boatman has as much to do with catching trout in a loch as the angler. Well, we dont deny that. In an untried loch it is necessary to have the guidance of a good boatman but the same argument holds good as to stream-fishing...
Strikingly redesigned to accompany the publication of New and Selected Poems, Volume Two Praise for the poetry of Mary Oliver: “One of the astonishing aspects of Oliver’s work is the consistency of tone over this long period. What changes is an increased focus on nature and an increased precision with language that has made her one of our very best poets . . . There is no complaint in Ms. Oliver’s poetry, no whining, but neither is there the sense that life is in any way easy . . . These poems sustain us rather than divert us. Although few poets have fewer human beings in their poems than Mary Oliver, it is ironic that few poets also go so far to help us forward.” —Stephen Dobyns, New York Times Book Review “Mary Oliver’s poetry is fine and deep; it reads like a blessing. Her special gift is to connect us with our sources in the natural world, its beauties and terrors and mysteries and consolations.” —Stanley Kunitz “One would have to reach back perhaps to [John] Clare or [Christopher] Smart to safely cite a parallel to Oliver’s lyricism or radical purification and her unappeasable mania for signs and wonders.” —David Barber, Poetry “I have always thought of poems as my companions—and like companions, they accompany you wherever the journey (or the afternoon) might lead . . . My most recent companion has been Mary Oliver’s The Leaf and the Cloud . . . It’s a brilliant meditation, a walk through the natural world with one of our preeminent contemporary poets.” —Rita Dove, Washington Post
"Believe Me" Donald Trump often says after he lies, or misleads - which the Washington Post states has happened over 2000 times during his young Presidency. Vol.1 Trump Poems' 41 poems chronicle Trump & his "Best" cast of characters' reign over the USA. Cartoons & pearls of information add to the book's flow, giving insight into many of the poems.
In the literate tradition of poetry, the poet's appeal to an audience is dual: namely, auditory and visual, the sound of words as spoken, as well as the words as set on paper. Today, in view of the modern world of increasing digital technology, the consequent tendency of the reader has shifted to reading poems privately, in their nooks/tablets, rather than listening to them at poetry recitals. Few authors, still venturing into the world of the printed pages, manage to keep alive the magic of the art of reading poetry directly from a physical book. In honor of this fading art, author Alex Cuoco created the African Poems Series to put into print a form of African art, the Yoruba oral tradition of Oriki, with the hopes of distancing it from the list of items threatened to fall into extinction. This poetry edition brings the reader a repertoire of magical evocations, startling imagery, mythological allusions, reclamations, outrages, reasoning and wisdom, all against the backdrop of Yoruba poetry which is one of the world's most fascinating literary traditions. African Poems Volume One: A Praise Anthology to Yoruba Orishas, Rituals, Traditions and Wisdom will delight the readers with its wealth of information on Yoruba Ori a religious beliefs that is presented in a spirited poetic form. This Anthology contains eight chapters and 317 poems in total. Chapter one, being the most extensive one, entitled: Praise to the Orishas, provides portraits of poetic praises, based on traditional Yoruba Oriki to different Ori a, divinities of the Yoruba pantheon. The following seven themed chapters, Divine Metamorphosis, Power and Traditions, Ritual Rising, Awaking the Spirits, Of Gods and Man, Call of the Gods and Reclaiming the Soil, contain sixteen poems each, embracing a variety of themes concerning different aspects of Yoruba traditional culture, rituals, traditions, social aspects and wisdom, written mostly, in free style poetry. It is common knowle"
This is the first selected collection of poetry of James Howard Trott, but not the first time his work has appeared in print. He and his wife, Roseann, put together an anthology of "Christian poetry in English from Caedmon to the mid-twentieth century" under the title A Sacrifice of Praise, published in 1999. An expanded edition came out in 2006. This door-stop of a book received favorable reviews in a number of circles, and was used as a literature text in several colleges. The poet also has published several chapbooks over the years, including "The Big Lights" and "Prisoner's Pardons," and a number of the poems in this collection first appeared in various periodicals. It was Marie von Ebner-Eschenbach who said "The manuscript in the drawer either rots or ripens." (Aphorisms, 1880) The poems in this collection range from 27 to 48 years old. In an age where computers are obsolete in two months, and the list of "good books" changes constantly, some readers may feel they are too old to be interesting, while others may agree with the poet that time has little effect on poetry, except in the sense von E.-E. indicated. This collection is titled Immanence, and the poetry is founded on the poet's conviction that revealed throughout or within all existence is something abiding, true, and worth knowing. The poems seem to have a wide range of subjects, from brief clips of everyday existence to dramatic events and panoramas. There are "nature poems" and "religious poems." The moods swing from calm contemplation to joy to almost raging, in a few. Some are light-hearted or worshipful. To locate these poems in a tradition, one might consider the poet's own professed favorites, the metaphysical John Donne, and the gnomic Emily Dickinson. Nor can the poet escape his geographical genealogy - so that Montana's wide spaces and New England's Frosty landscapes often show up as attitudes or settings. Finally, the poet is Christian in his professed faith, his concerns, and his perspectives. He seems to treat the biblical narrative as alive and true in the same way as his own experiences or the natural world. He is not seeking "truth" as a will-o-the-wisp or a mythical opponent, but as one looks for a person who may be found, who is immanent. Immanence is the title of the collection, but the first poem is "Imminence" (sic), and by the time one has read these poems, there can be no doubt but what the poet regards the one who is imminent to be the one who is immanent, that is Jesus the Christ. In order to complete the word list, we might suggest the poems gathered here also treat him as eminent.
As the initial volume of an impressive series comprising the full collection of verse by Louis Daniel Brodsky, this book begins with Brodsky's first poem, written during his final months at Yale, in 1963, and traces the author's maturation into his apprentice years (when he was a young graduate student in English, at Washington University, in St. Louis), presenting the hundreds of poems, prose poems, and short, autobiographical prose works he had composed by June of 1967, when he launched his professional writing career. These pieces serve not only as a measure of Brodsky's evolution as a poet but as a human being, chronicling one man's struggle to find his purpose in life, to make a place for himself in a society often at odds with his own convictions. His hopes, fears, and frustrations permeate the work, revealing the intense inner conflicts he felt compelled to set to paper, from individual matters -- his indecision over vocational goals, his candid experiences with love and rejection, the overwhelming isolation inherent in his academic pursuits -- to more global concerns, especially his acute awareness of the increasing social and political turbulence surrounding him. By grappling with these issues in his writing, he explored passionate emotions, released tension, and, at times, resolved doubts evoked through his introspection. But more important, he used this outpouring to hone his creative skills and develop his personal and professional identity, ultimately creating this tangible record of his travail and his ecstasy, his certitude and his confusion, and, finally, his journey into the heart of the person he would never stop becoming -- a poet.