Empfehlungen basierend auf "Canti postumi"

This poem - originally published anonymously, written after Wilde's two year's hard labour in Reading prison - is the tale of a man who has been sentenced to hang for the murder of the woman he loved. The Ballad of Reading Gaol follows the inmate through his final three weeks, as he stares at the sky and silently drinks his beer ration. Heart-wrenching and eye-opening, the ballad also expresses perfectly Wilde's belief that humanity is made up only of offenders, each of us deserving a greater charity for the severity of our crimes.

Closer to Dylan Thomas than Matthew Arnold in his ‘creative violence’ and insistence on the sound of poetry, Gerard Manley Hopkins was no staid, conventional Victorian. On entering the Society of Jesus and the age of twenty-four, he burnt all his poetry and ‘resolved to write no more, as not belonging to my profession, unless by the wish of my superiors.' The poems, letters, and journal entries selected for this edition were written in the following twenty years of his life and published posthumously in 1918.His verse is wrought from the creative tensions and paradoxes of a poet-priest who wanted to evoke the spiritual essence of nature sensuously, and to communicate this revelation in natural language and speech-rhythms while using condensed, innovative diction and all the skills of poetic artifice. Intense, vital, and individual, his writing is the ‘terrible crystal’ through which the soul—the inscape, the nature of things—may be illuminated.

It is the astonishment of Louise Glück's poetry that it resists collection. With each successive book her drive to leave behind what came before has grown more fierce, the force of her gaze fixed on what has yet to be imagined. She invented a form to accommodate this need, the book-length sequence of poems, like a landscape seen from above, a novel with lacunae opening onto the unspeakable. The reiterated yet endlessly transfigured elements in this landscape―Persephone, a copper beech, a mother and father and sister, a garden, a husband and son, a horse, a dog, a field on fire, a mountain―persistently emerge and reappear with the dark energy of the inevitable, shot through with the bright aspect of things new-made.From the outset ("Come here / Come here, little one"), Gluck's voice has addressed us with deceptive simplicity, the poems in lines so clear we "do not see the intervening fathoms."From within the earth'sbitter disgrace, coldness and barrennessmy friend the moon rises:she is beautiful tonight, but when is she not beautiful?To read these books together is to understand the governing paradox of a life lived in the body and of the work wrested from it, the one fated to die and the other to endure.

Selected Poems: 1931-2004celebrates Czeslaw Milosz's lifetime of poetry. Widely regarded as one of the greatest poets of our time, Milosz is a master of expression and probing inquiry. Life opened for Czeslaw Milosz at a crossroads of civilizations in northeastern Europe. This was less a melting pot than a torrent of languages and ideas, where old folk traditions met Catholic, Protestant, Judaic, and Orthodox rites. What unfolded next around him was a century of catastrophe and madness: two world wars, revolutions, invasions, and the murder of tens of millions, all set to a cacophony of hymns, gunfire, national anthems, and dazzling lies. In the thick of this upheaval, wide awake and in awe of living, dodging shrapnel, imprisonment, and despair, Milosz tried to understand both history and the moment, with humble respect for the suffering of each individual. He read voraciously in many languages and wrote masterful poetry that, even in translation, is infused with a tireless spirit and a penetrating insight into fundamental human dilemmas and the staggering yet simple truth that "to exist on the earth is beyond any power to name." Unflinching, outspoken, timeless, and unsentimental, Milosz digs through the rubble of the past, forging a vision -- and a warning -- that encompasses both pain and joy. "His intellectual life," writes Seamus Heaney, "could be viewed as a long single combat with shape-shifting untruth."

From the author of The Arsonists’ City and The Twenty-Ninth Year, a new collection of poetry that traces the fragmentation of memory, archive, and family–past, present, future–in the face of displacement and war.A diaspora of memories runs through this poetry collection—a multiplicity of voices, bodies, and houses hold archival material for one another, tracing paths between Brooklyn, Beirut, and Jerusalem. Boundaries and borders blur between space and time and poetic form—small banal moments of daily life live within geopolitical brutalities and, vice versa, the desire for stability lives in familiarity with displacement.These poems take stock of who and what can displace you from home and from your own body—and, conversely, the kind of resilience, tenacity, and love that can bring you back into yourself and into the context of past and future generations. Hala Alyan asks, What stops you from transforming into someone or something else? When you have lived a life in flux, how do you find rest?

For the poet, even the most minute details of the natural world are starting points for flights of the imagination, and the pages of this collection celebrating the four seasons are brimming with an extraordinary range of observation and imagery.Here are poets past and present, from Chaucer, Shakespeare, and Wordsworth to Whitman, Dickinson, and Thoreau, from Keats, Blake, and Hopkins to Elizabeth Bishop, Ted Hughes, Amy Clampitt, Mary Oliver, and W. S. Merwin. Here are poems that speak of the seasons as measures of earthly time or as states of mind or as the physical expressions of the ineffable. From Robert Frost’s tribute to the evanescence of spring in “Nothing Gold Can Stay” to Langston Hughes’s moody “Summer Night” in Harlem, from the “stopped woods” in Marie Ponsot’s “End of October” to the chilling “mind of winter” in Wallace Stevens’s “The Snow Man,” the poems in this volume engage vividly with the seasons and, through them, with the ways in which we understand and engage the world outside ourselves.

A selection of the remarkable letters of Emily Dickinson in an elegant Pocket Poet edition.The same inimitable voice and dazzling insights that make Emily Dickinson’s poems immortal can be found in the whimsical, humorous, and often deeply moving letters she wrote to her family and friends throughout her life. The selection of letters presented here provides a fuller picture of the eccentric recluse of legend, showing how immersed in life she was: we see her tending her garden; baking bread; marking the marriages, births, and deaths of those she loved; reaching out for intellectual companionship; and confessing her personal joys and sorrows. These letters, invaluable for the light they shed on their author, are, as well, a pure pleasure to read.

A wonderful collection of Robert Frost's writing No poet is more emblematically American than Robert Frost. Hailed as 'the most eminent, the most distinguished Anglo-American poet' by T.S. Eliot, he is the only writer in history to have been awarded four Pulitzer Prizes. In iconic poems like 'Stopping by Woods on a Snowy Evening', simple images summon the rural landscape of New England, and Frost unfailingly moves the reader with his profound grasp of the human condition. This is the most comprehensive and authoritative volume of Frost's verse available, comprising all eleven volumes of his poems, meticulously edited by Edward Connery Lathem.

Nicholas Samaras's Hands of the Saddlemaker, the winning volume in the 1991 Yale Series of Younger Poets competition, was selected from among 710 entries in this annual competition. The broad theme of Samaras's poems is the connection between eternal things and the passing world, between our sense of exile and our sense of commonality. Equilibrium between these worlds is achieved only through human feeling, through language. Samaras examines the commonality of experience in diverse international settings--from Byzantium to the cathedrals of technology in the modern cities of America. His language extols the primary delight and purpose of poetry: the music and inventiveness of language, wholly new and transformed, language that is both ancient and modern. Through an intensely personal and visual approach, these poems reveal our lives to us for time to come. Nicholas Samaras was born in Foxton, Cambridgeshire, England, in 1954. He was raised there and in Woburn, Massachusetts, and later settled in New York. Samaras received his undergraduate degree from Hellenic College, Brookline, Massachusetts, in 1978 and a Masters of Fine Arts in 1985 from Columbia University. He is currently working on his Ph.D. in English and creative writing at the University of Denver. His poems have appeared in such magazines as The New Yorker, Poetry, and American Scholar. Among his honors and awards are a New York Foundation for the Arts Poetry Fellowship in 1986, a Taylor Fellowship for study abroad in 1981-82, and a prize from the Academy of American Poets in 1983.

Enduring icon of creativity, authenticity, and rebellion, and the subject of numerous new biographies, Arthur Rimbaud is one of the most repeatedly scrutinized literary figures of the last half-century. Yet almost thirty years have elapsed without a major new translation of his writings. Remedying this state of affairs is Rimbaud Complete, the first and only truly complete edition of Rimbaud’s work in English, translated, edited, and introduced by Wyatt Mason.Mason draws on a century of Rimbaud scholarship to choreograph a superbly clear-eyed presentation of the poet’s works. He arranges Rimbaud’s writing chronologically, based on the latest manuscript evidence, so readers can experience the famously teenaged poet’s rapid evolution, from the lyricism of “Sensation” to the groundbreaking early modernism of A Season in Hell. In fifty pages of previously untranslated material, including award-winning early verses, all the fragmentary poems, a fascinating early draft of A Season in Hell, a school notebook, and multiple manuscript versions of the important poem “O saisons, ô chateaux,” Rimbaud Complete displays facets of the poet unknown to American readers. And in his Introduction, Mason revisits the Rimbaud myth, addresses the state of disarray in which the poet left his work, and illuminates the intricacies of the translator’s art.Mason has harnessed the precision and power of the poet’s rapidly changing voice: from the delicate music of a poem such as “Crows” to the mature dissonance of the Illuminations, Rimbaud Complete unveils this essential poet for a new generation of readers.