Empfehlungen basierend auf "The Abundance Narrative Essays Old and New"

Whitman's most beloved poem, "Song of Myself," illustrated, illuminated, and presented like never before. Walt Whitman’s iconic collection of poems, Leaves of Grass, has earned a reputation as a sacred American text. Whitman himself made such comparisons, going so far as to use biblical verse as a model for his own. So it’s only appropriate that artist and illustrator Allen Crawford has chosen to illuminate―like medieval monks with their own holy scriptures―Whitman’s masterpiece and the core of his poetic vision, “Song of Myself.” Crawford has turned the original sixty-page poem from Whitman’s 1855 edition into a sprawling 234-page work of art. The handwritten text and illustrations intermingle in a way that’s both surprising and wholly in tune with the spirit of the poem―they’re exuberant, rough, and wild. Whitman Illuminated: Song of Myself is a sensational reading experience, an artifact in its own right, and a masterful tribute to the Good Gray Poet.

Winner of the Pulitzer Prize for PoetryMary Oliver's most acclaimed volume of poetry, American Primitive contains fifty visionary poems about nature, the humanity in love, and the wilderness of America, both within our bodies and outside."American Primitive enchants me with the purity of its lyric voice, the loving freshness of its perceptions, and the singular glow of a spiritual life brightening the pages." -- Stanley Kunitz"These poems are natural growths out of a loam of perception and feeling, and instinctive skill with language makes them seem effortless. Reading them is a sensual delight." -- May Swenson

A major career-spanning collection from the inimitable Nobel Prize-winning poetFor the past fifty years, Louise Glück has been a major force in modern poetry, distinguished as much for the restless intelligence, wit and intimacy of her poetic voice as for her development of a particular form: the book-length sequence of poems. This volume brings together the twelve collections Glück has published to date, offering readers the opportunity to become immersed in the artistry and vision of one of the world's greatest living poets.From the allegories of The Wild Iris to the myth-making of Averno; the oneiric landscapes of The House on Marshland to the questing of Faithful and Virtuous Night - each of Glück's collections looks upon the events of an ordinary life and finds within them scope for the transcendent; each wields its archetypes to puncture the illusions of the self. Across her work, elements are reiterated but endlessly transfigured - 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. Taken together, the effect is like a shifting landscape seen from above, at once familiar and unspeakably profound.

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.

As featured in AMC's Breaking Bad, given by Gale Boetticher to Walter White and discovered by Hank Schrader."I celebrate myself,And what I assume you shall assume,For every atom belonging to me as good belongs to you.I loafe and invite my soul,I lean and loafe at my ease....observing a spear of summer grass."So begins Leaves of Grass, the first great American poem and indeed, to this day, the greatest and most essentially American poem in all our national literature.The publication of Leaves of Grass in July 1855 was a landmark event in literary history. Ralph Waldo Emerson judged the book "the most extraordinary piece of wit and wisdom America has yet contributed." Nothing like the volume had ever appeared before. Everything about it--the unusual jacket and title page, the exuberant preface, the twelve free-flowing, untitled poems embracing every realm of experience--was new. The 1855 edition broke new ground in its relaxed style, which prefigured free verse; in its sexual candor; in its images of racial bonding and democratic togetherness; and in the intensity of its affirmation of the sanctity of the physical world.This Anniversary Edition captures the typeface, design and layout of the original edition supervised by Whitman himself. Today's readers get a sense of the "ur-text" of Leaves of Grass, the first version of this historic volume, before Whitman made many revisions of both format and style. The volume also boasts an afterword by Whitman authority David Reynolds, in which he discusses the 1855 edition in its social and cultural contexts: its background, its reception, and its contributions to literary history. There is also an appendix containing the early responses to the volume, including Emerson's letter, Whitman's three self-reviews, and the twenty other known reviews published in various newspapers and magazines.This special volume will be a must-have keepsake for fans of Whitman and lovers of American poetry.

Longlisted for the 2022 National Book Award for PoetryLonglisted for the 2023 PEN Open Book AwardFinalist for the Poetry Society of America's Norma Farber First Book Award“Outstanding . . . the poetry in these pages is intelligent, lyrical, as invested in the past as the present and future with witty nods to pop culture.” —Roxane Gay, author of Hunger “I’ve never read anything like it. Truly a sublime experience.” —Jason Reynolds, author of Ain’t Burned All the BrightA groundbreaking collection about Afropioneerism past and present from Pushcart Prize-nominated poet and New York Times bestselling author Rio CortezFrom a visionary writer praised for her captivating work on Black history and experience comes a poetry collection exploring personal, political, and artistic frontiers, journeying from her family's history as "Afropioneers" in the American West to shimmering glimpses of transcendent, liberated futures.  In poems that range from wry, tongue-in-cheek observations about contemporary life to more nuanced meditations on her ancestors—some of the earliest Black pioneers to settle in the western United States after Reconstruction—Golden Ax invites readers to re-imagine the West, Black womanhood, and the legacies that shape and sustain the pursuit of freedom.

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.

The winning volume in the 1994 Yale Series of Younger Poets competition is Living in the Resurrection by T. Crunk. As James Dickey, distinguished poet and judge of the competition, says in the foreword, "Here is that rare phenomenon, a writer of instinctive formal vision. His real reverence for the simple objects of the everyday world, their ability to present cup, tree, and hand both as they seem and as they are with a kind of mystical iconic starkness, is a quality uniquely Mr. Crunk's. That this starkness eventually begins to warp into the surreal and ultimately windows into the Luminous Beyond, is additional sanction for gratitude." Reliquaria1. Found Hand-Painted on a Tin Flue CoverRibbon of black crapedraped on a door knob like broken stringshanging from a loom with the words: Weep not.What do I need of this world? 2. S. P. Dinsmoor Describes His TombI have made myself a coffin with a glass lid.By the door of my grave house I have set a cement angel and a stone jug.When I see the host coming down, the lid will--fly open and I will sail out into the air like a locust.If I am called above, the angel will help me--on my way. If I have to go below, I will grab my jugand fill it with water somewhere on the road down. Meantime, every day I pray--O Lordteach me that I am but earth, a hollow vessel of clay, only a wisp of thy breath against my emptiness. 3.They have yet to figure out the name of the church two men diving in Barkley Lakearound Cain's Mill a few years ago found the whole steeple of cross and all half-buried in the mud shallows.

This year's winner of the Yale Series of Younger Poets competition is Maurice Manning's Lawrence Booth's Book of Visions. These compelling poems take us on a wild ride through the life of a man child in the rural South. Presenting a cast of allegorical and symbolic, yet very real, characters, the poems have "authority, daring, and] a language of color and sure movement," says series judge W.S. Merwin. From Seven Chimeras The way Booth makes a love story: same as a regular story, except under one rock is a trapdoor that leads to a room full of belly buttons; each must be pushed, one is a landmine. The way Booth makes hope: thirty-seven acres, Black Damon, Red Dog. Construct a pillar of fire in the Great Field and let it become unquenchable. The way Booth ends the Jack-in-the-Box charade: shoot the weasel in the neck and toss it to the buzzards. The way Booth thinks of salvation: God holding a broken abacus, colored beads falling away.

The debut collection from a 2021 Whiting Award and Guggenheim Fellow recipient whose “astounding, dolorous, rejoicing voice is indispensable” (Tracy K. Smith)   The Sobbing School, Joshua Bennett’s mesmerizing debut collection of poetry, presents songs for the living and the dead that destabilize and de-familiarize representations of black history and contemporary black experience. What animates these poems is a desire to assert life, and interiority, where there is said to be none. Figures as widely divergent as Bobby Brown, Martin Heidegger, and the 19th-century performance artist Henry Box Brown, as well as Bennett’s own family and childhood best friends, appear and are placed in conversation in order to show that there is always a world beyond what we are socialized to see value in, always alternative ways of thinking about relation that explode easy binaries.