Recommendations based on "Espresso Shots & Forget-me-nots Selected Poems"

The first volume of the first paperback edition of The Poems of T. S. EliotThis two-volume critical edition of T. S. Eliot’s poems establishes a new text of the Collected Poems 1909–1962, rectifying accidental omissions and errors that have crept in during the century since Eliot’s astonishing debut, “The Love Song of J. Alfred Prufrock.” In addition to the masterpieces, The Poems of T. S. Eliot contains the poems of Eliot’s youth, which were rediscovered only decades later; poems that circulated privately during his lifetime; and love poems from his final years, written for his wife, Valerie. Calling upon Eliot’s critical writings as well as his drafts, letters, and other original materials, Christopher Ricks and Jim McCue have provided a commentary that illuminates the imaginative life of each poem.This first volume respects Eliot’s decisions by opening with his Collected Poems 1909–1962 as he arranged and issued it shortly before his death. This is followed by poems uncollected but either written for or suitable for publication, and by a new reading text of the drafts of The Waste Land. The second volume opens with the two books of verse of other kinds that Eliot issued: Old Possum’s Book of Practical Cats and Anabasis, his translation of St.-John Perse’s Anabase. Each of these sections is accompanied by its own commentary. Finally, pertaining to the entire edition, there is a comprehensive textual history that contains not only variants from all known drafts and the many printings but also extended passages amounting to hundreds of lines of compelling verse.

The Soul of Rumi is renowned poet Coleman Barks' first major assemblage of newly translated Rumi poems since his bestselling The Essential Rumi.Coleman Barks presents entirely new translations of Rumi's poems, published for the first time in The Soul of Rumi. The poems range over the breadth of Rumi's themes: silence, emptiness, play, God, peace, grief, sexuality, music, to name just a few. But the focus is on the ecstatic experience of human and divine love and their inseparability, conveyed with Rumi's signature passion, daring, and insights into the human heart and the heart's longings.

“Mary Oliver would probably never admit to anything so grandiose as an effort to connect the conscious mind and the heart (that’s what she says poetry can do), but that is exactly what she accomplishes in this stunning little handbook.”—Los Angeles TimesFrom the beloved and acclaimed poet, an ultimate guide to writing and understanding poetry.With passion and wit, Mary Oliver skillfully imparts expertise from her long, celebrated career as a disguised poet. She walks readers through exactly how a poem is built, from meter and rhyme, to form and diction, to sound and sense, drawing on poems by Robert Frost, Elizabeth Bishop, and others. This handbook is an invaluable glimpse into Oliver’s prolific mind—a must-have for all poetry-lovers.

“The Walt Whitman of Los Angeles.”—Joyce Carol Oates, bestselling author “He brought everybody down to earth, even the angels.”—Leonard Cohen, songwriter Mockingbird Wish Me Luck captures glimpses of Charles Bukowski's view on life through his poignant poetry: the pain, the hate, the love, and the beauty. He writes of lechery and pain while finding still being able to find its beauty.

In Just Kids, Patti Smith’s first book of prose, the legendary American artist offers a never-before-seen glimpse of her remarkable relationship with photographer Robert Mapplethorpe in the epochal days of New York City and the Chelsea Hotel in the late sixties and seventies. An honest and moving story of youth and friendship, Smith brings the same unique, lyrical quality to Just Kids as she has to the rest of her formidable body of work—from her influential 1975 album Horses to her visual art and poetry.

Over the course of his short life, John Keats (1795-1821) honed a raw talent into a brilliant poetic maturity. By the end of his brief career, he had written poems of such beauty, imagination and generosity of spirit, that he had - unwittingly - fulfilled his wish that he should ‘be among the English poets after my death’. This wide-ranging selection of Keats’s poetry contains youthful verse, such as his earliest known poem ‘Imitation of Spenser’; poems from his celebrated collection of 1820 - including ‘Lamia’, ‘Isabella’, ‘The Eve of St Agnes’, ‘Ode to a Nightingale’ and ‘Hyperion’ - and later celebrated works such as ‘La Belle Dame sans Merci’. Also included are many poems considered by Keats to be lesser work, but which illustrate his more earthy, playful side and superb ear for everyday language.

WINNER OF THE NOBEL PRIZE IN LITERATUREA dreamlike collection from the Nobel Prize-winning poetA Village Life, Louise Glück's eleventh collection of poems, begins in the topography of a village, a Mediterranean world of no definite moment or place:All the roads in the village unite at the fountain.Avenue of Liberty, Avenue of the Acacia Trees―The fountain rises at the center of the plaza;on sunny days, rainbows in the piss of the cherub.―from "tributaries"Around the fountain are concentric circles of figures, organized by age and in degrees of distance: fields, a river, and, like the fountain's opposite, a mountain. Human time superimposed on geologic time, all taken in at a glance, without any undue sensation of speed.Glück has been known as a lyrical and dramatic poet; since Ararat, she has shaped her austere intensities into book-length sequences. Here, for the first time, she speaks as "the type of describing, supervising intelligence found in novels rather than poetry," as Langdon Hammer has written of her long lines―expansive, fluent, and full―manifesting a calm omniscience. While Glück's manner is novelistic, she focuses not on action but on pauses and intervals, moments of suspension (rather than suspense), in a dreamlike present tense in which poetic speculation and reflection are possible.

Mass for Shut-Ins is the 117th volume of the Yale Series of Younger Poets, selected by award-winning poet Rae Armantrout.Mary-Alice Daniel confronts tricontinental culture shock and her curious placement within many worlds. African and Western mythic systems and modern rituals originate an ill-omened universe. Here, it is always night, grim night, under absurd moons. Venturing through dreamscapes, hellscapes, and lurid landscapes, poems map speculative fields of spiritual warfare. This collection is controlled chaos powered by nightmare fuel. It animates an utterly odd organism: a cosmology cobbled with scripture, superstition, mass media, mad science. Horrid, holy, unholy—these pages overrun with the unhinged, intrusive thoughts that obsess us all late into nighttime.

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.

Richard Siken's Crush, selected as the 2004 winner of the Yale Younger Poets prize, is a powerful collection of poems driven by obsession and love. Siken writes with ferocity, and his reader hurtles unstoppably with him. His poetry is confessional, gay, savage, and charged with violent eroticism. In the world of American poetry, Siken's voice is striking. In her introduction to the book, competition judge Louise Gl�ck hails the "cumulative, driving, apocalyptic power, [and] purgatorial recklessness" of Siken's poems. She notes, "Books of this kind dream big. . . . They restore to poetry that sense of crucial moment and crucial utterance which may indeed be the great genius of the form."