This collection of poems about members of a small early twentieth century town who rise from their graves to tell their individual stories also includes background information on the real town and the actual people who lived there.

A book-length poem about how an American Indian writer can’t bring himself to write about nature, but is forced to reckon with colonial-white stereotypes, manifest destiny, and his own identity as an young, queer, urban-dwelling poet. A Best Book of the Year at BuzzFeed, Interview, and more. Nature Poem follows Teebs—a young, queer, American Indian (or NDN) poet—who can’t bring himself to write a nature poem. For the reservation-born, urban-dwelling hipster, the exercise feels stereotypical, reductive, and boring. He hates nature. He prefers city lights to the night sky. He’d slap a tree across the face. He’d rather write a mountain of hashtag punchlines about death and give head in a pizza-parlor bathroom; he’d rather write odes to Aretha Franklin and Hole. While he’s adamant—bratty, even—about his distaste for the word “natural,” over the course of the book we see him confronting the assimilationist, historical, colonial-white ideas that collude NDN people with nature. The closer his people were identified with the “natural world,” he figures, the easier it was to mow them down like the underbrush. But Teebs gradually learns how to interpret constellations through his own lens, along with human nature, sexuality, language, music, and Twitter. Even while he reckons with manifest destiny and genocide and centuries of disenfranchisement, he learns how to have faith in his own voice.

Book IV of the Fasti, Ovid's celebration of the Roman calendar and its associated legends, is the book of April and honours the festivals of Venus, Cybele, Ceres, and their cult, as well as the traditional date of the foundation of Rome and many religious and civic anniversaries. Elaine Fantham accompanies her commentary with a revised text and an extended introduction. Besides including surveys of language, style, versification, and textual transmission, the introduction looks at the shifting generic traditions of Greek and Roman elegy, and situates Ovid's composite poem in its Augustan literary and historical context. Other sections explain the recurring religious, astronomical and dynastic material of the Fasti. It has been a particular concern to relate features of Book IV to the other books of the Fasti and to Ovid's other elegiac works, and the Metamorphoses.

One of the renowned Beat writer’s most formally inventive books, Mexico City Blues is Jack Kerouac’s essential work of lyric verse, now reissued following his centenary celebration Written between 1954 and 1957, and published originally by Grove Press in 1959, Mexico City Blues is Kerouac’s most important verse work. It incorporates all the elements of his theory of spontaneous composition and his interest in Buddhism. Memories, fantasies, dreams, and surrealistic free association are lyrically combined in the loose format inspired by jazz and the blues. Written while Kerouac was living in Mexico City, and with references to William S. Burroughs, Gregory Corso, and Bill Garver, this exciting book in Kerouac’s oeuvre is an original and moving epic of sound, rhythm, and religion.

"The claim of The Black Poets to being... an anthology is that it presents the full range of Black-American poetry, from the slave songs to the present day. It is important that folk poetry be included because it is the root and inspiration of later, literary poetry. Not only does this book present the full range of Black poetry, but it presents most poets in depths, and in some cases presents aspects of a poet neglected or overlooked before. Gwendolyn Brooks is represented not only by poems on racial and domestic themes, but is revealed as a writer of superb love lyrics. Tuming away from White models and retuming to their roots has freed Black poets to create a new poetry. This book records their progress."--from the Introduction by Dudley Randall

Playfulness, spare elegance, and wit epitomize the poetry of Billy Collins. With his distinct voice and accessible language, America’s two-term Poet Laureate has opened the door to poetry for countless people for whom it might otherwise remain closed. Like the present book’s title, Collins’s poems are filled with mischief, humor, and irony, “Poetry speaks to all people, it is said, but here I would like to address / only those in my own time zone”–but also with quiet observation, intense wonder, and a reverence for the everyday: “The birds are in their trees, / the toast is in the toaster, / and the poets are at their windows. / They are at their windows in every section of the tangerine of earth–the Chinese poets looking up at the moon, / the American poets gazing out / at the pink and blue ribbons of sunrise.” Through simple language, Collins shows that good poetry doesn’t have to be obscure or incomprehensible, qualities that are perhaps the real trouble with most “serious” poetry: “By now, it should go without saying / that what the oven is to the baker / and the berry-stained blouse to the drycleaner / so the window is to the poet.” In this dazzling new collection, his first in three years, Collins explores boyhood, jazz, love, the passage of time, and, of course, writing–themes familiar to Collins’s fans but made new here. Gorgeous, funny, and deeply empathetic, Billy Collins’s poetry is a window through which we see our lives as if for the first time.

This celebratory edition of the classic poetry collection reminds us of Hughes's stunning achievement, speaking directly, intimately, and powerfully of Black experiences at a time when Black voices were newly being heard in American literature. • With an introduction by poet Kevin Young. Beginning with the opening “Proem” (prologue poem) Huges writes, “I am a Negro: / Black as the night is black, / Black like the depths of my Africa." As the legendary Carl Van Vechten wrote in a brief introduction to the original 1926 edition, “His cabaret songs throb with the true jazz rhythm; his sea-pieces ache with a calm, melancholy lyricism; he cries bitterly from the heart of his race...Always, however, his stanzas are subjective, personal,” and, he concludes, they are the expression of “an essentially sensitive and subtly illusive nature.” That illusive nature darts among these early lines and begins to reveal itself, with precocious confidence and clarity. In a new introduction to the work, the poet and editor Kevin Young suggests that Hughes, who was 24 at the time of the original publication, from this very first moment is “celebrating, critiquing, and completing the American dream,” and that he manages to take Walt Whitman’s American “I” and write himself into it. We find here not only such classics as “The Negro Speaks of Rivers” and the great twentieth-century anthem that begins “I, too, sing America,” but also the poet’s shorter lyrics and fancies, which dream just as deeply. “Bring me all of your / Heart melodies,” the young Hughes offers, “That I may wrap them / In a blue cloud-cloth / Away from the too-rough fingers / Of the world.”

Heavily influenced by T. S. Eliot's "The Waste Land," the poems of Spring and All express the author's beliefs about the role and form of art in a modern context. William Carlos Williams offers an intensely stylized set of exercises in reduction that capture, in his words, "the immediacy of experiences." Sections of vivid, sensuous prose — described by the poet as "a mixture of philosophy and nonsense"—alternate with straightforward free verse that explores the creative uses of imagination and the power of language. "Spring and All," the title work of this 1923 collection, represents Williams's first major achievement as a poet, and was praised by The New York Times as one of the greatest poems of the twentieth century. This groundbreaking compilation also features some of the poet's best-known verse, including the modernist masterpieces: "The Red Wheelbarrow" and "To Elsie."

"This great poem stands with Virgil's Aeneid as one of the vital and enduring achievements of Latin literature ... Based on the tenets of Epicurean philosophy, On the Nature of Things asserts that matter is composed of an infinite number of small particles; that even the soul, like the body, is made up of these atoms and dissolves painlessly after death; that there is no afterlife and therefore no cause for fear; and that the universe operates without the aid or attention of gods."--Page 4 of cover.

One of the great innovative figures in American letters, Walt Whitman created a daringly new kind of poetry that became a major force in world literature. Leaves Of Grass is his one book. First published in 1855 with only twelve poems, it was greeted by Ralph Waldo Emerson as "the wonderful gift . . . the most extraordinary piece of wit and wisdom that America has yet contributed." Over the course of Whitman's life, the book reappeared in many versions, expanded and transformed as the author's experiences and the nation's history changed and grew. Whitman's ambition was to creates something uniquely American. In that he succeeded. His poems have been woven into the very fabric of the American character. From his solemn masterpieces "When Lilacs Last in the Dooryard Bloom'd" and "Out of the Cradle Endlessly Rocking" to the joyous freedom of "Song of Myself," "I Sing the Body Electric," and "Song of the Open Road," Whitman's work lives on, an inspiration to the poets of later generations.