United States

Red Bird: Poems

"Red bird came all winter / firing up the landscape / as nothing else could." So begins Mary Oliver's twelfth book of poetry, and the image of that fiery bird stays with the reader, appearing in unexpected forms and guises until, in a postscript, he explains himself: "For truly the body needs / a song, a spirit, a soul. And no less, to make this work, / the soul has need of a body, / and I am both of the earth and I am of the inexplicable / beauty of heaven / where I fly so easily, so welcome, yes, / and this is why I have been sent, to teach this to your heart."

This collection of sixty-one new poems, the most ever in a single volume of Oliver's work, includes an entirely new direction in the poet's work: a cycle of eleven linked love poems—a dazzling achievement. As in all of Mary Oliver's work, the pages overflow with her keen observation of the natural world and her gratitude for its gifts, for the many people she has loved in her seventy years, as well as for her disobedient dog, Percy. But here, too, the poet's attention turns with ferocity to the degradation of the Earth and the denigration of the peoples of the world by those who love power. Red Bird is unquestionably Mary Oliver's most wide-ranging volume to date.

Time and Materials: Poems 1997-2005

The poems in Robert Hass's new collection—his first to appear in a decade—are grounded in the beauty and energy of the physical world, and in the bafflement of the present moment in American culture. This work is breathtakingly immediate, stylistically varied, redemptive, and wise.

His familiar landscapes are here—San Francisco, the Northern California coast, the Sierra high country—in addition to some of his oft-explored themes: art; the natural world; the nature of desire; the violence of history; the power and limits of language; and, as in his other books, domestic life and the conversation between men and women. New themes emerge as well, perhaps: the essence of memory and of time.

The works here look at paintings, at Gerhard Richter as well as Vermeer, and pay tribute to his particular literary masters, friend Czesław Miłosz, the great Swedish poet Tomas Tranströmer, Horace, Whitman, Stevens, Nietszche, and Lucretius. We are offered glimpses of a surpris­ingly green and vibrant twenty-first-century Berlin; of the demilitarized zone between the Koreas; of a Bangkok night, a Mexican desert, and an early summer morning in Paris, all brought into a vivid present and with a passionate meditation on what it is and has been to be alive. "It has always been Mr. Hass's aim," the New York Times Book Review wrote, "to get the whole man, head and heart and hands and every­thing else, into his poetry."

Every new volume by Robert Hass is a major event in poetry, and this beautiful collection is no exception.

Failure

Thirst: Poems

Now in paperback: the national bestseller from the Pulitzer Prize–winning poet

"To read Thirst, Mary Oliver's most recent book of poems, is to feel gratitude for the simple fact of being alive." —Angela O'Donnell, America Magazine

Thirst, a collection of forty-three new poems from Pulitzer Prize–winner Mary Oliver, introduces two new directions in the poet's work. Grappling with grief at the death of her beloved partner of over forty years, she strives to experience sorrow as a path to spiritual progress, grief as part of loving and not its end. And within these pages she chronicles for the first time her discovery of faith, without abandoning the love of the physical world that has been a hallmark of her work for four decades.

"Mary Oliver moves by instinct, faith, and determination. She is among our finest poets, and still growing."
—Alicia Ostriker, The Nation

"It has always seemed, across her [many] books of poetry, . . . that Mary Oliver might leave us at any minute. Even a 1984 Pulitzer Prize couldn't pin her to the ground. She'd change quietly into a heron or a bear and fly or walk on forever."
—Susan Salter Reynolds, Los Angeles Times

"'My work is loving the world,' Oliver tells us….She has always done that work…in poems of considerable beauty. Now she rises, not above the world, but through it."
—Jay Parini, The Guardian, 10/6/2007

"Mary Oliver is, to my mind, one of the most gifted American poets working in English today. In her hands, the language acquires a lucidity approaching translucence; the accuracy of her vision and the precision of her voice are unique in their refreshing simplicity. Perhaps most singular is the tendency of her poems to be at once powerful and appealing; an affection for the natural world and a sympathy toward the reader abide."
—Katherine Hollander, Pleiades, Fall 2007

"To read Thirst is to feel gratitude for the simple fact of being alive. This is not surprising, as it is the effect [Oliver's] best work has produced in readers for the past 43 years."
—Angela O'Donnell, America magazine

"'My work is loving the world.' That first line of 'Messenger,' the first poem in Mary Oliver's new collection Thirst (Beacon Press), names what she does better than any other poet writing today. Just as Joan Didion's memoir The Year of Magical Thinking, which had a similar 'occasion,' was arguably her best work ever, so is Thirst Oliver's."
—Tim Pfaff, Bay Area Reporter, 1/11/07

Fidelity: Poems

The Rose That Grew From Concrete

His talent was unbounded, a raw force that commanded attention and respect.

His death was tragic -- a violent homage to the power of his voice.

His legacy is indomitable -- remaining vibrant and alive.

Here now, newly discovered, are Tupac's most honest and intimate thoughts conveyed through the pure art of poetry -- a mirror into his enigmatic life and its many contradictions.

Written in his own hand at the age of nineteen, they embrace his spirit, his energy...and his ultimate message of hope.

Sea Change: Poems

The New York Times has said that "Jorie Graham's poetry is among the most sensuously embodied and imaginative writing we have," and this new collection is a reminder of how startling, original, and deeply relevant her poetry is. In Sea Change, Graham brings us to the once-unimaginable threshold at which civilization as we know it becomes unsustainable. How might the human spirit persist, caught between its abiding love of beauty, its acknowledgment of continuing injury and damage done, and the realization that the existence of a "future" itself may no longer be assured?

There is no better writer to confront such crucial matters than Jorie Graham. In addition to her recognized achievements as a poet of philosophical, aesthetic, and moral concerns, Graham has also been acknowledged as "our most formidable nature poet" (Publishers Weekly). As gorgeous and formally inventive as anything she has written, Sea Change is an essential work speaking out for our planet and the world we have known.

Elegy: Poems

Walt Whitman's Leaves of Grass

"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.

Abraham Lincoln read it with approval, but Emily Dickinson described its bold language and themes as "disgraceful." Ralph Waldo Emerson found it "the most extraordinary piece of wit and wisdom that America has yet produced." Published at the author's expense on July 4, 1855, Leaves of Grass inaugurated a new voice and style into American letters and gave expression to an optimistic, bombastic vision that took the nation as its subject. Unlike many other editions of Leaves of Grass, which reproduce various short, early versions, this Modern Library Paperback Classics "Death-bed" edition presents everything Whitman wrote in its final form, and includes newly commissioned notes.


From the Trade Paperback edition.

Selected Poems

Frank O’Hara (1926–1966) was one of the most original and influential American poets of the twentieth century. Although he grew up in Grafton, Massachusetts, O’Hara developed into the quintessential poet of mid-century Manhattan; soon after his arrival in New York in 1951 he evolved a new kind of urban poetry that brilliantly captures the heady excitements of a golden period in the city’s artistic life. O’Hara’s style exudes an insistent, seductive glamour; his mercurial poems, at once open-ended and startlingly immediate, radiate an insouciant confidence that has lost none of its freshness over the decades. O’Hara was at the heart of a vibrant artistic circle that embraced fellow New York School poets John Ashbery, Barbara Guest, Kenneth Koch, and James Schuyler, as well as experimental painters such as Willem de Kooning, Larry Rivers, and Jasper Johns. Their achievements are movingly celebrated in many of his poems, while at the same time he paid loving tribute to popular idols such as James Dean and Lana Turner:

Lana Turner has collapsed!
I was trotting along and suddenly
it started raining and snowing
and you said it was hailing
but hailing hits you on the head
hard so it was really snowing and
raining and I was in such a hurry
to meet you but the traffic
was exactly like the sky
and suddenly I see a headline
LANA TURNER HAS COLLAPSED!
there is no snow in Hollywood
there is no rain in California
I have been to lots of parties
and acted perfectly disgraceful
but I never actually collapsed
oh Lana Turner we love you get up


This generous new selection by Mark Ford reflects all the phases and varied achievements of O’Hara’s tragically foreshortened career, including his drama, and is followed by an appendix of key prose texts such as “Personism,” in which O’Hara succinctly summed up his overall approach to poetry: “You just go on your nerve.”