Poetry

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.

"Mary Oliver has done it again. She has assembled a collection of poems that is moving, intense and evocative in its engagement of the natural world. Yet this latest book by the Pulitzer Prize– and National Book Award–winner is distinctive among her 17 volumes for the dark undercurrent that runs through the poems . . . the hard lesson that this earth is fallen and fragile, now more than ever, and unless we learn to cherish the world, we will destroy it . . . The song Mary Oliver sings in Red Bird is the song she has always sung, but now more urgent, more needful, more true."
—Angela O'Donnell, America magazine, April 28, 2008

"Last April, Book Sense's poetry bestseller list included two titles by Billy Collins. This year the Top 5 can be summed up in six words: Mary Oliver, Mary Oliver, Mary Oliver. Oliver's impressive feat reflects both an enduring popularity and an unparalleled ability to touch readers on a deep, almost primal level."
—Elizabeth Lund, The Christian Science Monitor, April 15, 2008

"Mary Oliver celebrates the creatures she observes on Cape Cod in "Red Bird" (Beacon), her 17th book of poetry. A longtime resident of Provincetown, Oliver, at 72, is among the nation's most popular poets . . . Oliver's grief ripples through the book, as does an unwavering sense of gratitude for the moment, the memories, and her trusty dog, Percy."
—Jan Gardner, Boston Globe, April 13, 2008

"Mary Oliver is 70 years old and still 'in love with life' and 'still full of beans' as she notes in 'Self-Portrait.' She savors the ocean, visits a graveyard, salutes a red bird in winter, heeds the invitation of a group of goldfinches to attend their performance, and finds lessons in teachings of an owl and a mockingbird. We depend on this poet for her hallowings in the animal kingdoms. We look to her for a reverence that lifts up and celebrates the little things in nature."
—Frederic and Mary Ann Brussat, Spirituality & Practice, April 9, 2008

"In Red Bird, Oliver maintains the lyrical connection to the natural world that has made her work so popular. But in the new book she speaks even more loudly than usual against mankind's growing list of abuses of the planet, while celebrating such seemingly ordinary creatures as crows."
—Poets & Writers, March/April 2008

"One of few avidly read living poets, Oliver revels in the beauty of the living world, and takes to heart its lessons in patience and pleasure, cessation and renewal. As piercingly observant as ever in this substantial and forthright collection, Oliver is rhapsodic."
—Donna Seaman, Booklist, March 1, 2008

"Mary Oliver, who won the Pultizer Prize in poetry, is my choice for her joyous, accessible, intimate observations of the natural world . . . She teaches us the profound act of paying attention—a living wonder that makes it possible to appreciate all the others."
—Renee Loth, Boston Globe

"It has always seemed . . . that Mary Oliver might leave us 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 off 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

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.

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

I Know Why the Caged Bird Sings

In this first of five volumes of autobiography, poet Maya Angelou recounts a youth filled with disappointment, frustration, tragedy, and finally hard-won independence. Sent at a young age to live with her grandmother in Arkansas, Angelou learned a great deal from this exceptional woman and the tightly knit black community there. These very lessons carried her throughout the hardships she endured later in life, including a tragic occurrence while visiting her mother in St. Louis and her formative years spent in California--where an unwanted pregnancy changed her life forever. Marvelously told, with Angelou's "gift for language and observation," this "remarkable autobiography by an equally remarkable black woman from Arkansas captures, indelibly, a world of which most Americans are shamefully ignorant."

A phenomenal #1 bestseller that has appeared on the New York Times bestseller list for nearly three years, this memoir traces Maya Angelou's childhood in a small, rural community during the 1930s.  Filled with images and recollections that point to the dignity and courage of black men and women,
Angelou paints a sometimes disquieting, but always affecting picture of the people--and the times--that touched her life.

Sleeping It Off in Rapid City: Poems, New and Selected

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.

Elizabeth Bishop: Poems, Prose and Letters (Library of America)

Robert Giroux and Lloyd Schwartz, editors

James Merrill described Elizabeth Bishop's poems as "more wryly radiant, more touching, more unaffectedly intelligent than any written in our lifetime" and called her "our greatest national treasure." Robert Lowell said, "I enjoy her poems more than anybody else's." Long before a wider public was aware of Bishop's work, her fellow poets expressed astonished admiration of her formal rigor, fiercely observant eye, emotional intimacy, and sometimes eccentric flights of imagination. Today she is recognized as one of America's great poets of the 20th century. This unprecedented collection offers a full-scale presentation of a writer of startling originality, at once passionate and reticent, adventurous and perfectionist. It presents all the poetry that Bishop published in her lifetime, in such classic volumes as North & South, A Cold Spring, Questions of Travel, and Geography III. In addition it contains an extensive selection of un_published poems and drafts of poems (several not previously collected), as well as all her published poetic translations, ranging from a chorus from Aristophanes' The Birds to versions of Brazilian sambas.

Poems, Prose, and Letters brings together as well most of her published prose writings, including stories; reminiscences; travel writing about the places (Nova Scotia, Florida, Brazil) that so profoundly marked her poetry; and literary essays and statements, including a number of pieces published here for the first time. The book is rounded out with a selection of Bishop's irresistibly engaging and self-revelatory letters. Of the 53 letters included here, written between 1933 and 1979, a considerable number are printed for the first time, and all are presented in their entirety. Their recipients include Robert Lowell, Marianne Moore, Randall Jarrell, Anne Stevenson, May Swenson, and Carlos Drummond de Andrade.

Why I Wake Early: New Poems

"Mary Oliver continues to tutor us in attention, gratitude, and reverence in this new collection of forty-seven poems."—Frederick and Mary Brussat, Spirituality and Health

Praise for Owls and Other Fantasies:

"Mary Oliver is beautiful and accurate in this book of poetry and prose about birds…all rendered with the precision of a line-drawing of a single feather that puts the entire wing into perspective."
—Orion

Praise for Mary Oliver's poetry:

"These are life enhancing and redemptive poems that coax the sublime from the subliminal."
—Sally Connolly, Poetry

"Mary Oliver's 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

"The gift of Oliver's poetry is that she communicates the beauty she finds in the world and makes it unforgettable"
—Miami Herald

Sailing Alone Around the Room: New and Selected Poems

Sailing Alone Around the Room, by America’s Poet Laureate, Billy Collins, contains both new poems and a generous gathering from his earlier collections The Apple That Astonished Paris, Questions About Angels, The Art of Drowning, and Picnic, Lightning. These poems show Collins at his best, performing the kinds of distinctive poetic maneuvers that have delighted and fascinated so many readers. They may begin in curiosity and end in grief; they may start with irony and end with lyric transformation; they may, and often do, begin with the everyday and end in the infinite. Possessed of a unique voice that is at once plain and melodic, Billy Collins has managed to enrich American poetry while greatly widening the circle of its audience.

The Liars' Club: A Memoir

In this funny, razor-edged memoir, Mary Karr, a prize-winning poet and critic, looks back at her upbringing in a swampy East Texas refinery town with a volatile, defiantly loving family. She recalls her painter mother, seven times married, whose outlaw spirit could tip into psychosis; a fist-swinging father who spun tales with his cronies--dubbed the Liars' Club; and a neighborhood rape when she was eight. An inheritance was squandered, endless bottles emptied, and guns leveled at the deserving and undeserving. With a raw authenticity stripped of self-pity and a poet's eye for the lyrical detail, Karr shows us a "terrific family of liars and drunks ... redeemed by a slow unearthing of truth."

When it was published in 1995, Mary Karr’s The Liars’ Club took the world by storm and raised the art of the memoir to an entirely new level, as well as bringing about a dramatic revival of the form. Karr’s comic childhood in an east Texas oil town brings us characters as darkly hilarious as any of J. D. Salinger’s—a hard-drinking daddy, a sister who can talk down the sheriff at twelve, and an oft-married mother whose accumulated secrets threaten to destroy them all. Now with a new introduction that discusses her memoir’s impact on her family, this unsentimental and profoundly moving account of an apocalyptic childhood is as “funny, lively, and un-put-downable” (USA Today) today as it ever was.