Miguel de Unamuno, one of Spain's foremost literary figures, is better known for his essays and novels than for his poetry. Yet it was as a poet that he wished to be remembered and it is in his poems that he reveals the most intimate and sensitive part of his complex personality. To truly get to know Unamuno as creator it is necessary to read his poetry. This anthology of 50 poems, though modest in comparison to his large poetic output, offers the reader some of his most characteristic poems, with an English version prepared by a well-known Unamuno scholar. The English renderings are sufficiently free to allow for the use of rhyme and regular metre, but strive to capture Unamuno's highly personal way of looking at our human circumstance and destiny. In effect the anthology offers a way of approaching Unamuno that differs significantly from an approach via his prose works: it projects a more meditative and warm-hearted individual than the combative Unamuno of popular perception. The 50 poems, each with a short commentary relating it to Unamuno's personal circumstances and to his thought, are arranged under six headings: (1) Family and Home; (2) God and Mortality; (3) The Land; (4) Exile; (5) Language and Poetry; (6) Philosophical Meditations. The anthology thus offers a microcosm of Unamuno's poetic world and should be useful to those who have little or no knowledge of him. It provides a way of learning something about the man and the writer through a part of his production that has received less attention than it deserves and which projects a significantly different image from the widespread view we have of him. The poems are preceded by a substantial introduction which explores the importance and relevance of Unamuno's poetry, his major themes, and his style.

From the celebrated author of feeld comes a formally commanding third collection, dexterously recounting the survival of a period suffused with mourning. Jos Charles's poems communicate with one another as neurons do: sharp, charged, in language that predates language. "A scandal / three cartons red / in a hedge / in / each the thousand eye research of flies." With acute lyricism, she documents how a person endures seemingly relentless devastation--California wildfires, despotic legislation, housing insecurity--amid illusions of safety. "I wanted to believe," Charles declares, "a corner a print leaned to / a corner can save / a people." Still the house falls apart. Death visits and lingers. Belief proves, again and again, that belief alone is not enough. Yet miraculously, one might still manage to seek--propelled by love, or hope, or sometimes only momentum--something better. There is a place where there are no futile longings, no persistent institutional threats to one's life. Poems might take us there; tenderness, too, as long as we can manage to keep moving. "A current / gives as much as it has," writes Charles--despite fire, despite loss. Harrowing and gorgeous, a Year & other poems is an astonishing new collection from a poet of "unusual beauty and lyricism" (New Yorker).

Who, if I cried out, would hear me among the angelic
orders? and even if one of them pressed me
suddenly to his heart: I'd be consumed
in that overwhelming existence. For beauty is nothing
but the beginning of terror, which we can just barely endure,
and we stand in awe of it as it coolly disdains
to destroy us. Every angel is terrifying.
-from "The First Elegy"

Over the last fifteen years, in his two volumes of New Poems as well as in The Book of Images and Uncollected Poems, Edward Snow has emerged as one of Rainer Maria Rilke's most able English-language interpreters. In his translations, Snow adheres faithfully to the intent of Rilke's German while constructing nuanced, colloquial poems in English.

Written in a period of spiritual crisis between 1912 and 1922, the poems that compose the Duino Elegies are the ones most frequently identified with the Rilkean sensibility. With their symbolic landscapes, prophetic proclamations, and unsettling intensity, these complex and haunting poems rank among the outstanding visionary works of the century.

A New York Times Bestseller, chosen as Oprah's "Books That Help Me Through" for Oprah's Book Club "No matter where one starts reading, Devotions offers much to love, from Oliver's exuberant dog poems to selections from the Pulitzer Prize-winning American Primitive, and Dream Work, one of her exceptional collections. Perhaps more important, the luminous writing provides respite from our crazy world and demonstrates how mindfulness can define and transform a life, moment by moment, poem by poem." -The Washington Post "It's as if the poet herself has sidled beside the reader and pointed us to the poems she considers most worthy of deep consideration." -Chicago Tribune Pulitzer Prize-winning poet Mary Oliver presents a personal selection of her best work in this definitive collection spanning more than five decades of her esteemed literary career. Throughout her celebrated career, Mary Oliver has touched countless readers with her brilliantly crafted verse, expounding on her love for the physical world and the powerful bonds between all living things. Identified as "far and away, this country's best selling poet" by Dwight Garner, she now returns with a stunning and definitive collection of her writing from the last fifty years. Carefully curated, these 200 plus poems feature Oliver's work from her very first book of poetry, No Voyage and Other Poems, published in 1963 at the age of 28, through her most recent collection, Felicity, published in 2015. This timeless volume, arranged by Oliver herself, showcases the beloved poet at her edifying best. Within these pages, she provides us with an extraordinary and invaluable collection of her passionate, perceptive, and much-treasured observations of the natural world.

Translated by renowned Rumi expert Nader Khalili, over 120 poems about love from the Persian mystic poet and Sufi master have been carefully collected and curated in this beautifully illustrated edition. For more than eight centuries, Jalaluddin Muhammad Balkhi Rumi-commonly referred to simply as Rumi-has enchanted and enthralled readers from every faith and background with his universal themes of love, friendship, and spirituality, which he seamlessly wove into resplendent poetry. The verses herein perfectly express and are centered on the theme of love, along with the quest, desire, and deeper meanings of love for not only ourselves, but also of our fellow humankind. The Sweetheart the sweetheart who is blocking my sleep demands tears on my knees throwing me silently into the waves changing the water to liquid sweet With intricately designed and richly colored covers that mirror the beauty of the words within, the Timeless Rumi series presents themed collections of poems from the great Sufi mystic Jalaluddin Muhammad Balkhi Rumi that serve as cherished tools for self-reflection.

Poems by 60 poets involved in The Practice of Poetry course( students, tutors and visiting poets)at the University of Warwick from 2000 to 2010; poems arranged alphabetically, with an introduction by David Morley. Poems by Peter Belgvad, Zoe Brigley, James Brookes, Phil Brown, Peter Carpenter, Swithun Cooper, Jane Holland, Luke Kennard, Anna Lea, Michael McKimm,Glyn Maxwell, David Morley, Jon Morley, Ruth Padel, Fiona Sampson, George Szirtes, George Ttoouli, Simon Turner and others.

The classic collection of poetry from the author of I KNOW WHY THE CAGED BIRD SINGS. 'A brilliant writer, a fierce friend and a truly phenomenal woman' BARACK OBAMA Maya Angelou's poetry - lyrical and dramatic, exuberant and playful - speaks of love, longing, partings; of Saturday night partying, and the smells and sounds of Southern cities; of freedom and shattered dreams. 'She moved through the world with unshakeable calm, confidence and a fierce grace . . . She will always be the rainbow in my clouds' OPRAH WINFREY 'She was important in so many ways. She launched African American women writing in the United States. She was generous to a fault. She had nineteen talents - used ten. And was a real original. There is no duplicate' TONI MORRISON

Philip G Johnston's new translation of Un rio, un amor (One River, One Love) by Luis Cernuda (1902-1963) is faithful to the author's quasi-Surrealist intentions. Written in France and Spain in 1928-1929, this collection reflects the influences, conflicts and impulses that governed the poet's life then. It speaks of the alienation of a marginalised, disaffected individual in a Spain which he described as "decrepit and decomposing", of a shy homosexual gradually and painfully coming to terms with his orientation in a rigid, hostile society, of a passion for American popular culture (Jazz, Blues and cinema), filtered through a Hispanic sensitivity, and eventually somewhat tempered by the disappointments of daily life. The collection's later poems see Cernuda finding an admirable and resonant voice of protest. Very much a part of the broad European Modernist ethos (Cernuda can justifiably be compared to, say, T S Eliot), One River, One Love is furthermore written in the spirit of Spain's famous Generation of 1927 (spearheaded by figures such as Dali, Lorca and Bunuel) which set about reacting to "what had already been said", seeking the radical reform of the Spanish aesthetic and, in doing so, created a second Spanish Golden Age. Intriguingly balanced between what Cernuda himself would later term "Reality and Desire", this collection also involves a significant flirtation with the conventions of Surrealism. Lautreamont's famous formula involving the sewing machine, the umbrella and the dissection table is most certainly nodded to here in the characteristic Cernudian harnessing of shocking, incongruous and unexpected elements in imagery. That flirtation, however, stops short of full consummation of the relationship (Cernuda never, for example, gives himself completely over to unfettered, automatic writing, or, "dictee de la pensee") -which fact in itself speaks of a peculiarly Spanish twist to the European avant-garde.

Just as basking in the glow of the warm evening sun does, this radiant collection of poetry and art from bestselling poet Wilder, will leave you filled with hope, love, and peace. Accompanying Wilder's first book of poetry Nocturnal, Golden is another collection of celestial-themed poems and art by poet Wilder Poetry. Differing from its sister book, this collection is divided into four parts--"Magic Hour," "Soul," "Oracle," and "Sanctuary" --and focuses on the brightest star in our solar system: the Sun. Much like the celestial body that inspired its name, Golden explores the brighter, sunnier emotions life has to offer. Readers are guided down a sunlit path to happiness and learn that once the heart is open, opportunities for love never cease.

The contents of the book were written in the author’s late teen years until the age of 21. It contains the stories of different men, women and children from different specs of life.

The book has encounters that tackle the themes of culture, relationships, religion, racism, career and death. Some of the text is written in isiZulu. There is a notable reference to the Bible in the book. These stories are the events of women and men sold out by Africa for some promised gain that could or could not materialize in exchange for our livelihood, just like Miss Baartman.

The selected title was awarded based on the contents of the book and the known history of the late Miss Sara ‘Saartjie’ Baartman. Little is known about her factually, even her official death date has been contested by various parties. This book is about her and for her from her survivors, us the people. The cover photo reflects how those who we are not seen and hidden but not protected by the responders of 10111. The crown and red cross on the shoulder all contribute to the text within the book.

Although in the form of poetry and essays, some of the content may be a tad too graphic for readers younger than 14 but older teenagers are encouraged to read the book.

In celebration of the 100th anniversary of Pablo Neruda's birth, New Directions is pleased to announce the reissue of two of his classic works in timeless translations: Residence on Earth and The Captain's Verses, both translated by Donald D. Walsh and fully bilingual. Residence on Earth is perhaps Neruda's greatest work. Upon its publication in 1973, this bilingual publication instantly became "a revolution... a classic by which masterpieces are judged" (Review). "In Residence on Earth," wrote Amado Alonso, "the tornado of fury will no longer pass without lingering, because it will be identified with [Neruda's] heart."

In Bloodlines Andy Brown turns his attention to the subjects of medicine and the human body, treating them with the lyricism, imaginative range and formal agility for which his poetry has become widely known. The poems in part one, Shifting Shape, offer more personal narratives, while the poems of part two, Bloodlines, explore the longer lines of medical history, through medical paintings, sculptures and translated versions from Spanish. There are also several lively versions of medical scenes from Chaucer's Canterbury Tales and a number of poems that focus on disease, hygiene and sanitation.

Ana Luisa Amaral is considered to be one of the foremost Portuguese poets of her day, and although her poetry has been translated into many other languages, this is the first major collection of her poems to be published in English. Born in Oporto in 1956, and, for many years, Professor of Anglo-American Literature at the University of Oporto, Ana Luisa Amaral published her first collection of poems, Minha Senhora de Que, in 1990, and has since published many more, along with plays, children's literature, a novel and translations from English. Her work has brought her many prizes both in Portugal and elsewhere. Her poems are resolutely female, but she casts her net very wide in terms of subject matter, from tender poems about her daughter to thoughts provoked by finding a crumb lodged in the pages of a second-hand book to musings about Galileo, the theory of relativity and the larger themes of loneliness, loss, and death. She is a writer immersed in her own culture, but steeped, too, in the poetry, for example, of Emily Dickinson and Shakespeare, and in the world of the Bible and the Greek myths. The result is a poetry that takes equal pleasure in the physical and metaphysical, playing with words and ideas, a poetry that is always refreshingly oblique, taking the reader down unexpected intellectual and linguistic paths. Her poetry invites readers to share her own wonder and perplexity at life's joys and griefs.

What does it mean to be fully present in a human life? How -- in the face of the carnage of war, the no longer merely threatened destruction of the natural world, the faceless threat of spiritual oversimplification and reactive fear -- does one retain one's capacity to be both present and responsive? And to what extent does our capacity to be present, to be fully ourselves, depend on our relationship to an other and our understanding of and engagement with otherness itself? With what forces does the sheer act of apprehending make us complicit? What powers lord over us and what do we, as a species, and as souls, lord over?

These are among the questions Jorie Graham, in her most personal and urgent collection to date, undertakes to explore, often from a vantage point geographically, as well as historically, other. Many of the poems take place along the coastline known as Omaha Beach in Normandy, and move between visions of that beach during the Allied invasion of Europe (whose code name was Operation Overlord) and that landscape of beaches, fields, and hedgerows as it is known to the speaker today. In every sense the work meditates on our new world, ghosted by, and threatened by, competing descriptions of the past, the future, and what it means to be, as individuals, and as a people, "free."

A distinctive volume of poetry by a talented poet and highly acclaimed translator.

Although the themes and ideas explored are mostly personal, De Kock's voice ensures a universal resonance in his poetry.

How to find wisdom and spiritual sustenance in a time of crisis and uncertainty? In Divine Fire, David Woo answers with poems that move from private life into a wider world of catastrophe and renewal. The collection opens in the most personal space, a bedroom, where the chaotic intrusions of adulthood revive the bafflements of childhood. The perspective soon widens from the intimacies of love to issues of national and global import, such as race and class inequality, and then to an unspoken cataclysm that is, by turns, a spiritual apocalypse and a crisis that could be in the news today, like climate change or the pandemic. In the last part of the book, the search for ever-vaster scales of meaning, both sacred and profane, finds the poet trying on different personas and sensibilities-comic, ironic, earnest, literary, self-mythologizing- before reaching a luminous detente with the fearful and the sublime. The divine fire of lovers fading in memory-"shades of the men in my blood"-becomes the divine fire of a larger spiritual reckoning. In his new book of poems, Woo provides an astonishing vision of the world right now through his exploration of timeless themes of love, solitude, art, the body, and death.