In late-1940s Long Branch, a historic but run-down Jersey Shore resort town, in a neighbourhood of Italian, Black and Jewish families, Robert Pinsky began his unlikely journey to becoming a poet. Descended from a bootlegger grandfather, an athletic father, and a rebellious tomboy mother, Pinsky was an unruly but articulate student whose obsession with the rhythms and melodies of speech inspired him to write. Pinsky traces the roots of his poetry, with its wide and fearless range, back to the voices of his neighbourhood, to music and a distinctly American tradition of improvisation, with influences including Mark Twain and Ray Charles, Marianne Moore and Mel Brooks, Emily Dickinson and Sid Caesar, Dante Alighieri and the Orthodox Jewish liturgy. He reflects on how writing poetry helped him make sense of life’s challenges, such as his mother’s traumatic brain injury, and on his notable public presence, including an unprecedented three terms as United States poet laureate. Candid, engaging and wry, Jersey Breaks offers an intimate self-portrait and a unique poetic understanding of American culture.

In late-1940s Long Branch, an historic but run-down Jersey Shore resort town, in a neighbourhood of Italian, Black and Jewish families, Robert Pinsky began his unlikely journey to becoming a poet. Descended from a bootlegger grandfather, an athletic father and a rebellious tomboy mother, Pinsky was an unruly but articulate high-school C-student whose obsession with the rhythms and melodies of speech inspired him to write. Pinsky traces the roots of his poetry, with its wide and fearless range, back to the voices of his neighbourhood, to music and a distinctly American tradition of improvisation, with influences including Mark Twain and Ray Charles, Marianne Moore and Mel Brooks, Emily Dickinson and Sid Caesar, Dante Alighieri and the Orthodox Jewish liturgy. Jersey Breaks offers a candid self-portrait and, underlying Pinsky's notable public presence and unprecedented three terms as poet laureate of the United States, a unique poetic understanding of American culture.

Quick, joyful, and playfully astringent, with surprising comparisons and examples, this collection takes an unconventional approach to the art of poetry. Instead of rules, theories, or recipes, Singing School emphasizes ways to learn from great work: studying magnificent, monumentally enduring poems and how they are made in terms borrowed from the singing school of William Butler Yeats s Sailing to Byzantium.

Robert Pinsky s headnotes for each of the 80 poems and his brief introductions to each section take a writer s view of specific works: William Carlos Williams s Fine Work with Pitch and Copper for intense verbal music; Emily Dickinson s Because I Could Not Stop for Death for wild imagination in matter-of-fact language; Robert Southwell s The Burning Babe for surrealist aplomb; Wallace Stevens s The House Was Quiet and the World Was Calm for subtlety in meter. Included are poems by Aphra Behn, Allen Ginsberg, George Herbert, John Keats, Mina Loy, Thomas Nashe, and many other master poets.

This anthology respects poetry s mysteries in two senses of the word: techniques of craft and strokes of the inexplicable."

This text gathers together all Robert Pinsky's poetry, including 21 new poems. The verse essay "An Explanation of America" (Carcarnet, 1980) remains at the heart of this work. The book also includes "Ginza Samba", a history of the saxophone, and "Impossible to Tell", a jazz-like poem that combines elegy with the Japanese custom of linking-poems and the American tradition of ethnic jokes. "Sadness and Happiness" (1975), "History of My Heart" (1984) and "The Want Bone" (1990). Also included are some of Pinsky's translations of Czeslaw Milosz, Paul Celan and others, and the last canto of his version of Dante's "Inferno" (1994).

This widely praised version of Dante's masterpiece, which won the Los Angeles Times Book Prize and the Harold Morton Landon Translation Award of the Academy of American Poets, is more idiomatic and approachable than its many predecessors. Former U.S. Poet Laureate Pinsky employs slant rhyme and near rhyme to preserve Dante's terza rima form without distorting the flow of English idiom. The result is a clear and vigorous translation that is also unique, student-friendly, and faithful to the original: "A brilliant success," as Bernard Knox wrote in The New York Review of Books.

This lively, abundant book is distinguished by its focus on hearing poetry read aloud. Robert Pinsky, beloved for his ability to bring poetry to life as spoken language, has collected poems that sound marvelous in a reader's actual or imagined voice. Pinsky has organized the book into sections with brief introductions that emphasize the attentive, intuitive, and reflective process of listening to poetry. This structure provides an implicit, generous definition-by-example of poetry itself: beginning with "Short Lines, Frequent Rhymes" and "Long Lines" and proceeding through fundamental themes such as "Love Poems," "Odes, Complaints, and Celebrations," and "Jokes, Ripostes, Parodies, and Insults."Essential Pleasures gives a fresh setting to traditional favorites, including poems by William Shakespeare, Emily Dickinson, and Robert Frost, placed among contemporary poems by John Ashbery, Louise Gluck, Yusef Komunyakaa, and many others. This is an inviting and distinguished collection and an essential book for every home.

The Poet Laureate's clear and entertaining account of how poetry works.

"Poetry is a vocal, which is to say a bodily, art," Robert Pinsky declares in The Sounds of Poetry. "The medium of poetry is the human body: the column of air inside the chest, shaped into signifying sounds in the larynx and the mouth. In this sense, poetry is as physical or bodily an art as dancing."

As Poet Laureate, Pinsky is one of America's best spokesmen for poetry. In this fascinating book, he explains how poets use the "technology" of poetry--its sounds--to create works of art that are "performed" in us when we read them aloud.

He devotes brief, informative chapters to accent and duration, syntax and line, like and unlike sounds, blank and free verse. He cites examples from the work of fifty different poets--from Shakespeare, Donne, and Herbert to W. C. Williams, Frost, Elizabeth Bishop, C. K. Williams, Louise Glück, and Frank Bidart.

This ideal introductory volume belongs in the library of every poet and student of poetry.

This new paperback edition of Henry D. Thoreau's compelling account of Cape Cod contains the complete, definitive text of the original. Introduced by American poet and literary critic Robert Pinsky--himself a resident of Cape Cod--this volume contains some of Thoreau's most beautiful writings.

In the plants, animals, topography, weather, and people of Cape Cod, Thoreau finds "another world" Encounters with the ocean dominate this book, from the fatal shipwreck of the opening chapter to his later reflections on the Pilgrims' landing and reconnaissance. Along the way, Thoreau relates the experiences of fishermen and oystermen, farmers and salvagers, lighthouse-keepers and ship captains, as well as his own intense confrontations with the sea as he travels the land's outermost margins. Chronicles of exploration, settlement, and survival on the Cape lead Thoreau to reconceive the history of New England--and to recognize the parochialism of history itself.

From "An Explanation of America"
LAIR
"Robert Pinsky"

Inexhaustible, delicate, as if
Without source or medium, daylight
Undoes the mind; the infinite,

Empty actual is too bright,
Scattering to where the road
Whispers, through a mile of woods

Later, how quiet the house is:
Dusk-like and refined,
The sweet Phoebe-note

Piercing from the trees;
The calm globe of the morning,
Things to read or to write

Ranged on a table; the brain
A dark, stubborn current that breathes
Blood, a deaf wadding,

The hands feeding it paper
And sensations of wood or metal
On its own terms. Trying to read

I persist a while, finish the recognition
By my breath of a dead giant's breath--
Stayed by the space of a rhythm,

Witnessing the blue gulf of the air."

In this book Robert Pinsky writes about contemporary poetry as it reflects its modernist and Romantic past. He isolates certain persistent ideas about poetry's situation relative to life and focuses on the conflict the poet faces between the nature of words and poetic forms on one side, and the nature of experience on the other. The author ranges for his often surprising examples from Keats to the great modernists such as Stevens and Williams, to the contents of recent magazines. He considers work by Ammons, Ashbery, Bogan, Ginsberg, Lowell, Merwin, O'Hara, and younger writers, offering judgments and enthusiasms from a viewpoint that is consistent but unstereotyped. Like his poetry, Robert Pinsky's criticism joins the traditional and the innovative in ways that are thoughtful and unmistakably his own. His book is a bold essay on the contemporary situation in poetry, on the dazzling achievements of modernism, and on the nature or "situation" of poetry itself.

The place of poetry in modern democracy is no place, according to conventional wisdom. The poet, we hear, is a casualty of mass entertainment and prosaic public culture, banished to the artistic sidelines to compose variations on insipid themes for a dwindling audience. Robert Pinsky, however, argues that this gloomy diagnosis is as wrongheaded as it is familiar. Pinsky, whose remarkable career as a poet itself undermines the view, writes that to portray poetry and democracy as enemies is to radically misconstrue both. The voice of poetry, he shows, resonates with profound themes at the very heart of democratic culture.

There is no one in America better to write on this topic. One of the country's most accomplished poets, Robert Pinsky served an unprecedented two terms as America's Poet Laureate (1997-2000) and led the immensely popular multimedia Favorite Poem Project, which invited Americans to submit and read aloud their favorite poems. Pinsky draws on his experiences and on characteristically sharp and elegant observations of individual poems to argue that expecting poetry to compete with show business is to mistake its greatest democratic strength--its intimate, human scale--as a weakness.

As an expression of individual voice, a poem implicitly allies itself with ideas about individual dignity that are democracy's bedrock, far more than is mass participation. Yet poems also summon up communal life.. Even the most inward-looking work imagines a reader. And in their rhythms and cadences poems carry in their very bones the illusion and dynamic of call and response. Poetry, Pinsky writes, cannot help but mediate between the inner consciousness of the individual reader and the outer world of other people. As part of the entertainment industry, he concludes, poetry will always be small and overlooked. As an art--and one that is inescapably democratic--it is massive and fundamental.

From "Sadness and Happiness: Poems by Robert Pinsky"
CEREMONY FOR ANY BEGINNING
"Robert Pinsky"

Against weather, and the random
Harpies--mood, circumstance, the laws
Of biography, chance, physics--
The unseasonable soul holds forth,
Eager for form as a renowned
Pedant, the emperor's man of worth,
Hereditary arbiter of manners.

Soul, one's life is one's enemy.
As the small children learn, what happens
Takes over, and what you were goes away.
They learn it in sardonic soft
Comments of the weather, when it sharpens
The hard surfaces of daylight: light
Winds, vague in direction, like blades

Lavishing their brilliant strokes
All over a wrecked house,
The nude wallpaper and the brute
Intelligence of the torn pipes.
Therefore when you marry or build
Pray to be untrue to the plain
Dominance of your own weather, how it keeps

Going even in the woods when not
A soul is there, and how it implies
Always that separate, cold
Splendidness, uncouth and unkind--
On chilly, unclouded mornings,
Torrential sunlight and moist air,
Leafage and solid bark breathing the mist.

Bilingual Edition English / Spanish "Robert Pinsky in Spanish is at once a fantastic desire and a human feat. The process of re-presenting any poet's words in another language and culture entails a dual venture, both passionate and miraculous in nature. I invite you to enjoy these poems; they combine in a unique and cosmopolitan manner the mischiefs, sonic and linguistic licenses, the unexpected movement and the modes of understanding and expression, and they situate us in our universe of peace and violence, justice and injustice, faith and beauty, life and death, in the simple complexity of who we were, are now, and should be as individuals and as a community." -Luis Alberto Ambroggio "It is refreshing to find a poet who is intellectually interesting and technically first-rate. Robert Pinsky belongs to that rarest category of talents, a poet-critic." -Robert Lowell

C. P. Cavafy (1863-1933) lived in relative obscurity in Alexandria, and a collected edition of his poems was not published until after his death. Now, however, he is regarded as the most important figure in twentieth-century Greek poetry, and his poems are considered among the most powerful in modern European literature.

This revised bilingual edition of "Collected Poems" offers the reader the original Greek texts facing what are now recognized as the standard English translations of Cavafy's poetry. It is this translation that best captures the poet's mixture of formal and idiomatic language and that preserves the immediacy of his increasingly frank treatment of homosexual eroticism, his brilliant re-creation of history, and his astute political ironies. This new bilingual edition also features the notes of editor George Savidis and a new foreword by Robert Pinsky.

"Dollars, dolors. Callings and contrivances. King Zulu. Comus.
Sephardic ju-ju and verses. Voodoo mojo, Special Forces.
Henry formed a group named Professor Longhair and his
Shuffling Hungarians. After so much renunciation
And invention, is this the image of the promised end?
All music haunted by all the music of the dead forever.
Becky haunted forever by Pearl the daughter she abandoned
For love, O try my tra-la-la, ma la belle, mah walla-woe.
"--from "Gulf Music"
An improvised, even desperate music, yearning toward knowledge across a gulf, informs Robert Pinsky's first book of poetry since "Jersey Rain "(2000).
On the large scale of war or the personal scale of family history, in the movements of people and cultures across oceans or between eras, these poems discover connections between things seemingly disparate.
"Gulf Music "is perhaps the most ambitious, politically impassioned, and inventive book by this major American poet.

Robert Pinsky, a former poet laureate of the United States, draws on the biblical chronicle of David's life as well as later commentaries and the Psalms to reweave the many strands of David's story into this narrative. A commendable venture . . . well-executed (Publishers Weekly).

"David Roderick's poems are exquisitely made with language that is rich and precise. . . . He convinces us that we are all pilgrims committing our acts of courage as well as our little crimes. This book is immensely rewarding."-James Tate

In Blue Colonial, David Roderick memorializes his hometown by excavating and re-imagining its individual and collective histories. Set in Plymouth, Massachusetts, where English colonists first settled in 1620, Blue Colonial uses dramatic and narrative effects to explore the burdens of historical inheritance: vanished Native American tribes, the seeds of American culture, and our physical and psychological encroachment upon the natural landscape.

Whether he is writing about historical legacy or his own backyard, Roderick has arrived at a voice of distinct solitariness and precise observation. With passion and sly wit, he has composed a strangely luminous book, a poetry collection that resonates with gravity, fine music, and a deep regard for the task of being human in the world. With an introduction by Robert Pinsky.

"History of My Heart," winner of the William Carlos Williams Prize, first appeared in 1984. In "The New Republic," J.D. McClatchy called it "one of the best books of the past decade." It is Pinsky's third volume of poems--and an ideal introduction to the work of a vital and original contemporary American poet.

This widely praised version of Dante's masterpiece, which won the Los Angeles Times Book Prize and the Harold Morton Landon Translation Award of the Academy of American Poets, is more idiomatic and approachable than its many predecessors. Former U.S. Poet Laureate Pinsky employs slant rhyme and near rhyme to preserve Dante's "terza rima" form without distorting the flow of English idiom. The result is a clear and vigorous translation that is also unique, student-friendly, and faithful to the original: "A brilliant success," as Bernard Knox wrote in "The New York Review of Books."

"The Figured Wheel" fully collects the first four books of poetry, as well as twenty-one new poems, by Robert Pinsky, the former U.S. Poet Laureate.
Critic Hugh Kenner, writing about Pinsky's first volume, described this poet's work as "nothing less than the recovery for language of a whole domain of mute and familiar experience." Both the transformation of the familiar and the uttering of what has been hitherto mute or implicit in our culture continue to be central to Pinsky's art. New poems like "Avenue" and "The City Elegies" envision the urban landscape's mysterious epitome of human pain and imagination, forces that recur in "Ginza Samba," an astonishing history of the saxophone, and "Impossible to Tell," a jazz-like work that intertwines elegy with both the Japanese custom of linking-poems and the American tradition of ethnic jokes. A final section of translations includes Pinsky's renderings of poems by Czeslaw Milosz, Paul Celan, and others, as well as the last canto of his award-winning version of the "Inferno,"

"Since the death of Robert Lowell in 1977, no single figure has dominated American poetry the way that Lowell, or before him Eliot, once did . . . But among the many writers who have come of age in our fin de si cle, none have succeeded more completely as poet, critic, and translator than Robert Pinsky." --James Longenbach, The Nation With all the generosity and mastery we have come to expect from our three-time Poet Laureate, Robert Pinsky has written a bold, lyrical meditation on identity and culture as hybrid and fluid, violent as well as creative: the enigmatic, maybe universal, condition of the foundling. At the Foundling Hospital considers the foundling soul: its need to be adopted, and its need to be adaptive. These poems reimagine identity on the scale of one life or of human history: from "the emanation of a dead star still alive" to the "pinhole iris of your mortal eye." What is a particular person? How unique? What is anyone born as? Born with? Born into? The poems of Robert Pinsky's At the Foundling Hospital engage personality and culture as improvised from loss: a creative effort so pervasive it can be invisible.