"Donald Allen's prophetic anthology had an electrifying effect on two generations, at least, of American poets and readers. More than the repetition of familiar names and ideas that most anthologies seem to be about, here was the declaration of a collective, intelligent, and thoroughly visionary work-in-progress: the primary example for its time of the anthology-as-manifesto. Its republication today--complete with poems, statements on poetics, and autobiographical projections--provides us, again, with a model of how a contemporary anthology can and should be shaped. In these essentials it remains as fresh and useful a guide as it was in 1960."--Jerome Rothenberg, editor of "Poems for the Millennium

""The New American Poetry is a crucial cultural document, central to defining the poetics and the broader cultural dynamics of a particular historical moment."--Alan Golding, author of "From Outlaw to Classic: Canons in American Poetry

After graduating high school, Don Evans was diagnoise with a brain tumor in the center of the brain, with only three doctors in the world capable of doing the surgery.If having the surgery he had about a 40% chance of living or had 6 months or less to live.After a twenty one hour surgery dieing twice on the recovery table he slips into his fifth coma for fourteen days, he awakes to being a complete vegtable for three months, not being able to read, write walk or talk he comunicates by squeezing your hand, one means yes and two squeezes mean no.His parents are told he may never walk again.Read how he beats the odds how his faifh in God and love from family and friends and alot of determination helps him come

This anthology includes many of the major poets to have emerged and gained pre-eminence since World War II, and whose writing reflects not only the significant changes in this nation's postwar history, and the coming to grips with a nuclear age, but also an entirely new way of looking at and structuring reality. United by their "postmodernist" concerns with spontaneity, "instantism," formal and syntactic flexibility, and the revelation of both the creator and the process through the writing itself, these 38 poets represent very diverse strains of an essential American individualism. Included are many of the poets whose work first gained widespread national attention with the 1960 publication of The New American Poetry: Charles Olson, Allen Ginsberg, Paul Blackburn, LeRoi Jones (Amiri Baraka), Denise Levertov, Robert Duncan, and others. Among the poets included here for the first time are Anne Waldman, Diane di Prima, Ed Sanders, Jerome Rothenberg, and James Koller. In addition to a new preface by Allen and Butterick, the book provides autobiographical notes of all the poets and listings of their major works.

Available for the first time in paperback, "The Collected Poems of Frank O'Hara reflects the poet's growth as an artist from the earliest dazzling, experimental verses that he began writing in the late 1940s to the years before his accidental death at forty, when his poems became increasingly individual and reflective.

The prose writings of Charles Olson (1910–1970) have had a far-reaching and continuing impact on post-World War II American poetics. Olson's theories, which made explicit the principles of his own poetics and those of the Black Mountain poets, were instrumental in defining the sense of the postmodern in poetry and form the basis of most postwar free verse.

The Collected Prose brings together in one volume the works published for the most part between 1946 and 1969, many of which are now out of print. A valuable companion to editions of Olson's poetry, the book backgrounds the poetics, preoccupations, and fascinations that underpin his great poems. Included are Call Me Ishmael, a classic of American literary criticism; the influential essays "Projective Verse" and "Human Universe"; and essays, book reviews, and Olson's notes on his studies. In these pieces one can trace the development of his new science of man, called "muthologos," a radical mix of myth and phenomenology that Olson offered in opposition to the mechanistic discourse and rationalizing policy he associated with America's recent wars in Europe and Asia.

Editors Donald Allen and Benjamin Friedlander offer helpful annotations throughout, and poet Robert Creeley, who enjoyed a long and mutually influential relationship with Olson, provides the book's introduction.

After a discussion of the youth, education, and early writings of Canete, the author turns to the Madrid years with El Faro and later with El Haraldo. Canete's connection with the Academia Espanola is also discussed as is his response to the post-romantic era.