Sean O Riordain (1916-77) was the most important and most influential Irish-language poet of modern times. He revitalised poetry in Irish, combining the world of Irish literature with that of modern English and European literature, thus adding to the Irish tradition from the other side. His poems 'seek to answer fundamental questions about the nature of human existence and the place of the individual in a universe without meaning' (Gearoid Denvir). Many of O Riordain's poems came out of his struggle with the isolation, guilt and loneliness of life in mid-century Catholic Ireland experienced in Cork, the native locale also of the poet Greg Delanty, translator of Apathy Is Out. O Riordain's poems have been translated by many poets, but until now no single writer has translated the majority of the poems. This collection gives a much more unified sense of O Riordain's work, catching the poetry's verve, playfulness and range and also 'the music you still hear in Munster,/even in places where it has gone under'. It includes the dark, sorrowful poems O Riordain has usually represented with in anthologies but also poems of exuberance and celebration, notably 'Tulyar', one of the funniest satirical critiques of the Irish Church's attitude to sex which matches any similar attack by Patrick Kavanagh or Austin Clarke. Sean O Riordain renewed poetry in Irish by writing out of the modernist sense of alienation, fragmentation and identity, but he also saw beyond Modernism's confines to the connective matrix of our world.

The Penn Greek Drama Series presents original literary translations of the entire corpus of classical Greek drama: tragedies, comedies, and satyr plays. It is the only contemporary series of all the surviving work of Aeschylus, Sophocles, Euripides, Aristophanes, and Menander.

Featuring 123 all-new translations by seventy-four of our most celebrated poets-including Seamus Heaney, Robert Pinsky, Billy Collins, Eavan Boland, Richard Wilbur, and many others-"this brilliant anthology infuses new vigor into Old English poetry" (Library Journal). Presented in an authoritative bilingual edition, The Word Exchange is as fascinating and multivocal as the original literature it translates.

These poems are a chronicle of complicity in our modern lives, a witnessing of war and the destruction of our planet. It is also an attempt to adjust the more destructive blueprint myths of our society. Often our cultural memory tells us to keep quiet about the aspects that are most challenging to our ethics, to forget the violations we feel and tremors that keep us distant and numb. If we begin to face and speak and create from these human aftermaths, as these poems do, then we can change and become more comfortable with healthier ways of being alive.

Encompassing a wide range of voices-from weary sailors to forlorn wives, from heroic saints to drunken louts, from farmers hoping to improve their fields to sermonizers looking to save your soul the 123 poems collected in The Word Exchange complement the portrait of medieval England that emerges from Beowulf, the most famous Anglo-Saxon poem of all. Offered here are tales of battle, travel, and adventure, but also songs of heartache and longing, pearls of lusty innuendo and clear-eyed stoicism, charms and spells for everyday use, and seven "hoards" of delightfully puzzling riddles. Featuring all-new translations by seventy-four of our most celebrated poets including Seamus Heaney, Robert Pinsky, Billy Collins, Eavan Boland, Paul Muldoon, Robert Hass, Gary Soto, Jane Hirshfield, David Ferry, Molly Peacock, Yusef Komunyakaa, Richard Wilbur, and many others The Word Exchange is a landmark work of translation, as fascinating and multivocal as the original literature it translates."

The Professor of Forgetting, a new collection from the acclaimed Irish poet Greg Delanty, swings back and forth on the fulcrum of what we call "now" and confronts our notion of how time passes. From the very first poem, "Going Nowhere Fast," which ponders whether we are now here or going nowhere, to the final selection, from which the book takes its self-reflective title, these exuberant poems chronicle what it means to be human with joy, pathos, honesty, despair, sorrow, celebration, and wit. Structurally diverse in form, the poems also explore a range of poignant topics, including childhood, family, love, racism, the natural world, immigration, and the unavoidability of death. Often humorous, Delanty's poetry finds ways of coping with the challenges of life, as it makes lasting art out of heartbreaking difficulty and experience.

In No More Time, Greg Delanty offers a celebration of the natural environment that also bemoans its mistreatment at the hands of humans. The collection's long sequence, "A Field Guide to People," is an alpha-bestiary of twenty-six sonnets, each a meditation on a species of flora or fauna that is thriving, endangered, or extinct. Evoking an earthly heaven, purgatory, and hell for plants and animals, these poems function also as love letters to the biosphere as they connect the past with the present in both form and content. In the middle of this sonnet sequence, a section labeled "Breaking News" gives voice in poetry to the political state of our planet with a balance of pathos, wit, and hope. Delanty stresses the deep underlying connections within and between the natural world and humankind, rather than the fragmented world stressed at the beginning of the twentieth century. No More Time witnesses the effects of climate change and presents a vital view of what remains at stake for engaged global citizens in the twenty-first century.

Purporting to be a ""lost"" seventeenth book of the 16-volume Anthologia Graeca, Book Seventeen uses the themes and images of ancient mythology to conjure a new way of looking at our modern world. Gods of all types line the pages of this collection, from those deities that only operate in our personal spaces-the poet's companion, the demigod Solitude, as well as the elusive god of Complicity-to more familiar divinities in unfamiliar roles, such as Helios shopping in an outdoor market in Paris, or an aging Aphrodite in a short skirt chatting with visitors to an unfamiliar city. Pithy and humorous, reverential and impudent, Greg Delanty's poems showcase the author's keen eye for the mythologies on which we depend to make sense of our messy, bewildering lives.

The Ship of Birth records a father's responses in the time immediately before and after the birth of his child. Just as material significant to the dead is placed in a ship of death, so this ship of birth contains what is significant to the child: the wonder and trepidation of the parents, the nature of the soul, the future growth of the child. Greg Delanty's poems draw on his experiences in American and Irish cultures, using the traditional verse structures of seventeenth-century religious poets along with open modern colloquial forms to evoke the subtle interconnections of the past and future. Without sentimentality or self-indulgence, Delanty acknowledges the dark and difficult reality that the child faces, while affirming the sustaining continuity of life.