The former Poet Laureate of the United States, Nemerov gives us a lucid and precise twist on the commonplaces of everyday life.
"The Collected Poems of Howard Nemerov" won both the National Book Award and the Pulitzer Prize in 1978.
"Howard Nemerov is a witty, urbane, thoughtful poet, grounded in the classics, a master of the craft. It is refreshing to read his work. . . . "--"Minneapolis Tribune"
"The world causes in Nemerov a mingled revulsion and love, and a hopeless hope is the most attractive quality in his poems, which slowly turn obverse to reverse, seeing the permanence of change, the vices of virtue, the evanescence of solidities and the errors of truth."--Helen Vendler, "New York Times Book Review"

Poetic Diction, first published in 1928, begins by asking why we call a given grouping of words "poetry" and why these arouse "aesthetic imagination" and produce pleasure in a receptive reader. Returning always to this personal experience of poetry, Owen Barfield at the same time seeks objective standards of criticism and a theory of poetic diction in broader philosophical considerations on the relation of world and thought. His profound musings explore concerns fundamental to the understanding and appreciation of poetry, including the nature of metaphor, poetic effect, the difference between verse and prose, and the essence of meaning.
CONTRIBUTOR: Howard Nemerov.

Howard Nemerov-Poet Laureate of the United States, winner of the Pulitzer Prize and National Book Award, and Chancellor of the Academy of American Poets-was one of the most prolific and significant American poets of the twentieth century. By the time of his death in 1991, he had published fourteen collections of poetry. Judiciously selected and introduced by poet Daniel Anderson, The Selected Poems of Howard Nemerov represents the broad spectrum of Nemerov's virtues as a poet-his intellige nce, his wit, his compassion, and his irreverence. It stands as the retrospective collection of the best of what Nemerov left behind, which is some of the finest poetry that the twentieth century produced. "To keep his errors down to a minimum," W. H. Auden wrote, "the internal Censor to whom a poet submits his work in progress should be a Censorate. It should include, for instance, a sensitive only child, a practical housewife, a logician, a monk, an irreverent buffoon a nd even, perhaps, hated by all others and returning their dislike, a brutal, foul-mouthed drill sergeant who considers all poetry rubbish." Such are the readers to whom the poetry of Howard Nemerov might appeal. He distinguished himself on the landscape of American letters as a writer of great versatility. More than a decade after his death, that claim still holds true. In this, the only edition of Nemerov's work that surveys his entire poetic output, first-time readers of these poems will find an introduction to a truly remarkable creative mind. Longtime admirers of Nemerov will be reminded once again of his significance as a craftsman and philosopher, and as a poetic steward of the many ways in which we experience the world.

The only way out, writes Howard Nemerov, is the way through, just as you cannot escape death except by dying. Being unable to write, you must examine in writing this being unable, which becomes for the present--henceforth?--the subject to which you are condemned. This is the record of the struggle to compose a novel; a struggle transformed by Nemerov into a far-reaching exploration of the creative process itself. He often shows bravery and shrewdness; the book is full of fine criticism and psychological insight. As always, his prose has that ease and transparency that make one forget one is reading; one seems simply to hear a voice speaking. Nemerov's improvised self-analysis has weaknesses, but few that he himself doesn't eventually recognize.--New York Times Book Review In an age of explicitness, Nemerov's Journal of the Fictive Life is explicitly without vulgarity; in an age of revelation, it reveals only what counts. More then a book about creativity, it is a beautiful creation.--Richard G. Stern

Howard Nemerov has written often about wars great and small, the overtly political and the deeply personal. But only with the passage of time, a heightening of technique and deepening of insight, has he been able to write from his experience in World War II as he does here, where historical past and personal history finally dovetail. From "The War in the Heavens" to "The War in the Streets," Nemerov chronicles with devastating grace the harrowing of life.
"These new poems of Howard Nemerov are the poems of a master at his best. What is more, they are accessible. They speak out in a beautiful unclouded voice of the experience of a flyer of the Second World War. Although as 'war poems' they take their place among the best of that genre, they resonate far beyond their history with an arresting immediacy."--Karl Shapiro
"Nemerov is the poet of our sanity, his the vision of the heroic ordinary. . . . Forty years after W. W. II, Nemerov's experiences in that war translate into timeless poetry. . . . Nemerov's poetry will outlast our generation: to read it now is to take part in something of ourselves and our world that will--and should--endure."--"The Virginia Quarterly Review"
"Throughout all his verse, formal language sets up a proscenium, keeping sentiment at a distance. In this elegant theatre, he tells stories that always, first, are works of art."--Denise Low, "Kansas City Star"