Here is the eagerly awaited new edition of "The Oxford Book of American Poetry", brought completely up-to-date and dramatically expanded by poet David Lehman. It is a rich, capacious volume, featuring the work of more than 200 poets - almost three times as many as the 1976 edition. With a succinct and often witty head note introducing each author, it is certain to become the definitive anthology of American poetry for our time. Lehman has gathered together all the works one would expect to find in a landmark collection of American poetry, from Whitman's "Crossing Brooklyn Ferry" to Stevens' "The Idea of Order at Key West", and from Eliot's "The Waste Land" to Ashbery's "Self-Portrait in a Convex Mirror". But, equally important, the editor has significantly expanded the range of the anthology. The book includes not only writers born since the previous edition, but also many fine poets overlooked in earlier editions or little known in the past, but highly deserving of attention. The anthology confers legitimacy on the Objectivist poets; the so-called Proletariat poets of the 1930s; famous poets who fell into neglect or were the victims of critical backlash (Edna St. Vincent Millay); poets whose true worth has only become clear with the passing of time (Weldon Kees). Among poets missing from Richard Ellmann's 1976 volume, but published here are: W. H. Auden, Charles Bukowski, Donald Justice, Carolyn Kizer, Kenneth Koch, Stanley Kunitz, Emma Lazarus, Mina Loy, Howard Moss, Lorine Niedecker, George Oppen, James Schuyler, Elinor Wylie, and Louis Zukosky. Many more women are represented: outstanding poets, such as Josephine Jacobsen, Josephine Miles, May Swenson. Numerous African-American poets receive their due, and unexpected figures, such as the musicians Bob Dylan, Patti Smith and Robert Johnson have a place in this important work. This stunning collection redefines the great canon of American poetry from its origins in the 17th century right up to the present. It is a must-have anthology for anyone interested in American literature and a book that is sure to be consulted, debated, and treasured for years to come.

Those who seek to accurately gauge public opinion must first ask themselves: Why are certain opinions highly volatile while others are relatively fixed? Why are some surveys affected by question wording or communicative medium (e.g., telephone) while others seem immune? In "Hard Choices, Easy Answers," R. Michael Alvarez and John Brehm develop a new theory of response variability that, by reconciling the strengths and weaknesses of the standard approaches, will help pollsters and scholars alike better resolve such perennial problems. Working within the context of U.S. public opinion, they contend that the answers Americans give rest on a variegated structure of political predispositions--diverse but widely shared values, beliefs, expectations, and evaluations.

Alvarez and Brehm argue that respondents deploy what they know about politics (often little) to think in terms of what they value and believe. Working with sophisticated statistical models, they offer a unique analysis of not just what a respondent is likely to choose, but also how variable those choices would be under differing circumstances. American public opinion can be characterized in one of three forms of variability, conclude the authors: ambivalence, equivocation, and uncertainty. Respondents are sometimes ambivalent, as in attitudes toward abortion or euthanasia. They are often equivocal, as in views about the scope of government. But most often, they are uncertain, sure of what they value, but unsure how to use those values in political choices.

With his trademark self-deprecating wit, unflinching honesty, and sparkling language, John Brehm's latest collection invites readers along on his spiritual journey. No Day at the Beach traces a progression from loneliness and the magnetic pull of the past to the grace that is found through immersion in the present and the melancholy beauty of impermanence. Informed by Brehm's Buddhist practice and enlivened by his comic insights, these poems take on a universal dimension, allowing the reader to both luxuriate in the moment and reflect on each poem's spiritual depth. By turns playfully philosophical and bracingly open hearted, Brehm's engagement with the specters of memory, pride, yearning, gain, and loss illuminate the human condition with humor and empathy.

Help Is on the Way takes readers from the subways of New York City to the savannas of Paleolithic Africa to the transplant ward of Kyoto University Hospital. But whatever their setting, these poems are enlivened by the subtle music, penetrating wit, and remarkable emotional honesty that won high praise for his earlier collection, Sea of Faith, and constitute John Brehm's singularly engaging voice.