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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.
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