This is the fourteenth volume from Between The Lines, and it marks an interesting departure from the previous thirteen, featuring as it does three poets, not just one, each of whom is rather younger than the poets appearing in the earlier books. Though younger each has a claim to being called "senior," having a long list of highly regarded publications behind them, and a number of coveted honors and awards to his/her name. The three poets have been questioned at length about their life and their work by three distinguished poet-critics: Clive Wilmer, Isaac Cates, and Cynthia Haven. Their carefully meditated responses will be helpful to the general reader and the specialist alike. The three poets interviewed are Tim Steele, who teaches at California State University, Dick Davis, who teaches at Ohio State University, and Rachel Hadas, who teaches at Rutgers University.

The poems in Rachel Hadas's new book are united by a common preoccupation with passage--passage variously construed. In Section I, the four seasons are glimpsed in turn through the lenses of several types of personal associations, especially parenthood. As spring gives way to fall and winter, separation looms; diverse kinds of temporary and permanent renewal come with spring, and the fifth poem in this section steps outside this cycle. In Section II, the phrase "pass it on" recalls the game "telephone," in which a word is whispered by one speaker to another. Here the poems focus on tradition, primarily as it is transmitted through teaching, but also through art and again parenthood. Thoughts on teaching specific texts (the Iliad, Dickinson's poems, Sophocles' Philoctetes) alternate with more personal moments of contemplation. Finally, in Section III "pass it on" comes to signify transition--whether between spring and summer, city and country, youth and age, presence and absence, or life and death.

From "Three Silences": Of all the times when not to speak is best, mother's and infant's is the easiest, the milky mouth still warm against her breast.

Before a single year has passed, he's well along the way: language has cast its spell. Each thing he sees now has a tale to tell.

A wide expanse of water-cean. Look Next time, it seems that water is a brook. The world's loose leaves, bound up into a book.

Originally published in 1989.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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. This volume includes translations by Richard Moore (Hippolytus), John Frederick Nims (Suppliant Women), Rachel Hadas (Helen), Elizabeth Seydel Morgan (Electra), and Palmer Bovie (Cyclops).

The poems in Rachel Hadas's new book are united by a common preoccupation with passage--passage variously construed. In Section I, the four seasons are glimpsed in turn through the lenses of several types of personal associations, especially parenthood. As spring gives way to fall and winter, separation looms; diverse kinds of temporary and permanent renewal come with spring, and the fifth poem in this section steps outside this cycle. In Section II, the phrase "pass it on" recalls the game "telephone," in which a word is whispered by one speaker to another. Here the poems focus on tradition, primarily as it is transmitted through teaching, but also through art and again parenthood. Thoughts on teaching specific texts (the Iliad, Dickinson's poems, Sophocles' Philoctetes) alternate with more personal moments of contemplation. Finally, in Section III "pass it on" comes to signify transition--whether between spring and summer, city and country, youth and age, presence and absence, or life and death. From "Three Silences": Of all the times when not to speak is best, mother's and infant's is the easiest, the milky mouth still warm against her breast. Before a single year has passed, he's well along the way: language has cast its spell. Each thing he sees now has a tale to tell. A wide expanse of water-cean. Look! Next time, it seems that water is a brook. The world's loose leaves, bound up into a book. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

In 2004 Rachel Hadas's husband, George Edwards, a composer and professor of music at Columbia University, was diagnosed with early-onset dementia at the age of sixty-one. Strange Relation is her account of "losing" George. Her narrative begins when George's illness can no longer be ignored, and ends in 2008 soon after his move to a dementia facility (when, after thirty years of marriage, she finds herself no longer living with her husband). Within the cloudy confines of those difficult years, years when reading and writing were an essential part of what kept her going, she "tried to keep track...tried to tell the truth".

From the introduction:
"This book, the second in the Waiting Room Reader series, grows from the belief of its visionary originators, Joan Cusack Handler, director of CavanKerry Press, and Sandra O. Gold, president of the Arnold P. Gold Foundation for Humanism in Medicine, that one good thing to be able to pay attention to in waiting rooms is poetry. This is a belief that I, as guest editor of this volume, emphatically share. Poems with staying power are always themselves acts of attentiveness, and reading any good poem both demands and rewards attention. The job, then, is to make sure poems can be found in waiting rooms, where they will always be needed. All the works in this collection (primarily poems but also a handful of short prose pieces) enact longing and memory; they recall, they evoke, they praise. The writing of just about every piece in this book turns out to have been an act of reclamation, an evocation of some lost original, which isn't so lost after all.
"The pieces gathered here touch upon themes poets have always visited: memory, family, love, loss, nature. Voices and styles naturally and delightfully vary; some pieces are chiseled and succinct, others loose and rhapsodic. But all, in addition to being accomplished, share the generosity and intensity of their attention to a particular piece of experience."
Among the contributors are Robin Behn, Maxine Kumin, Molly Peacock, Linda Pastan, Liz Rosenberg, Elizabeth Spires, and Jeffrey Harrison.

Rachel Hadas brings an acute perception and a rich education to her exquisitely crafted poetry. As James Merrill wrote, Hadas's "honeyed words and bracing forms . . . over and over bring the mind to its senses." Rooted in the domestic and illuminated by Hadas's lifelong engagement with classics, the poems gathered here, many in traditional forms, draw out the relationships between life, love, time and art. This collection will be welcomed by all who love Hadas's strongly etched lines and passionate intelligence.

The domestic facts of life are fashioned into searching meditations by Rachel Hadas in A Son From Sleep, a book about wakings. The poet is admonished by her dreams and summoned from her slumbers. Hadas's acute observation of ordinary things illuminates and expands them. She listens while a child "plaits her fledgling macrame / of consonants and vowels." She learns "several kinds of silence." She resolves to "uncover language / as medium of nothing except mysteries," and for Hadas, mysteries take root in tangible things--in cats, blankets, subways, her husband, and especially, in motherhood.