This new, comprehensive selection of one of America's foremost modern poets draws on two dozen collections published over six decades. Edited by Paul A. Lacey, it replaces her earlier Bloodaxe Selected Poems (1986), and includes selections from both her earlier work and from the six later collections published by Bloodaxe in Britain, from Oblique Prayers to the posthumously published Sands of the Well and This Great Unknowing. Preface by Robert Creeley.

Robert Creeley is one of the most celebrated and influential American poets. A stylist of the highest order, Creeley imbued his correspondence with the literary artistry he brought to his poetry. Through his engagements with mentors such as William Carlos Williams and Ezra Pound, peers such as Charles Olson, Robert Duncan, Denise Levertov, Allen Ginsberg, and Jack Kerouac, and mentees such as Charles Bernstein, Anselm Berrigan, Ed Dorn, Susan Howe, and Tom Raworth, Creeley helped forge a new poetry that re-imagined writing for his and subsequent generations. This first-ever volume of his letters, written between 1945 and 2005, document the life, work, and times of one of our greatest writers, and represent a critical archive of the development of contemporary American poetry, as well as the changing nature of letter-writing and communication in the digital era.

Book of Dreams is Jack Kerouac's record of his dream life, a parallel autobiography of the soul, the sleeper's On the Road: "I got my weary bones out of bed & through eyes swollen with sleep swiftly scribbled in pencil in my little dream notebook till I had exhausted every rememberable item ..." Awake of asleep, Jack's mind spun the web of relationships that were the substance of almost everything he wrote: "In the book of dreams I just continue the same story but in the dreams I had of the real-life characters I always write about." "Lost love, madness, castration, cats that speak, cats in danger of their lives, people giving birth to cats, grade school classrooms, Mel Torme, Zsa Zsa Gabor, Tolstoy and Genet all make repeated appearances, lending the collection a repetitive, nonprogrammatic logic and exposing an unfamiliar sort of vulnerable beauty in Kerouac's iconic persona." -Publishers Weekly "There is much to lament in the saga of his life, and quite a bit is surprising." -Michael Kammen, Los Angeles Book Review Jack Kerouac (1922-1969) was a principal actor in the Beat Generation, a companion of Allen Ginsberg and Neal Cassady in that great adventure. His books include On the Road, The Dharma Bums, Mexico City Blues, Lonesome Traveler, Visions of Cody, Pomes All Sizes (City Lights), Scattered Poems (City Lights), and Scripture of the Golden Eternity (City Lights).

Robert Creeley is one of the most celebrated and influential American poets. A stylist of the highest order, Creeley imbued his correspondence with the literary artistry he brought to his poetry. Through his engagements with mentors such as William Carlos Williams and Ezra Pound; peers such as Charles Olson, Robert Duncan, Denise Levertov, Allen Ginsberg, and Jack Kerouac; and mentees such as Charles Bernstein, Anselm Berrigan, Ed Dorn, Susan Howe, and Tom Raworth, Creeley helped forge a new poetry that reimagined writing for his and subsequent generations. This first ever volume of his letters, written between 1945 and 2005, document the life, work, and times of one of our greatest writers and represent a critical archive of the development of contemporary American poetry, as well as the changing nature of letter writing and communication in the digital era.

Anew, sun, to fire summer leaves move toward the air from the stems of the branches fire summer fire summer -from Anew Here is the complete music-filled arc of Louis Zukofsky's shorter verse collected in one volume: lyrical love poems written to his wife Celia and son Paul; the groundbreaking "Poem Beginning 'The,' " "which sends up 'The Waste Land' and its cultural vision in a cloud of bricolage, a hilarious pastiche of quotes, canon and kitsch, high and low hopelessly intertwined" (Michael Palmer); the boisterous, riotous translations of Catullus; spare, brilliant nature poems as if written by an ancient hokku master; his genius " 'Mantis' " sestina; the enigmatic, spiraling, and beautiful last poems, "80 Flowers." Anew: Complete Shorter Poetry is a book of blessings and gifts for any poetry lover.

"I have assumed a great deal in the selection of the poems from such a large and various number, making them a discourse unavoidably my own as well as any Olson himself might have chosen to offer. I had finally no advice but the long held habit of our using one another, during his life, to act as a measure, a bearing, an unabashed response to what either might write or say."--Robert Creeley
A seminal figure in post-World War II literature, Charles Olson has helped define the postmodern sensibility. His poetry embraces themes of empowering love, political responsibility, the wisdom of dreams, the intellect as a unit of energy, the restoration of the archaic, and the transformation of consciousness--all carried in a voice both intimate and grand, American and timeless, impassioned and coolly demanding.
In this selection of some 70 poems, Robert Creeley has sought to present a personal reading of Charles Olson's decisive and inimitable work--"unequivocal instances of his genius"--over the many years of their friendship.

Robin Blaser, one of the key North American poets of the postwar period, emerged from the "Berkeley Renaissance" of the 1940s and 1950s as a central figure in that burgeoning literary scene. "The Holy Forest", now spanning five decades, is Blaser's highly acclaimed lifelong serial poem. This long-awaited revised and expanded edition includes numerous published volumes of verse, the ongoing "Image-Nation" and "Truth Is Laughter" series, and new work from 1994 to 2004.Blaser's passion for world making draws inspiration from the major poets and philosophers of our time - from friends and peers such as Robert Duncan, Jack Spicer, Charles Olson, Charles Bernstein, and Steve McCaffery to virtual companions in thought, such as Hannah Arendt, Maurice Merleau-Ponty, Michel Foucault, and Jacques Derrida, among others. This comprehensive compilation of Blaser's prophetic meditations on the histories, theories, emotions, experiments, and countermemories of the late twentieth century will stand as the definitive collection of his unique and luminous poetic oeuvre.

Since its inception in 1988, The Best American Poetry series has achieved brand-name status in the literary world as the preeminent showcase of each year's most important contributions to American poetry. This year's exceptional volume, edited by Robert Creeley, a figure revered across teh wide spectrum of American poetry, features a diverse mix of established masters, rising stars and the leading lights of a younger generation. The pleasure of the poems selected here, Creeley explains in his introduction, is "that they caught my fancy, some almost outrageously, some by their quiet, nearly diffident manner, some by unexpected turns of thought or insight, others by a confident authority and intent." With comments from the poets elucidating their work, a thought-provoking introduction from Creeley, and Lehman's always popular foreword assessing the current state of poetry, The Best American Poetry 2002 will prove as irresistible to new readers as it is indispensable for poetry fans everywhere.

"The subtlest feeling for the measure that I encounter anywhere except in the verses of Ezra Pound."--William Carlos Williams
"It is a study, how Creeley lands syntax down the alley, and his vocabulary-pure English-to hit meters and rhymes all of which are spares and strikes."--Charles Olson
"Robert Creeley has created a noble body of poetry that extends the work of his predecessors Pound, Williams, Zukofsky, and Olson, and provides like them a method for his successors in exploring our new American poetic consciousness."--Allen Ginsberg
"His succinctness is like the unfettered flashing of a diamond." --John Ashbery
"Robert Creeley was one of the great giants of 20th Century American poetry. This collection is his monument." --Paul Auster
"American poetry is unimaginable and, happily, unknowable without Creeley."--Andrei Codrescu, author of "it was today: new poems"
"Creeley is a touchstone for me-a measure of what poetry is. He is a genius of the sensorium as Kerouac was and a master of the ear as is Miles Davis. He is a carver in space like Van Gogh."--Michael McClure
"There is no poetry more vivid, immediate, or telling than Robert Creeley's. His "Collected Poems" extends the achievement of Dickinson, Whitman, and Williams into postwar America. Creeley's excavation of particular words, images, and sentiments resonate beyond the pages of this book into the fabric of everyday life. This is American invention at its best, as necessary as the air we breathe and the ground we walk on."--Charles Bernstein
"'It isn't what a poet says that counts as a work of art, ' William Carlos Williams once wrote, 'it's what he makes, with such intensity of perception thatit lives with an intrinsic movement of its own to verify its authenticity.' I can't think of another contemporary poet whose acute sensitivity to the particular event of making (and in poetry "making" includes "breaking") each written line is as consummately fine-tuned as Robert Creeley's."--Susan Howe
"He was the main support in the old house of poetry--the main beam."--C.D. Wright, Brown University alumni newsletter
"There is no poet like Creeley. His multiple subjectivities and magic syllables have kept us curious and honest. Never a false step, never a less than tender heart for the sound, and the brilliant cognitive, often fierce power therein. What a glorious long life in writing. These late poems keep the brilliant tempo. We are very lucky he is still so much among us."--Anne Waldman
"Robert Creeley transformed the momentary, spontaneous music of being alive into a profoundly enduring American art: brilliant, necessary, impeccably scored. He made it new for always."--Peter Gizzi

""On Earth" provides a kind of closure on a rich poetic life and brings us intimately in contact with the poet's final thoughts on the great themes of time and memory. Those of us who know Creeley may well repeat Whitman's lines in reading this volume: 'Good-bye my Fancy!/Farewell dear mate, dear love!'"--Michael Davidson
"Praise for Robert Creeley's work: "
"The subtlest feeling for the measure that I encounter anywhere except in the verses of Ezra Pound."--William Carlos Williams
"Robert Creeley's poetry is as basic and necessary as the air we breathe; as hospitable, plain and open as our continent itself. He is about the best we have."--John Ashbery
"Robert Creeley has created a noble life body of poetry that extends the work of his predecessors Pound, Williams, Zukofsky, and Olson and provides like them a method for his successors in exploring our new American poetic consciousness."--Allen Ginsberg
"Groundbreaking Poet Robert Creeley helped transform postwar American poetry by making it more conversational and emotionally direct."--Dinitia Smith, "New York Times"
"[A] Black Mountain poet fired by an elemental energy.... Each work is a minutely detailed pressure point set into motion."--Michael Hrebeniak, "The Guardian"
"Robert Creeley, one of the most significant American poets of our time, [was] a poet for whom pretentiousness was anathema. For Creeley, poetry was like music, and he never wasted a note."--Jeff Miers, "The Buffalo News"
"Creeley was, to my mind, easily the finest poet of my parents' generation & truly the dean of American poets at least from the death of Williams until his own. He was also one of the most generous of human beings, andthat rarest thing, somebody who wanted truly to learn from younger poets, whether they were my age or just starting out in their early twenties. Bob was active as a poet for over half a century, and that we got to have him, his work, his presence & his example for so very long was a great gift."--Ron Silliman, author of "Under Albany"

"Here is Creeley at his skillfully selected best: full of the melodies of plain speech, concise yet resonant with emotion."--Juliana Spahr, author of "This Connection of Everyone with Lungs"
"So fantastically simple and so satisfyingly complicated, these poems band together like the days in 'One Day': 'One day after another-/ perfect./ They all fit.'"--John Ashbery
"Beautifully edited by Ben Friedlander with tenderness, intelligence, and care. A superb selection, well-introduced. "Selected Poems" provides a great sense of the range of Creeley's accomplishment--these poems among the most important of our time--a way of writing with the hesitations and grace of a new-found line, thinking informed by sources from Emily Dickinson to Charlie Parker.A "Selected Poems" is at once a tribute to Creeley, a perfect introduction for new readers, and a valuable distillation for those who have already acquired a taste for Creeley's poetry. The perfect assembly to and for one so fond of saying 'onward.' We can now go onward with these selected poems, onward with these well-chosen words, with thanks to Robert Creeley and to Ben Friedlander."--Hank Lazer, author of "The New Spirit"
"Benjamin Friedlander, himself a fine poet-critic and a great connoisseur of Creeley's poetry, has put together a superb selection."--Marjorie Perloff
"An excellent selection and introduction. It is an edition that acknowledges work that has defined the poet's career while offering a new narrative for the entire oeuvre. It will join UC Press's distinguished and definitive editionsof postwar poetry and will provide us all with a summary guide to Creeley's best work."--Michael Davidson
"In a quiet moment Ihear Bob pause where I never would have expected it. Such resolve. Such heart. And an ear to reckon with. No truly further American poem without his."--Clark Coolidge, author of "Counting on Planet Zero"

Robert Creely, Wilmington, N.C., June 29, 1981: There is a sense of increment, of accumulation, in these poems that is very dear to me. Like it or not, it outwits whatever I then thought to say and gains thereby whatever I was in saying it. Thankfully, I was never what I thought I was, certainly never enough. Otherwise, when it came time to think specifically of this collection and of what might be decorously omitted, I decided to stick with my initial judgments, book by tender book, because these were the occasions most definitive of what the poems might mean, either to me or to anyone else. To define their value in hindsight would be to miss the factual life they had either made manifest or engendered. So everything that was printed in a book between the dates of 1945 and 1975 is here included as are also those poems published in magazines or broadsides. In short, all that was in print is here. I'm delighted that they are all finally together, respected, included, each with their place - like some ultimate family reunion! I feel much relieved to see them now as a company at last. I'm tempted to invoke again those poets who served as a measure and resource for me all my life as a poet. But either they will be heard here, in the words and rhythms themselves, or one will simply know the. This time I am, in this respect, alone these are my poems. We are a singular compact. Finally, there's no end to any of it, or none we'll know that simply. But I'm very relieved that this much, like they say, is done. So be it.

The prose writings of Charles Olson (1910–1970) have had a far-reaching and continuing impact on post-World War II American poetics. Olson's theories, which made explicit the principles of his own poetics and those of the Black Mountain poets, were instrumental in defining the sense of the postmodern in poetry and form the basis of most postwar free verse.

The Collected Prose brings together in one volume the works published for the most part between 1946 and 1969, many of which are now out of print. A valuable companion to editions of Olson's poetry, the book backgrounds the poetics, preoccupations, and fascinations that underpin his great poems. Included are Call Me Ishmael, a classic of American literary criticism; the influential essays "Projective Verse" and "Human Universe"; and essays, book reviews, and Olson's notes on his studies. In these pieces one can trace the development of his new science of man, called "muthologos," a radical mix of myth and phenomenology that Olson offered in opposition to the mechanistic discourse and rationalizing policy he associated with America's recent wars in Europe and Asia.

Editors Donald Allen and Benjamin Friedlander offer helpful annotations throughout, and poet Robert Creeley, who enjoyed a long and mutually influential relationship with Olson, provides the book's introduction.

Best known for his "Legend of Duluoz" novels, including On the Road and The Dharma Bums, Jack Kerouac is also an important poet. In these eight extended poems, Kerouac writes from the heart of experience in the music of language, employing the same instrumental blues form that he used to fullest effect in Mexico City Blues, his largely unheralded classic of postmodern literature. Edited by Kerouac himself, Book of Blues is an exuberant foray into language and consciousness, rich with imagery, propelled by rythm, and based in a reverent attentiveness to the moment.

"In my system, the form of blues choruses is limited by the small page of the breastpocket notebook in which they are written, like the form of a set number of bars in a jazz blues chorus, and so sometimes the word-meaning can carry from one chorus into another, or not, just like the phrase-meaning can carry harmonically from one chorus to the other, or not, in jazz, so that, in these blues as in jazz, the form is determined by time, and by the musicians spontaneous phrasing & harmonizing with the beat of time as it waves & waves on by in measured choruses." --Jack Kerouac