Hass links the poetic elements of the work song, the spiritual, of rhythm & blues and rap, and of poems written in Yiddish, in Chinese, and in Spanish. He hears the silence of the haiku in what becomes the spare and modernist. Through his gift for such brilliant connections, Hass presents nothing less than a working anthology of the New American canon.

The Apple Trees at Olema includes work from Robert Hass's first five books--Field Guide, Praise, Human Wishes, Sun Under Wood, and Time and Materials--as well as a substantial gathering of new poems, including a suite of elegies, a series of poems in the form of notebook musings on the nature of storytelling, a suite of summer lyrics, and two experiments in pure narrative that meditate on personal relations in a violent world and read like small, luminous novellas.

From the beginning, his poems have seemed entirely his own: a complex hybrid of the lyric line, with an unwavering fidelity to human and nonhuman nature, and formal variety and surprise, and a syntax capable of thinking through difficult things in ways that are both perfectly ordinary and really unusual. Over the years, he has added to these qualities a range and a formal restlessness that seem to come from a skeptical turn of mind, an acute sense of the artifice of the poem and of the complexity of the world of lived experience that a poem tries to apprehend.

Hass's work is grounded in the beauty of the physical world. His familiar landscapes--San Francisco, the northern California coast, the Sierra high country--are vividly alive in his work. His themes include art, the natural world, desire, family life, the life between lovers, the violence of history, and the power and inherent limitations of language. He is a poet who is trying to say, as fully as he can, what it is like to be alive in his place and time. His style--formed in part by American modernism, in part by his long apprenticeship as a translator of the Japanese haiku masters and Czeslaw Milosz--combines intimacy of address, a quick intelligence, a virtuosic skill with long sentences, intense sensual vividness, and a light touch. It has made him immensely readable and his work widely admired.

A major collection of entirely new poems from the Pulitzer Prize and National Book Award-winning author of Time and Materials and The Apple Trees at Olema A new volume of poetry from Robert Hass is always an event. In Summer Snow, his first collection of poems since 2010, Hass further affirms his position as one of our most highly regarded living poets. Hass's trademark careful attention to the natural world, his subtle humor, and the delicate but wide-ranging eye he casts on the human experience are fully on display in his masterful collection. Touching on subjects including the poignancy of loss, the serene and resonant beauty of nature, and the mutability of desire, Hass exhibits his virtuosic abilities, expansive intellect, and tremendous readability in one of his most ambitious and formally brilliant collections to date.

The poems in Robert Hass's new collection--his first to appear in a decade--are grounded in the beauty and energy of the physical world, and in the bafflement of the present moment in American culture. This work is breathtakingly immediate, stylistically varied, redemptive, and wise.

His familiar landscapes are here--San Francisco, the Northern California coast, the Sierra high country--in addition to some of his oft-explored themes: art; the natural world; the nature of desire; the violence of history; the power and limits of language; and, as in his other books, domestic life and the conversation between men and women. New themes emerge as well, perhaps: the essence of memory and of time.

The works here look at paintings, at Gerhard Richter as well as Vermeer, and pay tribute to his particular literary masters, friend Czesław Miłosz, the great Swedish poet Tomas Transtromer, Horace, Whitman, Stevens, Nietszche, and Lucretius. We are offered glimpses of a surpris-ingly green and vibrant twenty-first-century Berlin; of the demilitarized zone between the Koreas; of a Bangkok night, a Mexican desert, and an early summer morning in Paris, all brought into a vivid present and with a passionate meditation on what it is and has been to be alive. "It has always been Mr. Hass's aim," the New York Times Book Review wrote, "to get the whole man, head and heart and hands and every-thing else, into his poetry."

Every new volume by Robert Hass is a major event in poetry, and this beautiful collection is no exception.

From the former U.S. Poet Laureate, Pulitzer Prize and National Book Award-winner, an illuminating dissection of poetic form for students, enthusiasts, and newcomers alike A Little Book on Form brilliantly synthesizes Hass's formidable gifts as both a poet and essayist. In it he takes up the central tension between poetry as genre and the poetics of the imagination. A wealth of vocabulary exists with which to talk about poetry in traditional formal terms. But the more intuitive, creative parts of a poet's work and processes are more elusive: if the most interesting aspect of form is the shaping power of the essential, expressive gestures inside it, how do we come to a language in which to speak about form as the search for the radiant shapes- the wholeness or brokenness-we experience inside powerful works of art? In suggestive, informal "notes," Haas thinks through the idea of a poem from its barest building blocks-the one line haiku, the brief epigram or prayer-to the complex villanelle and sonnet, and beyond them, to the grand forms of elegy and ode through which poets across human cultures have investigated the shapes of grieving and desiring. His approach singularly employs postmodern perspectives on shape, thought, feeling, content, and movement, calling on Catullus and Allen Ginsberg, Kobayashi Issa and Czeslaw Milosz. Begunb as a project for students of poetry, A Little Book on Form is anything but-Hass investigates the ancient roots of the poetic impulse, taking a wide-ranging look at the most intense experience of human thought and feeling in language.

American readers have been fascinated, since their exposure to Japanese culture late in the nineteenth century, with the brief Japanese poem called the hokku or haiku. The seventeen-syllable form is rooted in a Japanese tradition of close observation of nature, of making poetry from subtle suggestion. Infused by its great practitioners with the spirit of Zen Buddhism, the haiku has served as an example of the power of direct observation to the first generation of American modernist poets like Ezra Pound and William Carlos Williams and also as an example of spontaneity and Zen alertness to the new poets of the 1950's.

This definite collection brings together in fresh translations by an American poet the essential poems of the three greatest masters: Matsuo Basho in the seventeenth century; Yosa Buson in the eighteenth century; and Kobayashi Issa in the early nineteenth century. Robert Haas has written a lively and informed introduction, provided brief examples by each poet of their work in the halibun, or poetic prose form, and included informal notes to the poems. This is a useful and inspiring addition to The Essential Poets series.

A major collection of entirely new poems from the Pulitzer Prize and National Book Award-winning author of Time and Materials and The Apple Trees at Olema A new volume of poetry from Robert Hass is always an event. In Summer Snow, his first collection of poems since 2010, Hass further affirms his position as one of our most highly regarded living poets. Hass's trademark careful attention to the natural world, his subtle humor, and the delicate but wide-ranging eye he casts on the human experience are fully on display in his masterful collection. Touching on subjects including the poignancy of loss, the serene and resonant beauty of nature, and the mutability of desire, Hass exhibits his virtuosic abilities, expansive intellect, and tremendous readability in one of his most ambitious and formally brilliant collections to date.

Definitive and daring, The Ecopoetry Anthology is the authoritative collection of contemporary American poetry about nature and the environment--in all its glory and challenge. From praise to lament, the work covers the range of human response to an increasingly complex and often disturbing natural world and inquires of our human place in a vastness beyond the human. To establish the antecedents of today's writing,The Ecopoetry Anthology presents a historical section that includes poetry written from roughly the mid-nineteenth to the mid-twentieth century. Iconic American poets like Walt Whitman and Emily Dickinson are followed by more modern poets like Wallace Stevens, William Carlos Williams, Ezra Pound, and even more recent foundational work by poets like Theodore Roethke, Elizabeth Bishop, Robert Hayden, and Muriel Rukeyser. With subtle discernment, the editors portray our country's rich heritage and dramatic range of writing about the natural world around us.

The Essential Haiku brings together Robert Hass's beautifully fresh translations of the three great masters of the Japanese haiku tradition: Matsuo Basho (1644-94), the ascetic and seeker, and the haiku poet most familiar to English readers; Yosa Buson (1716-83), the artist, a painter renowned for his visually expressive poetry; and Kobayashi Issa (1763-1827), the humanist, whose haiku are known for their poignant or ironic wit. Each haiku master's section of the book is prefaced with an eloquent and informative introduction by Robert Hass, followed by a selection of over 100 poems and then by other poetry or prose by the poet, including journals and nature writing. Opening with Hass's superb introductory essay on haiku, the book concludes with a section devoted to Basho's writings and conversations on poetry. The seventeen-syllable haiku form is rooted in a Japanese tradition of close observation of nature, of making poetry from subtle suggestion. Each haiku is a meditation, a centring, a crystalline moment of realisation. Reading them has a way of bringing about calm and peace within the reader. The symbolism of the seasons and the Japanese habit of mind blend together in these poems to create an alchemy of reflection that is unsurpassed in literature. Infused by its great practitioners with the spirit of Zen Buddhism, the haiku served as an example of the power of direct observation to the first generation of American modernist poets like Ezra Pound and William Carlos Williams as well as an example of spontaneity and Zen alertness to the new poets of post-war America and Britain. Universal in its appeal, Robert Hass's The Essential Haiku is the definitive introduction to haiku and its greatest poets, and has been a bestseller in America for twenty years. 'I know that for years I didn't see how deeply personal these poems were or, to say it another way, how much they have the flavour - Basho might have said "the scent" - of particular human life, because I had been told and wanted to believe that haiku were never subjective. I think it was D.H. Lawrence who said the soul can get to heaven in one leap but that, if it does, it leaves a demon in its place. Better to sink down through the level of these poems - their attention to the year, their ideas about it, the particular human consciousness the poems reflect, Basho's profound loneliness and sense of suffering, Buson's evenness of temper, his love for the materials of art and for the colour and shape of things, Issa's pathos and comedy and anger' - Robert Hass.

Black Light is a voyage of discovery and transformation. Set in Iran, it tells the story of Jamshid, a quiet simple carpet mender, who one day suddenly commits a murder and is forced to flee. With this violent act his old life ends and a strange new existence begins.Galway Kinnell combines his gift for precise imagery with a storyteller's skill in this journey across the Iranian desert away from the fragile self-righteous virtues of adopted moral tradition, into the disorder and sexual confusion of agonizing self-knowledge. First published in 1966 by Houghton Mifflin, this extensively revised paperback edition of Black Light brings a distinguished novel back into print

During his tenure as US Poet Laureate, Robert Hass revived the popular nineteenth-century tradition of including poetry in our daily newspapers. "Poet's Choice" ultimately became a nationally syndicated column appearing in dozens of papers across the country. Every week, Hass would marry poets and poetry to headlines and holidays. Proceeding in sequence from early 1997 to the start of the millennium, we ride the rhythms of Hass's remarkable musings. From the living legends to the long-gone, Hass resurrects voices of many who might otherwise remain neglected. Nearly a hundred poets are profiled--William Butler Yeats, Wallace Stevens, Rita Dove, Robert Frost, Sonia Sanchez, Donald Justice, Margaret Atwood, John Ashbery, Adrienne Rich, Michael Ondaatje, and Louis Gluck all make appearances here. And along with classic works, we're introduced to a host of emerging poets and to translations of such luminaries as Yehuda Amichai, Czeslaw Milosz, and Jaime Sabines. In his introduction, Hass observes how the columns collected here seem to encapsulate a time and world quite different from the one that developed after 9/11. And so this collection serves as both remembrance and reminder of a period in our history, and as a celebration of the poets whose poems transcend time.

U.S. Poet Laureate Robert Hass considers some of the twentiethcentury poets who bring him pleasure: Robert Lowll, JamesWright, Tomas Transtromer, Joseph Brodsky, Yvor Winters, Robert Creeley, James McMichael, Czeslaw Milosz, and others, in this, his first collection of essays. Originally published in1984, Twentieth Century Pleasures: Prose on Poetry won theNational Book Critics Circle Award for criticism. A new collection of Robert Hass's essays will be published by Ecco in 1998.

Drawing on four decades of work and including new poems published here for the first time, this selection of Mei-mei Berssenbrugge's poetry displays the extraordinary luminosity characteristic of her style - its delicate, meticulous observation, great scenic imagination, and unusual degree of comfort with states of indetermination, contingency, and flux.

"It's in the nature of things that whole worlds disappear," writes the poet Robert Hass in the foreword to Jimmye Hillman's insightful memoir. "Their vanishings, more often than not, go unrecorded or pass into myth, just as they slip from the memory of the living."

To ensure that the world of Jimmye Hillman's childhood in Greene County, Mississippi during the Great Depression doesn't slip away, he has gathered together accounts of his family and the other people of Old Washington village. There are humorous stories of hog hunting and heart-wrenching tales of poverty set against a rural backdrop shaded by the local social, religious, and political climate of the time. Jimmye and his family were subsistence farmers out of bare-bones necessity, decades before discussions about sustainability made such practices laudable.

More than just childhood memories and a family saga, though, this book serves as a snapshot of the natural, historical, and linguistic details of the time and place. It is a remarkable record of Southern life. Observations loaded with detail uncover broader themes of work, family loyalty, and the politics of changing times.

Hillman, now eighty-eight, went on to a distinguished career as an economist specializing in agriculture. He realizes the importance of his story as an example of the cultural history of the Deep South but allows readers to discover the significance on their own by witnessing the lives of a colorful cast of characters. "Hogs, Mules, and Yellow Dogs "is unique, a blend of humor and reflection, wisdom and sympathy--but it's also a hard-nosed look at the realities of living on a dirt farm in a vanished world.

In his third book of poems, Mark Levine continues his exploration of the rhythms and forms of memory. "The Wilds" is set in the border regions between natural and cultivated states, childhood and adulthood, past and present. "We were boys," says the speaker of the opening poem, "boyish, almost girls. Left alone on the roof, we would have dwindled." Austere and lyrical, the music of these poems resonates with echoes of poetic tradition-Wyatt, Jonson, Milton, Eliot-yet is singularly modern.

"In this altogether brilliant collection, the various but carefully sequenced (and deeply consequential) poems unfold in a world undergoing eclipse. It is a transient, unsettling, and fascinating phenomenon, the casting of shadows by shadows (of experience, literature, language, the natural sun) traveling across the totality of the known world: here. The process does not produce negation. It is, on the contrary, an odd plus. And the darkness is never complete; it is surprised into perceptibility by sources of counter-illumination, among them wit, intelligence, and, above all (as underlying all), love."--Lyn Hejinian

"Reddy's book is new, utterly confident, clear, true to itself. It is about any world in which any one of us in love can learn something about what has happened to us--a world utterly and deeply known: ecstatic and forlorn. This is also a confident guide to our best life and to the language of that unknown place in which we bring to mind for the first time what we think and feel. At the end, Reddy's book leaves us with a deeper understanding of the wisdom of all good guides and poets: 'Where one goes, one goes alone.'"--Allen Grossman, Mellon Professor in the Humanities, Johns Hopkins University and author of "Sweet Youth

"The present is a word for only those words which I am now saying" writes Reddy in this profoundly moving first collection. And, indeed, a search for the nature of the 'present' continuously animates this stunning, anguished yet level-headed attempt to reconstruct a history of our kind as if from some as-yet unknown vantage point. Striving for a complex objectivity, the book explodes prior notions of orientation--geographic, historical, cultural--andrecovers from the debris a profoundly trustworthy reorientation, political as well as emotional. Reddy speaks to us fully self-conscious and, strangely, fully innocent. It is a mesmerizing voice."--Jorie Graham

A study at many levels of Scott's long poem Coming to Jakarta, a book-length response to a midlife crisis triggered in part by the author's initial inability to share his knowledge and horror about American involvement in the great Indonesian massacre of 1965. Interviews with Ng supply fuller information about the poem's discussions of: a) how this psychological trauma led to an explorations of violence in American society and then, after a key recognition, in the poet himself; b) the poem's look at east-west relations through the lens of the yin-yang, spiritual-secular doubleness of the human condition; c) how the process of writing the poem led to the recovery of memories too threatening at first to be retained by his normal presentational self, and d) the mystery of right action, guided by the Bhagavad Gita and the maxim in the Gospel of Thomas that "If you bring forth what is within you, what you bring forth will save you." Led by the interviews to greater self-awareness, Scott then analyses his poem as also an elegy, not just for the dead in Indonesia, but "for the passing of the Sixties era, when so many of us imagined that a Movement might achieve major changes for a better America." Subsequent chapters develop how human doubleness can lead to an inner tension between the needs of politics and the needs of poetry, and how some poetry can serve as a non-violent higher politics, contributing to the evolution of human culture and thus our "second nature." The book also reproduces a Scott prose essay, inspired by the poem, on the U.S. involvement in and support for the 1965 massacre. It then discusses how this essay was translated into Indonesian and officially banned by the Indonesian dictatorship, and how ultimately it and the poem helped inspire the ground-breaking films of Josh Oppenheimer that have led to the first official discussions in Indonesia of what happened in 1965.

Renowned for his magisterial verse, Robert Hass is also a brilliant essayist. The New York Times hailed him as a writer who is so intelligent that to read his poetry or prose, or to hear him speak, gives one an almost visceral pleasure. Now, with What Light Can Do, Hass' first collection of essays in more than twenty-five years, the lauded author returns to and enlarges the territory of his critically acclaimed and much-loved collection Twentieth Century Pleasures, recipient of the National Book Critics Circle Award. These acute and deeply engaging essays are as much a portrait of the elegant thought processes of an unconventional and virtuoso mind as they are inquiries into their subjects, which range from meditations on how we see and treat the earth to the relationship between literature and religion, from explorations of the works of writers as diverse as Korean poet Ko Un, Wallace Stevens, Cormac McCarthy, and Anton Chekhov to the ways in which photography - much like an essay-embodies a sustained act of attention. A perceptive and evocative mixture of memory, philosophical interrogation, and criticism, the essays in What Light Can Do, finely attuned to the pleasures and pains of being human, are always grounded in the beauty of the material world and its details, and in the larger political and social realities we inhabit.

Carol Snow's award-winning poetry has been admired and celebrated as 'work of difficult beauty' (Robert Hass), 'ever restless, ever re-framing the frame of reference' ("Boston Review"), teaching us 'how brutally self-transforming a verbal action can be when undertaken in good faith' (Jorie Graham). In this, her third volume, Snow continues to mine the language to its most mysterious depths and to explore the possibilities its meanings and mechanics hold for definition, transformation, and emotional truth. These poems place us before, and in, language - as we stand before, and in, the world. "The Seventy Prepositions" comprises three suites of poems. The first, 'Vocabulary Sentences', reflects on words and reality by taking as a formal motif the sort of sentences used to test vocabulary skills in elementary school. The poems of the second suite, 'Vantage', gather loosely around questions of perspective and perception. The closing suite finds its inspiration in the Japanese dry-landscape gardens known as karesansui, such as the famous rock garden at Ryoan-ji Temple in Kyoto. Here the poet approaches composition as one faces a 'miniature Zen garden', choosing and positioning words rather than stones, formally, precisely, evocatively.

A delightful paperback edition of Milosz's poetry collection-a "valorous and beautiful work" --Richard Eder, Los Angeles Times

"I went on a journey in order to acquaint myself with my province, in a two-horse wagon with a lot of fodder and a tin bucket rattling in the back. The bucket was required for the horses to drink from. I traveled through a country of hills and pine groves that gave way to woodlands, where swirls of smoke hovered over the roofs of houses, as if they were on fire, for they were chimneyless cabins; I crossed districts of fields and lakes. It was so interesting to be moving, to give the horses their rein, and wait until, in the next valley, a village slowly appeared, or a park with the white spot of a manor in it. And always we were barked at by a dog, assiduous in its duty. That was the beginning of the century; this is its . I have been thinking not only of the people who lived there once but also of the generations of dogs accompanying them in their everyday bustle, and one night-I don't know where it came from-in a pre-dawn sleep, that funny and tender phrase composed itself: a road-side dog." --Road-Side Dog

A study at many levels of Scott’s long poem Coming to Jakarta, a book-length response to a midlife crisis triggered in part by the author’s initial inability to share his knowledge and horror about American involvement in the great Indonesian massacre of 1965. Interviews with Ng supply fuller information about the poem’s discussions of: a) how this psychological trauma led to an explorations of violence in American society and then, after a key recognition, in the poet himself; b) the poem's look at east-west relations through the lens of the yin-yang, spiritual-secular doubleness of the human condition; c) how the process of writing the poem led to the recovery of memories too threatening at first to be retained by his normal presentational self, and d) the mystery of right action, guided by the Bhagavad Gita and the maxim in the Gospel of Thomas that "If you bring forth what is within you, what you bring forth will save you.� Led by the interviews to greater self-awareness, Scott then analyses his poem as also an elegy, not just for the dead in Indonesia, but “for the passing of the Sixties era, when so many of us imagined that a Movement might achieve major changes for a better America.� Subsequent chapters develop how human doubleness can lead to an inner tension between the needs of politics and the needs of poetry, and how some poetry can serve as a non-violent higher politics, contributing to the evolution of human culture and thus our “second nature.� The book also reproduces a Scott prose essay, inspired by the poem, on the U.S. involvement in and support for the 1965 massacre. It then discusses how this essay was translated into Indonesian and officially banned by the Indonesian dictatorship, and how ultimately it and the poem helped inspire the ground-breaking films of Josh Oppenheimer that have led to the first official discussions in Indonesia of what happened in 1965.