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.

Through his collections of poems Timothy Steele has earned the reputation as a highly regarded poet who continue to work in meter. This volume brings together 35 new poems that extend the scope and deepen the spirit of his previous work. While always faithful to the richness and complexity of experience, the poems in "The Color Wheel "aim to be clear and accessible. They blend imaginistic detail and reflection and bring to contemporary subjects what Steele calls "the preservative virtues of formal care."

Poetry. Fiction. Literary Nonfiction. Art. The ABLE MUSE ANTHOLOGY celebrates Able Muse's journey through its first decade and beyond by showcasing the best of the published poetry, fiction, essays, interviews, book reviews, art and photography, including a foreword by Timothy Steele. This anthology has received high praise and acclaim from Dana Gioia, David Mason, Charles Martin, Catharine Savage-Brosman, X. J. Kennedy, Catharine Savage Brosman and others.

Perfect for the general reader of poetry, students and teachers of literature, and aspiring poets, All the Fun's in How You Say a Thing is a lively and comprehensive study of versification by one of our best contemporary practitioners of traditional poetic forms. Emphasizing both the coherence and the diversity of English metrical practice from Chaucer's time to ours, Timothy Steele explains how poets harmonize the fixed units of meter with the variable flow of idiomatic speech. He examines the ways in which poets have used meter, rhyme, and stanza to communicate and enhance meaning. Steele illuminates as well many practical, theoretical, and historical issues in English prosody, without ever losing sight of the fundamental pleasures, beauties, and insights that fine poems offer us. Written lucidly, with a generous selection of helpful scansions and explanations of the metrical effects of the great poets of the English language, All the Fun's in How You Say a Thing is not only a valuable handbook on technique; it is also a wide-ranging study of English verse and a mine of entertaining information for anyone wishing more fully to write, enjoy, understand, or teach poetry.

Since the appearance of Timothy Steele's first collection of poems in 1979, growing numbers of readers and critics have recognized him as one of the best and most significant poets of his generation. Widely credited with anticipating and encouraging the revival of poetry in traditional form, Steele has produced a body of work praised for its technical accomplishment, its intellectual breadth, and its emotional energy. Toward the Winter Solstice, Steele's first collection of new poems in twelve years, features his characteristic grace, wit, and power, while extending his range. In addition to the relatively short lyrical, descriptive, and contemplative poems he has always written so well, this collection offers several middle-length pieces that read almost like compressed novels. Addressing a variety of topics and themes, Toward the Winter Solstice explores the relationship between the world of nature and the world of ideas. In one way or another, the poems attempt to link the external material universe with that sense of inward self-awareness central to our experience of life. Throughout, Steele writes with a clarity that not only illuminates his subjects but also acknowledges and preserves their ultimate mystery and complexity.

In 1967, Yvor Winters wrote of Helen Pinkerton, "she is a master of poetic style and of her material. No poet in English writes with more authority." Unfortunately, in 1967 mastery of poetic style was not, by and large, considered a virtue, and Pinkerton's finely crafted poems were neglected in favor of more improvisational and flashier talents. Though her work won the attention and praise of serious readers, who tracked her poems as they appeared in such journals as "The Paris Review," "The Sewanee Review," and "The Southern Review," her verse has never been available in a trade book. "Taken in Faith" remedies that situation, bringing Pinkerton's remarkable poems to a general audience for the first time.
Even her very earliest works embody a rare depth and seriousness. Primarily lyrical and devotional, they always touch on larger issues of human struggle and conduct. More recent poems, concerned in part with history, exhibit a stylistic as well as a thematic shift, moving away from the rhymed forms of her devotional works into a blank verse marked by a quiet flexibility and contemplative grace.
Like Virginia Adair, another poet who waited long for proper recognition, Pinkerton speaks as a woman who has lived fully and observed acutely and who has set the life and observations down in memorable verse. "Taken in Faith" represents a half-century of her poetic efforts.