Susan Aizenberg uses a range of techniques in her newest collection of poetry to explore contemporary daily life in a difficult world. She critiques gender, grief, culture, and the myriad experiences that define us. But even when grappling with old wounds, a strain of romance runs throughout the book, reminding readers that it’s between the love and the grief that we’ll find the moments worth being shared and savored.

Available for the first time in paperback, The Collected Poems of Frank O'Hara reflects the poet's growth as an artist from the earliest dazzling, experimental verses that he began writing in the late 1940s to the years before his accidental death at forty, when his poems became increasingly individual and reflective.

Celebrate the 50th Anniversary of Frank O'Hara's Lunch Poems Lunch Poems, first published in 1964 by City Lights Books as number nineteen in the Pocket Poets series, is widely considered to be Frank O'Hara's freshest and most accomplished collection of poetry. Edited by the poet in collaboration with Lawrence Ferlinghetti and Donald Allen, who had published O'Hara's poems in his monumental The New American Poetry in 1960, it contains some of the poet's best known works including "The Day Lady Died," "Ave Maria" and "Poem" Lana Turner has collapsed ]. This new limited 50th anniversary edition contains a preface by John Ashbery and an editor's note by City Lights publisher Lawrence Ferlinghetti, along with facsimile reproductions of a selection of previously unpublished correspondence between Ferlinghetti and O'Hara that shed new light on the preparation of Lunch. "Frank O'Hara's Lunch Poems, the little black dress of American poetry books, redolent of cocktails and cigarettes and theater tickets and phonograph records, turns 50 this year. It seems barely to have aged . . . This is a book worth imbibing again, especially if you live in Manhattan, but really if you're awake and curious anywhere. O'Hara speaks directly across the decades to our hopes and fears and especially our delights; his lines are as intimate as a telephone call. Few books of his era show less age."--Dwight Garner, The New York Times "City Lights' new reissue of the slim volume includes a clutch of correspondence between O'Hara and Lawrence Ferlinghetti . . . in which the two poets hash out the details of the book's publication: which poems to consider, their order, the dedication, and even the title. 'Do you still like the title Lunch Poems?' O'Hara asks Ferlinghetti. 'I wonder if it doesn't sound too much like an echo of Reality Sandwiches or Meat Science Essays.' 'What the hell, ' Ferlinghetti replies, 'so we'll have to change the name of City Lights to Lunch Counter Press.'"--Nicole Rudick, The Paris Review "Frank O'Hara's famed collection was first published in 1964, and, to mark the fiftieth anniversary, City Lights is printing a special edition."--The New Yorker "The volume has never gone out of print, in part because O'Hara expresses himself in the same way modern Americans do: Like many of us, he tries to overcome the absurdity and loneliness of modern life by addressing an audience of anonymous others."--Micah Mattix, The Atlantic "I hope that everyone will delight in the new edition of Frank's Lunch Poems. The correspondence between Lawrence and Frank is great. Frank was just 33 when he wrote to Lawrence in 1959 and 38 when LUNCH POEMS was published The fact that City Lights kept Frank's LUNCH POEMS in print all these years has been extraordinary, wonderful and a constant comfort. Hurray for independent publishers and independent bookstores. Many thanks always to Lawrence Ferlinghetti and everyone at City Lights."--Maureen O'Hara, sister of Frank O'Hara "Frank O'Hara's Lunch Poems--which has just been reissued in a 50th anniversary hardcover edition--recalls a world of pop art, political and cultural upheaval and (in its own way) a surprising innocence."--David Ulin, Los Angeles Times

Published in association with the Metropolitan Museum of Art.

Originally published: New York: Grove Press, 1957.

A landmark work of cultural history that tells the story of how four young poets, John Ashbery, Frank O'Hara, James Schuyler, and Kenneth Koch, reinvented literature and turned New York into the art capital of the world. Greenwich Village, New York, circa 1951. Every night, at a rundown tavern with a magnificent bar called the Cedar Tavern, an extraordinary group or painters, writers, poets, and hangers-on arrive to drink, argue, tell jokes, fight, start affairs, and bang out a powerful new aesthetic. Their style is playful, irreverent, tradition-shattering, and brilliant. Out of these friendships, and these conversations, will come the works of art and poetry that will define New York City as the capital of world culture--abstract expressionism and the New York School of Poetry. A richly detailed portrait of one of the great movements in American arts and letters, The Last Avant-Garde covers the years 1948-1966 and focuses on four fast friends--the poets Frank O'Hara, James Schuyler, John Ashbery, and Kenneth Koch. Lehman brings to vivid life the extraordinary creative ferment of the time and place, the relationship of great friendship to art, and the powerful influence that a group of visual artisits--especially Jane Freilicher, Larry Rivers, and Fairfield Porter--had on the literary efforts of the New York School. The Last Avant-Garde is both a definitive and lively view of a quintessentially American aesthetic and an exploration of the dynamics of creativity.

A literary cookbook that celebrates food and poetry, two of life's essential ingredients. In the same way that salt seasons ingredients to bring out their flavors, poetry seasons our lives; when celebrated together, our everyday moments and meals are richer and more meaningful. The twenty-five inspiring poems in this book—from such poets as Marge Piercy, Louise Glück, Mark Strand, Mary Oliver, Billy Collins, Jane Hirshfield—are accompanied by seventy-five recipes that bring the richness of words to life in our kitchen, on our plate, and through our palate. Eat This Poem opens us up to fresh ways of accessing poetry and lends new meaning to the foods we cook.

An unprecedented eyewitness account of the New York School, as seen between the lines of O'Hara's poetry Joe LeSueur lived with Frank O'Hara from 1955 until 1965, the years when O'Hara wrote his greatest poems, including "To the Film Industry in Crisis," "In Memory of My Feelings," "Having a Coke with You," and the famous Lunch Poems—so called because O'Hara wrote them during his lunch break at the Museum of Modern Art, where he worked as a curator. (The artists he championed include Jackson Pollock, Joseph Cornell, Grace Hartigan, Jane Freilicher, Joan Mitchell, and Robert Rauschenberg.) The flowering of O'Hara's talent, cut short by a fatal car accident in 1966, produced some of the most exuberant, truly celebratory lyrics of the twentieth century. And it produced America's greatest poet of city life since Whitman. Alternating between O'Hara's poems and LeSueur's memory of the circumstances that inspired them, Digressions on Some Poems by Frank O'Hara is a literary commentary like no other—an affectionate, no-holds-barred memoir of O'Hara and the New York that animated his work: friends, lovers, movies, paintings, streets, apartments, music, parties, and pickups. This volume, which includes many of O'Hara's best-loved poems, is the most intimate, true-to-life portrait we will ever have of this quintessential American figure and his now legendary times.

A reissue of this classic, essential companion to Frank O'Hara's Collected Poems, with a new introduction by Bill Berkson.

In the twentieth century no form of experience has been more frequently taken up by poets eager to capture both the openness and fluidity of life and the aesthetic closure of an artwork than that of a walk. Examining the walk poem, Roger Gilbert contends that at its heart is the "desire to keep what we have lived." What is the appeal of the walk poem for modern American poets? According to Gilbert, it provides a ready-made frame within which to explore the full range of individual consciousness as it responds to and reflects on the world immediately at hand. The unstructured, plotless character of the walk allows poets to move freely from place to place, image to image, thought to thought. Suggesting that the walk poem strikes a compromise between the American obsession with process or movement and more traditionally mimetic concerns, Gilbert shows how it enables the poet to apprehend the world as horizon rather than landscape. Through perceptive and extended analyses of walk poems by Frost, Stevens, Williams, Roethke, Bishop, O'Hara, Snyder, Ammons, and Ashbery, he uncovers a spectrum of representational strategies for transforming passing experiences into the more lasting substance of poetry. Walks in the World addresses anyone who takes poetry seriously. Originally published in 1991. 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.