Comic poetry is serious stuff, combining incongruity, satire and psychological effects to provide us a brief victory over reason--which could help us save ourselves, if not the world. This book champions the literary movement of comic poetry in the U.S., providing an historical context and exploring the work of such writers as Denise Duhamel, Campbell McGrath, Billy Collins, Thomas Lux and Tony Hoagland. Their techniques reveal how they make us laugh while addressing important social concerns.

From limericks to social satire, The Oxford Book of Comic Verse offers a remarkable collection of outstanding light poetry. John Gross has brought together the finest writers in the history of the English language - from Chaucer and Skelton to Shakespeare and Swift, Lord Byron to Robert Browning, Emily Dickinson to John Updike, as well as witty song lyrics from such artists as Irving Berlin and Cole Porter - offering delightful examples of their comic verse. Drawing on many different types of verse, including epigrams, street ballads, advertising jingles, clerihew, music-hall lyrics, and the doubledactyl of the calypso, this highly entertaining collection offers an exceptionally wide range of comic pleasures. The poems are by turns subtle, down-to-earth, macabre, ingenious, acerbic, ribald, and cheerful. Written to amuse, they call forth laughter and delight in equal measure. Compiled by one of our finest critics and anthologists, this reissue boasts a stylish new design and a fresh contemporary feel.

Poetry comics by Kimball Anderson, Derik Badman, Warren Craghead, Julie Delporte, Oliver East, Franklin Einspruch, Jason Overby, and Paul Tunis. Foreword by William Corbett.

This treasury of humorous poems brings together a sparkling constellation of witty poets–from Lord Rochester to Lewis Carroll, from Edward Lear to Ogden Nash, from Dorothy Parker to W. H. Auden–and embraces a wide range of forms, including limericks, clerihews, ballads, sonnets, and nonsense verse. Comic Poemsis studded with unforgettable classics, along with lesser-known comic gems from across the ages, from ancient Rome to modern America. Here is the immortal “How Pleasant to Know Mr. Lear” beside Noël Coward’s “Mad Dogs and Englishmen”; the incomparable “Jabberwocky” next to the famous “There was a young lady of Riga.” From Cole Porter and John Updike on love and marriage to Stevie Smith and Dorothy Parker on mortality to the ever-talented Anonymous on almost anything, the lighthearted poetry collected here ranges from the most delightful nonsense to the most sophisticated wit.

"Their verse . . . is strikingly different. Michael's poems are interior, fragmentary, and austere, often stripped down to single-word lines; they seethe with incipient violence. Matthew's are effusive, ecstatic, and all-embracing, spilling over with pop-cultural references and exuberant carnality." —The New Yorker Identical twins Michael and Matthew Dickman once invented their own language. Now they have invented an exhilarating book of poem-plays about the fifty states. Pointed, comic, and surreal, these one-page vignettes feature unusual staging and an eclectic cast of characters—landforms, lobsters, and historical figures including Duke Ellington, Sacajawea, Judy Garland, and Kenneth Koch, the avant-garde spirit informing this book introduced by playwright John Guare. "Lucky in Kansas" Judy Garland: This is always the worst part Tin Man: The coming back Judy Garland: Yes, it fucking sucks, it's depressing as shit The Lion: Well, we're lucky to still be employed at this farm Straw Man: I wouldn't call it lucky The Lion: We were lucky to get back Straw Man: That's not really lucky either I don't think you know what lucky means Judy Garland: It's funny what you miss Tin Man: The running Judy Garland: The flying Tin Man: The flying monkeys Judy Garland: The beautiful flying monkeys above the endless emeralds the unbelievably green world Michael Dickman and Matthew Dickman are identical twins who were born and raised in Portland, Oregon. Michael received the 2010 James Laughlin Award for his second collection Flies (Copper Canyon Press, 2011). Matthew won the prestigious APR/Honickman Award for his debut volume, All-American Poem.

Three decades of the Knott at his iconoclastic best, showcasing his versatility & ironic wit. Contains many Knott poems which are not otherwise available in print.

DOOM: Love Poems for Supervillains is an edgy and erotic investigation of comic book bad boys. These poems employ a language that is highly technical and dense, but it becomes witty, intimate and even tender in its specificity. These poems address the results of abuses of power and taken together present a case study in the pathology of villainy. Praise for Thumbscrews: "Natalie Zina Walschots [is] a writer who engages with the aesthetics of sadomasochism in order to generate elegant, sensual poetry that writhes inside the shackles of its own linguistic constraint... [she] treats each poem as a miniature, theatrical tableau--a 'passion play, ' in which she forces language to submit to her will, beating its grammar into a stupor of ecstatic nonsense."--Christian Bok, The Poetry Foundation

Beautiful mutants, vagabond scuba divers, lovers with disordered gorilla hearts: These poetry comics place the lyric and the grotesque, the elegant and the despondent, side by side in one emotionally intense panel after another. At the vanguard of a movement that embraces our increasingly visual culture and believes poetry has an essential place therein, Bianca Stone redefines how we think about poetry, what we expect from comics, and how we interpret our own lives. Although reminiscent of illuminations by William Blake, Thomas Phillips's A Humument, and more recent visual-poetic hybrids by Mary Ruefle and Matthea Harvey, Stone's comics feature a mixture of dreamy expression and absurdist wit that is entirely her own. Her watercolor panels are filled with anthropomorphic horses and baffled ballerinas that guide the reader through the poet's graphic dreamscape: "I was moving like a monsoon through a forest. I was thinking about where I saw myself in two thousand years... And where I saw myself was a tiny subspace ripple sliding through the corridors with a plastic horse in my hand." This book, its own small universe, erases genre distinctions between the visual and the literary, and offers readers a poetic vision of artistic possibilities.

Chosen by Randall Mann as a winner of the Jake Adam York Prize, Brian Tierney’s Rise and Float depicts the journey of a poet working—remarkably, miraculously—to make our most profound, private wounds visible on the page. With the “corpse of Frost” under his heel, Tierney reckons with a life that resists poetic rendition. The transgenerational impact of mental illness, a struggle with disordered eating, a father’s death from cancer, the loss of loved ones to addiction and suicide—all of these compound to “month after / month” and “dream / after dream” of struck-through lines. Still, Tierney commands poetry’s cathartic potential through searing images: wallpaper peeling like “wrist skin when a grater slips,” a “laugh as good as a scream,” pears as hard as a tumor. These poems commune with their ghosts not to overcome, but to release. The course of Rise and Float is not straightforward. Where one poem gently confesses to “trying, these days, to believe again / in people,” another concedes that “defeat / sometimes is defeat / without purpose.” Look: the chair is just a chair.” But therein lies the beauty of this collection: in the proximity (and occasional overlap) of these voices, we see something alluringly, openly human. Between a boy “torn open” by dogs and a suicide, “two beautiful teenagers are kissing.” Between screams, something intimate—hope, however difficult it may be.