"The book trade, she argues, created many intriguing and paradoxical uses for anonymity, even as the authorial name became more marketable. Among ecclesiastical debates, for instance, anonymity worked to conceal identity, but it could also be used to identify the moral character of the author being concealed. In court and coterie circles, meanwhile, authors turned name suppression into a tool for the preservation of social boundaries. Finally, in both print and manuscript, anonymity promised to liberate an authentic female voice, and yet it made it impossible to authenticate the gender of an author. In sum, the writers and book producers who helped to create England's literary culture viewed anonymity as a meaningful and useful practice."--BOOK JACKET.

The canon of classical Greek and Latin poetry is built around big names, with Homer and Virgil at the center, but many ancient poems survive without a firm ascription to a known author. This negative category, anonymity, ties together texts as different as, for instance, the orally derived Homeric Hymns and the learned interpolation that is the Helen episode in Aeneid 2, but they all have in common that they have been maltreated in various ways, consciously or through neglect, by generations of readers and scholars, ancient as well as modern. These accumulated layers of obliteration, which can manifest, for instance, in textual distortions or aesthetic condemnation, make it all but impossible to access anonymous poems in their pristine shape and context. The essays collected in this volume attempt, each in its own way, to disentangle the bundles of historically accreted uncertainties and misconceptions that affect individual anonymous texts, including pseudepigrapha ascribed to Homer, Manetho, Virgil, and Tibullus, literary and inscribed epigrams, and unattributed fragments. Poems without Poets will be of interest to students and scholars working on any anonymous ancient texts, but also to readers seeking an introduction to classical poetry beyond the limits of the established canon.

"Kasischke's verses walk that perfect Plathian line between the everyday...and the eternal." --Time Magazine

This book is the first complete translation of the tenth-century work Kokinshu, one of the most important anthologies of the Japanese classical tradition.

The first collection of poetry by the New York Times bestselling author of The Dark Between Stars. Love Her Wild is a collection of new and beloved poems from the poet Atticus, who has captured the hearts and minds of hundreds of thousands of avid followers on his Instagram account @atticuspoetry, including superstars like Karlie Kloss and Shay Mitchell. Dubbed the “#1 poet to follow” by Teen Vogue and “the world’s most tattoo-able” poet by Galore magazine, in Love Her Wild, Atticus captures what is both raw and relatable about the smallest and the grandest moments in life: the first glimpse of a new love in Paris, skinny dipping on a summer’s night, the irrepressible exuberance of the female spirit, or drinking whiskey in the desert watching the rising sun. With honesty, poignancy, and romantic flare Atticus distills the most exhilarating highs and the heartbreaking lows of life and love into a few short lines, ensuring that his words will become etched in your mind—and will awaken your sense of adventure.

School's in session and here's your introduction to some of the wildest, most undisciplined, and ROWDIEST students in class. They're talkative, sneaky, disgusting, and...well...a bunch of animals!

The Koreans, according to the Chinese chronicles, are ‘the people who enjoy singing and dancing’ and who regaled their gods with dance and song. Since then poetry has been an essential part of Korean life and has been regarded as the highest of the arts. In this first comprehensive anthology of Korean poetry in English, first published in 1974, Peter Lee has selected and translated a wide variety of poems ranging from the Silla Dynasty in 57 BC to the middle of the twentieth century. The poems chosen reflect not only the native Korean tradition, but also the great tradition of Chinese poetry. They often possess a deep lyrical quality, many are rich in religious overtones or derive their beauty from contemplation of nature and through many of the poems runs the feeling of the closeness of Korean life to the earth.

The Gem-Glistening Cup is the second volume of Edwin Cranston's monumental Waka Anthology which carries the story of waka, the classical tradition of Japanese poetry, from its beginnings in ancient song to the sixteenth century. The present volume, which contains almost 1,600 songs and poems, covers the period from the earliest times to 784, and includes many of the finest works in the literatures as well as providing evocative glimpses of the spirit and folkways of early Japanese civilization. The texts drawn upon for the poems are the ancient chronicles Kojiki, Nihonshoki, and Shoku Nihongi; the fudoki, a set of eighth-century local gazetteers; Man'yoshu, the massive eighth-century compendium of early poetry (about one fourth of that work is included); and the Bussokuseki poems carved on a stone tablet at a temple in Nara. All poems are presented in facing romanization and translation.