"Early Reviews of English Poets" by John Louis Haney is a literary critique about various English poets to assist readers in their studies and appreciation of the topic. Gray, Goldsmith, Cowper, Burnes, Wordsworth, Coleridge, Southey, Lamb, Landor, Scott, Byron, Shelley, Keats, Tennyson, and Browning are all honored in this text. These poets continue to be important influences in the literary world to this day.

Autobiographical poetry from one of Kentucky’s rising Affrilachian literary stars. Bernard Clay’s autobiographical poetry debut, English Lit, juxtaposes the roots of Black male identity against an urban and rural Kentucky landscape. Hailed as one of the most authentic voices of his generation, Clay artfully renders coming-of-age in the predominately Black West End of Louisville, Kentucky. Balancing the spirited grit of a farmer and the careful lyricism of a poet, English Lit is a triumph of new Affrilachian—African American and Appalachian—literature.

Meet the rebellious young poets who brought about a literary revolution Rock stars may think they invented sex, drugs, and rock and roll, but the Romantic poets truly created the mold. In the early 1800s, poetry could land a person in jail. Those who tried to change the world through their poems risked notoriety—or courted it. Among the most subversive were a group of young writers known as the Romantics: Lord Byron, Percy Bysshe Shelley, Samuel Taylor Cole-ridge, William Wordsworth, and John Keats. These rebels believed poetry should express strong feelings in ordinary language, and their words changed literature forever. Wildly Romantic is a smart, sexy, and fascinating look at these original bad boys—and girls.

Though her work is a staple of anthologies of American poetry, Anne Bradstreet has never before been the subject of an accessible, full-scale biography for a general audience. Anne Bradstreet is known for her poem, To My Dear and Loving Husband, among others, and through John Berryman's Homage to Mistress Bradstreet. With her first collection, The Tenth Muse Lately Sprung Up in America, she became the first published poet, male or female, of the New World. Many New England towns were founded and settled by Anne Bradstreet's family or their close associates -- characters who appear in these pages.

Every day people tune in to The Writer's Almanac on public radio and hear Garrison Keillor read them a poem. And here, for the first time, is an anthology of poems from the show, chosen by the narrator for their wit, their frankness, their passion, their "utter clarity in the face of everything else a person has to deal with at 7 a.m." The title Good Poems comes from common literary parlance. For writers, it's enough to refer to somebody having written a good poem. Somebody else can worry about greatness. Mary Oliver's "Wild Geese" is a good poem, and so is James Wright's "A Blessing." Regular people love those poems. People read them aloud at weddings, people send them by e-mail. Good Poems includes poems about lovers, children, failure, everyday life, death, and transcendance. It features the work of classic poets, such as Emily Dickinson, Walt Whitman, and Robert Frost, as well as the work of contemporary greats such as Howard Nemerov, Charles Bukowski, Donald Hall, Billy Collins, Robert Bly, and Sharon Olds. It's a book of poems for anybody who loves poetry whether they know it or not.

A comprehensive reassessment of lyric poetry of the early 17th century directed at beginning and more advanced students of literature. It seeks to assimilate many of the theoretical concerns with readings of the authors of the period.

"The novelist and poet Ben Lerner argues that our hatred of poetry is ultimately a sign of its nagging relevance"--

This essay had its beginning in an investigation of changing attitudes to seventeenth-century Pre-Restoration poetry during the English Romantic period. In the course of that research, Jane Campbell discovered that a relatively little-known periodical, the Retrospective Review, which was published in London from 1820 to 1828, appeared to have played an interesting part in the rehabilitation of the poets of the earlier period. This book, then, is an attempt to outline the history of this review, to place it against its literary background, and to assess its role in the critical re-evaluation of the poets of the earlier seventeenth century—an age to which the Retrospective’s contributors and their contemporaries looked with fascination as well as with an affectionate feeling of kinship.

It is difficult now to imagine the shock that this book caused when it was first published in 1932. The author was a teacher at a Cambridge college, an intensely serious man who had been seriously wounded by poison gas on the Western Front, and he was not disposed to suffer foolishness gladly. His opening sentences were arresting: 'Poetry matters little to the modern world. That is, very little of contemporary intelligence concerns itself with poetry'. What followed was nothing less than the welcoming of a revolution in English verse, set against the moral and social crisis that followed the trauma of the First World War. It was this situation, this feeling of breakdown and disorder, that gave such force to Leavis's dismissal of most late Romantic poetry and his welcoming of the modernists T. S. Eliot and Ezra Pound, and of the writer who Leavis regarded as their forebear, Gerard Manley Hopkins. The tone of high moral urgency, and the message that the experience of literature could become an engagement with life that was almost a secular equivalent to religion, seemed new and abrasively refreshing. Leavis despised the reigning dilettantism in both poetry and criticism, and in this book he threw down the gauntlet to the establishment as he understood it. In the same year he founded the journal Scrutiny, and began his long career as the most formidably serious literary critic of his time.