Basic introduction to the identification and care of some common tropical fish.

A fresh examination of Harper's body of work as an archive of Black life, thought, and culture The first book devoted to the groundbreaking poet's work, Understanding Michael S. Harper locates Harper's poetic project within Black expressive tradition. The study examines poems drawn from the eleven volumes of verse that Harper (1938–2016) produced between 1970 and 2010, bringing attention to his poetry's sustained engagement with music, literature, and the visual arts. Author Michael Antonucci offers readers an account of the poet's career while assessing his verse and providing a sense of its perspective on Black America and the American experience. Throughout his examination of Harper's verse, Antonucci builds on the critical attention the poet received at the outset of his career—he was twice nominated for the National Book Award. Exploring the poet's celebrated examinations of history, kinship, and Black music, Understanding Michael S. Harper develops and expands critical dialogues about the poet and his body of work, which, Antonucci argues, presents a counternarrative about the composition and origins of the United States, reshaping prevailing discourse about race, nation, and identity.

Ira Sadoff’s new volume of poems opens with a quotation from Rilke: “But because truly being here is so much; because everything here / apparently needs us, the fleeting world, which in some strange way / keeps calling us. . . .” The poetry collected here is a response to this call. Rooted firmly in the “fleeting world,” Sadoff’s poems find epiphanies of meaning in unexpected and even unpleasant experiences and emotions. The poems in Barter delve deeply into the past, the personal past of regret, travel, love, divorce, and bereavement, as well as the global past of Beethoven, Vietnam, and the fall of communism. Each poem is offered up by Sadoff as a barter, something to be traded for a little more time, a little more understanding. The poems in Barter comment on the power of culture to interject itself into our desire for an idealized self, the way our inner and outer lives lack correspondence, harmony, and integration. They also talk about commerce, the trading of bodies, the way we as a nation “use” and exchange and appropriate -- and like Tolstoy’s Ivan Ilyich, try to bargain with and evade the urgency of our time on earth. In the poem “Self-Portrait with a Critic,” Sadoff makes what could be a succinct statement of purpose: “And inside, let’s not make it pretty, / let’s save the off-rhyme and onomatopoeia / / for the concert hall, let’s go to the wormy place / where the problematic stirs inside his head.”

2009 Massachusetts Book Awards Winner Representing nothing less than a tour-de-force of formal invention and emotional intensity, Oni Buchanan’s Spring encompasses radically contrasting work. Ecstatic, visually intricate rhapsodies are juxtaposed with tight, sonnet-like poems, and wispy columns of verse brush up against large-scale epics and kinetic text. This collection’s point of departure is the paradox of existence as an individual in a political and violent world. All of the formal innovations in this book have in common an urgent need for texture and polyphony, and the poems attempt to discover how to fulfill the individual human responsibility of surviving as a resiliently loving and hopeful living creature. An accompanying multimedia compact disc offers a full Flash-animated version of the printed kinetic work, “The Mandrake Vehicles.”

Experiential and analytic, the work of Heather Ramsdell is perceptually acute and sensually resonant. The poems in Heather Ramsdell's book LOST WAX map a metaphysical treasure hunt, here a stick, there a door, a closet, a shirt. As the book unfolds, the accretion of their ascetic values forms an evermore human shape in a symphony of poems that is original and profoundly full of wonder.--James Tate.

This is the first comprehensive study in the English language of the commentaries of Didymus the Blind, who was revered as the foremost Christian scholar of the fourth century and an influential spiritual director of ascetics. The writings of Didymus were censored and destroyed due to his posthumous condemnation for heresy. This study recovers the uncensored voice of Didymus through the commentaries among the Tura papyri, a massive set of documents discovered in an Egyptian quarry in 1941. This neglected corpus offers an unprecedented glimpse into the internal workings of a Christian philosophical academy in the most vibrant and tumultuous cultural center of late antiquity. By exploring the social context of Christian instruction in the competitive environment of fourth-century Alexandria, Richard A. Layton elucidates the political implications of biblical interpretation. Through detailed analysis of the commentaries on Psalms, Job, and Genesis, the author charts a profound tectonic shift in moral imagination as classical ethical vocabulary becomes indissolubly bound to biblical narrative. Attending to the complex interactions of political competition and intellectual inquiry, this study makes a unique contribution to the cultural history of late antiquity.

Selected by Dave Smith as one of the five volumes published in 1990 in the National Poetry Series "I could not leave this book aside nor, among so many worthy others, could I choose another. It interested me, crooned to me, and in the end I loved it. I hope he writes many more. Read it. You will see why." -- Dave Smith "A poet whose own craft is beyond dispute and whose gifted heart has something to tell us about our ordinary selves we had almost despaired of hearing again in the American tongue." --John D. Bernard, Poet Lore

Songlines in Michaeltree is the long-awaited collected poems--with the sparkling addition of some new ones--of one of America's most revered poets. Hailed by critics as a distinctive and powerful presence in contemporary American poetry, Michael S. Harper is an artist and a truth teller who tempers his astonishing technical virtuosity with a compassionate and healing vision. A keen observer and a potent commentator, Harper calls a complacent society vigorously to account while cradling the wounded and remembering the lost. Calling Harper "one of the finest poets of our time . . . [and] one of the most human and humane," George Cuomo of the San Francisco Examiner and Chronicle observed, "Harper's poetry has drawn its vitality from the incredible energy of his language and the honesty of his perceptions." Songlines in Michaeltree is a magnificent celebration of Harper's continuing, unstinting gifts.

The poems in The Ways We Touch, Miller Williams's twelfth volume of poetry, range from reminiscences of old love to meditations on the relationship between God and human beings to reflections on English poetry and children's stories. Throughout, Williams's poems use small scenes from daily life, drawing from them ruminations about life itself. They may be nostalgic or challenging, humorous or full of moral fortitude; always Williams speaks with the kind of insight that rises from wisdom and experience.

"Forging through this voluminous collection is akin to visiting at length with a charismatic, if highly disturbed, relative. Generally, the poems start out presenting facades of well-mannered normalcy, e.g., brief narratives or odes to nature and the sea, but then something shifts and goes terribly right. A sentence turns odd and powerful; a quiet, streak of insanity emerges; a young girl leaves her scent upon a young boy's body. Sometimes a poem pops up that is dangerous from start to finish, such as "The Suicide Eaters" or "Drunks," about a reading at a V.A. hospital for recovering addicts and alcoholics. Smith is highly conscious of word choice. He tinkers with grammar and rhythm just enough to be utterly engaging, leaving the reader exhausted after the visit, but wiser for the effort."- Publishers weekly.