Tells of an extended tour across the U.S. taken by the author and his wife, during which they visited with more than sixty poets, asking them about the importance of place in their work. This volume presents the text of those interviews, often accompanied by a poem from the author, and interwoven with segments of Pfefferle's travel narrative and illustrated with black and white photographs.

Thirty-nine United States poets share their poems, inspirations, thoughts, anecdotes, and memories.

“Mesmerizing, magical, deeply moving.” —Elif Shafak Expanding on the popular podcast of the same name from On Being Studios, Poetry Unbound offers immersive reflections on fifty powerful poems. In the tumult of our contemporary moment, poetry has emerged as an inviting, consoling outlet with a unique power to move and connect us, to inspire fury, tears, joy, laughter, and surprise. This generous anthology pairs fifty illuminating poems with poet and podcast host Pádraig Ó Tuama’s appealing, unhurried reflections. With keen insight and warm personal anecdotes, Ó Tuama considers each poem’s artistry and explores how its meaning can reach into our own lives. Focusing mainly on poets writing today, Ó Tuama engages with a diverse array of voices that includes Ada Limón, Ilya Kaminsky, Margaret Atwood, Ocean Vuong, Layli Long Soldier, and Reginald Dwayne Betts. Natasha Trethewey meditates on miscegenation and Mississippi; Raymond Antrobus makes poetry out of the questions shot at him by an immigration officer; Martín Espada mourns his father; Marie Howe remembers and blesses her mother’s body; Aimee Nezhukumatathil offers comfort to her child-self. Through these wide-ranging poems, Ó Tuama guides us on an inspiring journey to reckon with self-acceptance, history, independence, parenthood, identity, joy, and resilience. For anyone who has wanted to try their hand at a conversation with poetry but doesn’t know where to start, Poetry Unbound presents a window through which to celebrate the art of being alive.

Conceptions and practices of poetry change not only from time to time and from place to place but also from poet to poet. This has never been more the case than in recent years. Gerald Bruns’s magisterial What Are Poets For? explores typographical experiments that distribute letters randomly across a printed page, sound tracks made of vocal and buccal noises, and holographic poems that recompose themselves as one travels through their digital space. Bruns surveys one-word poems, found texts, and book-length assemblies of disconnected phrases; he even includes descriptions of poems that no one could possibly write, but which are no less interesting (or no less poetic) for all of that. The purpose of the book is to illuminate this strange poetic landscape, spotlighting and describing such oddities as they appear, anomalies that most contemporary poetry criticism ignores. Naturally this breadth raises numerous philosophical questions that Bruns also addresses—for example, whether poetry should be responsible (semantically, ethically, politically) to anything outside itself, whether it can be reduced to categories, distinctions, and the rule of identity, and whether a particular poem can seem odd or strange when everything is an anomaly. Perhaps our task is simply to learn, like anthropologists, how to inhabit such an anarchic world. The poets taken up for study are among the most important and innovative in the late twentieth and early twenty-first centuries: John Ashbery, Charles Bernstein, Paul Celan, Kenneth Goldsmith, Lyn Hejinian, Susan Howe, Karen Mac Cormack, Steve McCaffery, John Matthias, J. H. Prynne, and Tom Raworth.What Are Poets For? is nothing less than a lucid, detailed study of some of the most intractable writings in contemporary poetry.

A 117-page single-sentence novel about language and war. Vanessa Place withholds the period for 130 pages and one long night as its legless narrator recounts the war journey that has lead him to his final point of final truth, next to an armless man making stew. Place's single sentence unmoors time and space, subject and object, victim and perpetrator, in a voice sanctifying everything and elegizing nothing"--Publisher's statement http://lesfigues.com/book/dies/.

This astonishing, self-assured debut leads us on an exploration to the stars and back, begging us to reconsider our boundaries of self, time, space, and knowledge. The speaker writes, “...the universe/is an arrow/without end/and it asks only one question;/How dare you?” Zig-zagging through the realms of nature, science, and religion, one finds St. Francis sighing in the corner of a studio apartment, tides that are caused by millions of oysters “gasping in unison,” an ark filled with women in its stables, and prayers that reach God fastest by balloon. There’s pathos: “When my new lover tells me I’m correct to love him, I/realize the sound isn’t metal at all. It’s not the coins rattling/ on concrete, but the fingers scraping to pick them up.” And humor, too: “...even the sun’s been sighing Not you again/when it sees me.” After reading this far-reaching, inventive collection, we too are startled, space struck, our pockets gloriously “filled with space dust.”

A collection of poems centered around life in Appalachia addresses topics ranging from the marginalization of the region's people to the environmental degradation it has endured throughout history.

A fresh and provocative approach to the popular schoolroom poets and the reading public who learned them by heart.

Caldecott Honor Book Today Show Best Book for the Holidays ALA Notable Book for All Ages ALSC Notable Children's Book NCTE Notable Poetry Book Evanston Public Library's Top 100 Great Book for Kids Nerdy Award Winner for Single Poem Picture Book Bank Street Best Books of the Year In this powerful, affirming poem by award-winning author Zetta Elliott, a Black child explores his shifting emotions throughout the year. There is a place inside of me a space deep down inside of me where all my feelings hide. Summertime is filled with joy—skateboarding and playing basketball—until his community is deeply wounded by a police shooting. As fall turns to winter and then spring, fear grows into anger, then pride and peace. In her stunning debut, illustrator Noa Denmon articulates the depth and nuances of a child’s experiences following a police shooting—through grief and protests, healing and community—with washes of color as vibrant as his words. Here is a groundbreaking narrative that can help all readers—children and adults alike—talk about the feelings hiding deep inside each of us.

A major addition to the literature of poetry, Edward Hirsch’s sparkling new work is a compilation of forms, devices, groups, movements, isms, aesthetics, rhetorical terms, and folklore—a book that all readers, writers, teachers, and students of poetry will return to over and over. Hirsch has delved deeply into the poetic traditions of the world, returning with an inclusive, international compendium. Moving gracefully from the bards of ancient Greece to the revolutionaries of Latin America, from small formal elements to large mysteries, he provides thoughtful definitions for the most important poetic vocabulary, imbuing his work with a lifetime of scholarship and the warmth of a man devoted to his art. Knowing how a poem works is essential to unlocking its meaning. Hirsch’s entries will deepen readers’ relationships with their favorite poems and open greater levels of understanding in each new poem they encounter. Shot through with the enthusiasm, authority, and sheer delight that made How to Read a Poem so beloved, A Poet’s Glossary is a new classic.