Throughout our marriage of 50 plus years, one thing that we have consistently agreed upon is the inclusion of animals in our lives. The remembrances in this book recall stories of some of the dogs, cats, horses and other animals that have shared their time and space with our family. Often relationships with these amazing animals brought us joy, at times they brought a bit of sadness but always we were enriched in some way. The many lessons we learned helped us to care for future animals and to open our hearts and minds to what they had to teach us. As we explored our memories, and gathered our pictures, one animal story led to the recollection of another, then another. The remembering brought laughter, gratitude, a sense of wonder and sometimes tears. In these pages you will find stories about the uniqueness of many of our animals including Erichs ingenuity, Docs problem-solving skills, K.C.s dedication and Buddys impeccable training. We hope you will see a reflection of you and your animal friends in the telling of these stories. Herb and Kathy Moore

Robert Frost was a practicing farmer, a skilled naturalist and one of America's best-loved poets. His body of work provides a vivid and compelling narrative of New England's changing environment--though it can be hard to discern when its parts are scattered through hundreds of different poems, voices and moods. This book pieces together Frost's environmental commentary, examining his poems thematically and in a logical order. In them, homesteads are carved out of the forest, families make their living from an obdurate land, property is abandoned when it fails to sell, and plants and animals reclaim deserted farms. Frost bemoaned the loss of people from the land but also celebrated the flora and fauna that thrived in fallow fields and empty barns.

"A clever twist on Robert Frost's classic poem where a little boy riding a hippo gets into quite an argument with the bard over what would be a far more interesting plot to the poem"--

A Study Guide to Robert Frost's "Stopping by the Woods on a Snowy Evening," excerpted from Gale's acclaimed Poetry for Students.This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Poetry for Students for all of your research needs.

Revised and updated edition of the standard anthology of Negro poetry in America.

Suggests stopping--the practice of doing nothing for a definite period of time--as a source of spiritual renewal and means of coping with the stresses of modern life

"Wise old Vergil says in one of his Georgics, 'Praise large farms, stick to small ones,'" Robert Frost said. "Twenty acres are just about enough." Frost started out as a school teacher living the rural life of a would-be farmer, and later turned to farming full time when he bought a place of his own. After a sojourn in England where his first two books were published to critical acclaim, he returned to New England, acquired a new farm and became a rustic for much of the rest of his life. Frost claimed that all of his poetry was farm poetry. His deep admiration for Virgil's Georgics, or poems of rural life, inspired the creation of his own New England "georgics," his answer to the haughty 20th-century modernism that seemed certain to define the future of Western poetry. Like the "West-Running Brook" in his poem of the same name, Frost's poetry can be seen as an embodiment of contrariness.

Nominee for the 2021 NAACP Image Award in Poetry An elegiac and moving meditation on the ways in which we witness "bodies" of grief and healing. Poems and photographs collide in this intimate collection, challenging the invisible, indefinable ways mourning takes up residence in a body, both before and after life-altering loss. In radiant poems—set against the evocative and desperate backdrop of contemporary events, pop culture, and politics—Rachel Eliza Griffiths reckons with her mother’s death, aging, authority, art, black womanhood, memory, and the American imagination. The poems take shape in the space where public and private mourning converge, finding there magic and music alongside brutality and trauma. Griffiths braids a moving narrative of identity and its possibilities for rebirth through image and through loss. A photographer as well as a poet, Griffiths accompanies the fierce rhythm of her verses with a series of ghostly, imaginative self-portraits, blurring the body’s internal wilderness with landscapes alive with beauty and terror. The collision of text and imagery offers an associative autobiography, in which narratives of language, absence, and presence are at once saved, revised, and often erased. Seeing the Body dismantles personal and public masks of silence and self-destruction to visualize and celebrate the imperfect freedom of radical self-love.