Since the publication of the bestselling Sounding the Seasons, Malcolm Guite has repeatedly been asked for more sonnets. This new collection offers a sequence of 50 sonnets that focus on many passages in the Gospels: the Beatitudes, parables and miracles, teachings on the Kingdom, and the ‘hard sayings’ - Jesus’ challenging demands with which we wrestle. In addition this collection includes: •A sequence of seven sonnets on 'The Wilderness', exploring mysterious stories of divine encounter such as Jacob’s wrestling with the angel. •Poetic reflections on music, hospitality and ecology. •Seven short poems celebrating the days of creation. •A biblical index pairing the poems with scripture readings for use in worship.

This second collection of John Updike's poetry is equally divided between poems that, in their verbal jugglery and humorous bias, seem to qualify as “light” and poems that, one way or other, cross the problematic border into the general realm of poetry. The distinction cannot be clear-cut. The poet is consistently concerned with Man’s cosmic embarrassment, and the same vision illuminates the creatures of “The High Hearts” and “Seagulls.” Science and religion, so frequently and variously invoked, frame a single paradox, the paradox of the mundane; and each poem, whether inspired by an antic headline or a suburban landscape, rejoices in the elusive surface of created things. When The Carpentered Hen, John Updike’s first collection of verse, was published, Phyllis McGinley wrote: “I have been happily reading Mr. Updike in The New Yorker for some time and am happy, now, to own him collected. When he first appeared in that magazine, I was so elated to see a new name in light verse that I felt like crying with the Ancient Mariner ‘A Sail, A Sail!’ His is what poetry of this sort exactly out to be—playful but elegant, sharp-eyed, witty.” In the Saturday Review, David McCord wrote: “Furthermore, he is a graceful border-crosser (light verse to poem) as Auden has been; as Betjeman and McGinley frequently are.”

This book traces D. H. Lawrence's devel­opment as a poet from his earliest to his latest poems. Focusing on the revision of poems in the Collected Poems, 1928, Mandell uncovers the implicit auto­biographical narrative that underlies the collection and that dictates its structure. Lawrence rearranged and rewrote the poems to conform to a chronologic, thematic, and mythic plan, a plan he hints at in the unpublished Foreword to Collected Poems. In its final form, the poetry tells the story of Lawrence's "demon," a figure of his essential self, by recounting the chronological development of the "new" from the "old" self. Comparing form and content of ver­sions of representative poems from the collection, Mandell analyzes the evalu­ation not only of Lawrence's poetic style but also of his ideas concerning human and physical nature. She contends that Lawrence was a mature poet with a de­veloped system of poetic and philosophi­cal thought by 1917, when he published Look! We Have Come Through! At that time he rewrote extensively. Through comparison of selected poems, several of which appear in print for the first time, we can reproduce Lawrence's emen­dations and thus depict the creative mind at work.

Ever since Plato’s Socrates exiled the poets from the ideal city in The Republic, Western thought has insisted on a strict demarcation between philosophy and poetry. Yet might their long-standing quarrel hide deeper affinities? This book explores the distinctive ways in which twentieth-century and contemporary continental thinkers have engaged with poetry and its contribution to philosophical meaning making, challenging us to rethink how philosophy has been changed through its encounters with poetry. In wide-ranging reflections on thinkers such as Heidegger, Gadamer, Arendt, Lacan, Merleau-Ponty, Deleuze, Irigaray, Badiou, Kristeva, and Agamben, among others, distinguished contributors consider how different philosophers encountered the force and intensity of poetry and the negotiations that took place as they sought resolutions of the quarrel. Instead of a clash between competing worldviews, they figured the relationship between philosophy and poetry as one of productive mutuality, leading toward new modes of thinking and understanding. Spanning a range of issues with nuance and rigor, this compelling and comprehensive book opens new possibilities for philosophical poetry and the poetics of philosophy.

Poetry has always been a central element of Christian spirituality and is increasingly used in worship, in pastoral services and guided meditation. Here, Cambridge poet, priest and singer-songwriter Malcolm Guite transforms 70 lectionary readings into inspiring poems for use in regular worship, seasonal services, meditative reading or on retreat.

Alex Dimitrov’s third book, Love and Other Poems, is full of praise for the world we live in. Taking time as an overarching structure—specifically, the twelve months of the year—Dimitrov elevates the everyday, and speaks directly to the reader as if the poem were a phone call or a text message. From the personal to the cosmos, the moon to New York City, the speaker is convinced that love is “our best invention.” Dimitrov doesn’t resist joy, even in despair. These poems are curious about who we are as people and shamelessly interested in hope.

Top selling poet Sarah Kay releases her debut collection of work from the first decade of her career. Following the success of her breakout poem, "B," No Matter the Wreckage presents readers with new and beloved work that showcases Kay's skill for celebrating family, love, travel, history, and unlikely love affairs between inanimate objects ("Toothbrush to the Bicycle Tire"). Both fresh and wise, Kay's poetry allows readers to join in on her journey of discovering herself and the world around her. - 2011 TED speaker (recording has been viewed 3 million times online) - First book, "B" was ranked #1 Bestselling Poetry Book on Amazon - Featured on HBO, American Public Radio, Huffington Post, CNN.com, etc. - Founder and Co-Director of Project VOICE

The variety of contemporary American poetry leaves many readers overwhelmed. The critic, scholar, and poet Stephen Burt sets out to help. Beginning in the early 1980s, where critical consensus ends, he presents 60 poems, each with an original essay explaining how the poem works, why it matters, and how it speaks to other parts of art and culture.

Poems about life/loss/childhood/concepts of self and the larger meanings of existence.