"The Poet's Girl is a work of fiction, written before the correspondence between T.S. Eliot and Emily Hale was opened"--

A monument to the literary genius of women throughout the ages, A Book of Women Poets from Antiquity to Now is an invaluable collection. Here in one volume are the works of three hundred poets from six different continents and four millennia. This revised edition includes a newly expanded section of American poets from the colonial era to the present. "[A] splendid collection of verse by women" (TIME) throughout the ages and around the world; now revised and expanded, with 38 American poets.

Jane Hirshfield, the award-winning author of THE OCTOBER PALACE and editor of WOMEN IN PRAISE OF THE SACRED, presents a scintillating new volume of poems to be published to coincide with the hardcover release of NINE GATES, the author's primer on the reading and writing of poetry.

Set against the sumptuousness and intrigues of Queen Elizabeth I's court, this powerful novel reveals the untold love affair between the famous poet John Donne and Ann More, the passionate woman who, against all odds, became his wife. Ann More, fiery and spirited daughter of the Mores of Loseley House in Surrey, came to London destined for a life at the court of Queen Elizabeth and an advantageous marriage. There she encountered John Donne, the darkly attractive young poet who was secretary to her uncle, the Lord Keeper of the Great Seal. He was unlike any man she had ever met—angry, clever, witty, and in her eyes, insufferably arrogant and careless of women. Yet as they were thrown together, Donne opened Ann's eyes to a new world of passion and sensuality. But John Donne—Catholic by background in an age when it was deadly dangerous, tainted by an alluring hint of scandal—was the kind of man her status-conscious father distrusted and despised. The Lady and the Poet tells the story of the forbidden love between one of our most admired poets and a girl who dared to rebel against her family and the conventions of her time. They gave up everything to be together and their love knew no bounds.

From Children's Literature Legacy Award-winning author Nikki Grimes comes a feminist-forward new collection of poetry celebrating the little-known women poets of the Harlem Renaissance--paired with full-color, original art from today's most talented female African-American illustrators. For centuries, accomplished women--of all races--have fallen out of the historical records. The same is true for gifted, prolific, women poets of the Harlem Renaissance who are little known, especially as compared to their male counterparts. In this poetry collection, bestselling author Nikki Grimes uses "The Golden Shovel" poetic method to create wholly original poems based on the works of these groundbreaking women-and to introduce readers to their work. Each poem is paired with one-of-a-kind art from today's most exciting female African-American illustrators: Vanessa Brantley-Newton, Cozbi A. Cabrera, Nina Crews, Pat Cummings, Laura Freeman, Jan Spivey Gilchrist, Ebony Glenn, April Harrison, Vashti Harrison, Ekua Holmes, Cathy Ann Johnson, Keisha Morris, Daria Peoples-Riley, Andrea Pippins, Erin Robinson, Shadra Strickland, Nicole Tadgell, and Elizabeth Zunon. Legacy also includes a foreword, an introduction to the history of the Harlem Renaissance, author's note, and poet biographies, which make this a wonderful resource and a book to cherish. Acclaim for One Last Word A Boston Globe-Horn Book Honor winner A New York Public Library Best Kids Book of the Year A Kirkus Reviews Best Book of the Year, Middle Grade A School Library Journal Best Book of the Year, Nonfiction

An anthology of poems-- from women poets-- that address stereotypes and expectations women have faced from the time of Eve to today's political climate. There are poems by and about women refusing to be "nice girls;" women embracing their inner bitch when the situation demands it; women being strong, sexy, strident, super-smart and stupendous. And most of all, women who want to encourage little girls to keep dreaming. -- adapted from back cover and amazon.com.

Sly and sophisticated, direct, playful, and profound, Amy Gerstler’s new collection highlights her distinctive poetic style. In thirty-seven poems, using a variety of dramatic voices and visual techniques, she finds meaning in unexpected places, from a tour of a doll hospital to an ad for a CD of Beethoven symphonies to an earthy exploration of toast. Gerstler’s abiding interests—in love and mourning, in science and pseudoscience, in the idea of an afterlife, in seances and magic—are all represented here. Entertaining and erudite, complex yet accessible, these poems will enhance Gerstler’s reputation as an important contemporary poet.

This reader contains sixteen new and recent essays addressing work by, and issues raised concerning, Victorian women poets. Among those discussed directly are: Elizabeth Barrett Browing, Emily Bronte, George Eliot, Michael Field, Felicia Hemans, Adelaide Proctor, Christina Rossetti, and Rosamund Marriott Watson. Key topics dealt with include the nature of home,the market, the fallen woman and the moral law, the mother, and the muse. Critics represented are: Isobel Armstrong, Kathleen Blake, Susan Conley, Stevie Davies, Sandra M. Gilbert, Gill Gregory, Terrence Holt, Linda K. Hughes, Angela Leighton, Tricia Lootens, Jerome J. McGann, Dorothy Mermin, Margaret Reynolds, Dolores Rosenblum, Chris White, and Joyce Zonana.

Although Greek society was largely male-dominated, it gave rise to a strong tradition of female authorship. Women poets of ancient Greece and Rome have long fascinated readers, even though much of their poetry survives only in fragmentary form. This pathbreaking volume is the first collection of essays to examine virtually all surviving poetry by Greek and Roman women. It elevates the status of the poems by demonstrating their depth and artistry. Edited and with an introduction by Ellen Greene, the volume covers a broad time span, beginning with Sappho (ca. 630 b.c.e.) in archaic Greece and extending to Sulpicia (first century B.C.E.) in Augustan Rome. In their analyses, the contributors situate the female poets in an established male tradition, but they also reveal their distinctly “feminine” perspectives. Despite relying on literary convention, the female poets often defy cultural norms, speaking in their own voices and transcending their positions as objects of derision in male-authored texts. In their innovative reworkings of established forms, women poets of ancient Greece and Rome are not mere imitators but creators of a distinct and original body of work.