An illuminating look at the many forms of poetry's essential excellence by James Longenbach, a writer with "an ear as subtle and assured as any American poet now writing" (John Koethe) "This book proposes some of the virtues to which the next poem might aspire: boldness, change, compression, dilation, doubt, excess, inevitability, intimacy, otherness, particularity, restraint, shyness, surprise, and worldliness. The word ‘virtue' came to English from Latin, via Old French, and while it has acquired a moral valence, the word in its earliest uses gestured toward a magical or transcendental power, a power that might be embodied by any particular substance or act. With vices I am not concerned. Unlike the short-term history of taste, which is fueled by reprimand or correction, the history of art moves from achievement to achievement. Contemporary embodiments of poetry's virtues abound, and only our devotion to a long history of excellence allows us to recognize them." –from James Longenbach's preface The Virtues of Poetry is a resplendent and ultimately moving work of twelve interconnected essays, each of which describes the way in which a particular excellence is enacted in poetry. Longenbach closely reads poems by Shakespeare, Donne, Blake, Keats, Dickinson, Yeats, Pound, Bishop, and Ashbery (among others), sometimes exploring the ways in which these writers transmuted the material of their lives into art, and always emphasizing that the notions of excellence we derive from art are fluid, never fixed. Provocative, funny, and astute, The Virtues of Poetry is indispensable for readers, teachers, and writers. Longenbach reminds us that poetry delivers meaning in exacting ways, and that it is through its precision that we experience this art's lasting virtues.

Poems inspire our trust, argues James Longenbach in this bracing work, because they don't necessarily ask to be trusted. Theirs is the language of self-questioning—metaphors that turn against themselves, syntax that moves one way because it threatens to move another. Poems resist themselves more strenuously than they are resisted by the cultures receiving them. But the resistance to poetry is quite specifically the wonder of poetry. Considering a wide array of poets, from Virgil and Milton to Dickinson and Glück, Longenbach suggests that poems convey knowledge only inasmuch as they refuse to be vehicles for the efficient transmission of knowledge. In fact, this self-resistance is the source of the reader's pleasure: we read poetry not to escape difficulty but to embrace it. An astute writer and critic of poems, Longenbach makes his case through a sustained engagement with the language of poetry. Each chapter brings a fresh perspective to a crucial aspect of poetry (line, syntax, figurative language, voice, disjunction) and shows that the power of poetry depends less on meaning than on the way in which it means—on the temporal process we negotiate in the act of reading or writing a poem. Readers and writers who embrace that process, Longenbach asserts, inevitably recoil from the exaggeration of the cultural power of poetry in full awareness that to inflate a poem's claim on our attention is to weaken it. A graceful and skilled study, The Resistance to Poetry honors poetry by allowing it to be what it is. This book arrives at a critical moment—at a time when many people are trying to mold and market poetry into something it is not.

From the author of FIRST PRIZE, a thriller about an indomitable American businessman whose integrity is pitted against the machinations of three governments. Merritt Fury, an American entrepreneur, savors his return to glamorous Hong Kong to meet with his itinerant business partners, until the irrational behavior of some of them sours his interest in the firm. Harry Briscoe, a senior partner whose business acumen Fury admires, offers his colleagues an ultimatum: agree to pay for the expansion of the firm's tungsten mine, or dissolve the partnership. Fury argues against the scheme, but Briscoe & others seem impervious to reason. And Fury soon realizes that he is the least welcome of all among Briscoe's partners. When Fury decides to stay in the partnership, he learns just how unwelcome he is. He is attacked in his hotel room, almost assassinated by a British secret agent, & courted by Amber Lee, a beautiful government economist who packs an automatic pistol. And when he is kidnapped, he grasps that he is the pivotal factor in a double conspiracy, & that the deadly conflict between his own integrity & the pragmatism of his colleagues could change the future of Hong Kong.

Without a vision for femininity and virtue, Christian womanhood will not survive the twenty-first century. The time has come to sing the praises of motherhood, to extol the blessings of beautiful girlhood, and to cast a vision for hearth and home. Poetry and prose are crucial components in this mission of vision communication. Beall Phillips seeks to revive this vision. In ''Verses of Virtue'' she draws from some of the most heart-warming and inspirational verses from Scripture, America's illustrious past, and even antiquity to provide women with a volume brimming with encouragement.

Longlisted for the Prix Sade 2021 Longlisted for the Joyce Carol Oates Prize Longlisted for the Gordon Burn Prize A New York Times Notable Book of 2020 A New York Times Critics Top Ten Book of the Year Named a Best Book of the Year by over 30 Publications, including The New Yorker, TIME, The Washington Post, Entertainment Weekly, NPR, and the BBC In the highly anticipated follow-up to his beloved debut, What Belongs to You, Garth Greenwell deepens his exploration of foreignness, obligation, and desire Sofia, Bulgaria, a landlocked city in southern Europe, stirs with hope and impending upheaval. Soviet buildings crumble, wind scatters sand from the far south, and political protesters flood the streets with song. In this atmosphere of disquiet, an American teacher navigates a life transformed by the discovery and loss of love. As he prepares to leave the place he’s come to call home, he grapples with the intimate encounters that have marked his years abroad, each bearing uncanny reminders of his past. A queer student’s confession recalls his own first love, a stranger’s seduction devolves into paternal sadism, and a romance with another foreigner opens, and heals, old wounds. Each echo reveals startling insights about what it means to seek connection: with those we love, with the places we inhabit, and with our own fugitive selves. Cleanness revisits and expands the world of Garth Greenwell’s beloved debut, What Belongs to You, declared “an instant classic” by The New York Times Book Review. In exacting, elegant prose, he transcribes the strange dialects of desire, cementing his stature as one of our most vital living writers.

Although readers of modern literature have always known about the collaboration of W.B. Yeats and Ezra Pound, the crucial winters these poets spent living together in Stone Cottage in Sussex (1913-1916) have remained a mystery. Working from a large base of previously unpublished material, James Longenbach presents for the first time the untold story of these three winters. Inside the secret world of Stone Cottage, Pound's Imagist poems were inextricably linked to Yeats's studies in spiritualism and magic, and early drafts of The Cantos reveal that the poem began in response to the same esoteric texts that shaped Yeats's visionary system. At the same time, Yeats's autobiographies and Noh-style plays took shape with Pound's assistance. Having retreated to Sussex to escape the flurry of wartime London, both poets tracked the progress of the Great War and in response wrote poems--some unpublished until now--that directly address the poet's political function. More than the story of a literary friendship, Stone Cottage explores the Pound-Yeats connection within the larger context of modern literature and culture, illuminating work that ranks with the greatest achievements of modernism.

Reading a diverse range of poets - John Ashbery, Elizabeth Bishop, Amy Clampitt, Jorie Graham, Richard Howard, Randall Jarrell, Robert Lowell, Robert Pinsky, and Richard Wilbur - Longenbach reveals that American poets since mid-century have not so much disowned their modernist past as extended elements of modernism that other readers have suppressed or neglected to see.

At the age of 19, Phillis Wheatley was the first black American poet to publish a book. Her elegies and odes offer fascinating glimpses of the beginnings of African-American literary traditions. Includes a selection from the Common Core State Standards Initiative.

Translated by David L. Schindler, JrIn what is one of the greatest Catholic poetic works of our century, Péguy offers a comprehensive theology ordered around the often-neglected second virtue which is incarnated inhis celebrated image of the ‘little girl Hope'.

"Poetry is the sound of language organized in lines." James Longenbach opens The Art of the Poetic Line with that essential statement. Through a range of examples - from Shakespeare and Milton to Ashbery and Glück - Longenbach describes the function of line in metered, rhymed, syllabic, and free-verse poetry. That function is sonic, he argues, and our true experience of it can only be identified in relation to other elements in a poem. Syntax and the interaction of different kinds of line endings are primary to understanding line, as is the relationship of lineated poems to prose poetry. The Art of the Poetic Line is a vital new resource by one of America's most important critics and one of poetry's most engaging practitioners.