Virginia Woolf's career was shaped by her impression of the conflict between poetry and the novel, a conflict she often figured as one between masculine and feminine, old and new, bound and free. In large part for feminist reasons, Woolf promoted the triumph of the novel over poetry, even as she adapted some of poetry's techniques for the novel in order to portray the inner life. Woolf considered poetry the rival form to the novel. A monograph on Woolf's sense of genre rivalry thus offers a thorough reinterpretation of the motivations and aims of her canonical work. Drawing on unpublished archival material and little-known publications, the book combines biography, book history, formal analysis, genetic criticism, source study, and feminist literary history. Woolf's attitude towards poetry is framed within contexts of wide scholarly interest: the decline of the lyric poem, the rise of the novel, the gendered associations with these two genres, elegy in prose and verse, and the history of English Studies. Virginia Woolf and Poetry makes three important contributions. It clarifies a major prompt for Woolf's poetic prose. It exposes the genre rivalry that was creatively generative to many modernist writers. And it details how holding an ideology of a genre can shape literary debates and aesthetics.

Following her successful Literary Guide to Washington, DC, which Library Journal called "the perfect accompaniment for a literature-inspired vacation in the US capital," Kim Roberts returns with a comprehensive anthology of poems by both well-known and overlooked poets working and living in the capital from the city’s founding in 1800 to 1930. Roberts expertly presents the work of 132 poets, including poems by celebrated DC writers such as Francis Scott Key, Walt Whitman, Frederick Douglass, Paul Laurence Dunbar, Ambrose Bierce, Henry Adams, and James Weldon Johnson, as well as the work of lesser-known poets—especially women, writers of color, and working-class writers. A significant number of the poems are by writers who were born enslaved, such as Fanny Jackson Coppin, T. Thomas Fortune, and John Sella Martin. The book is arranged thematically, representing the poetic work happening in our nation’s capital from its founding through the Civil War, Reconstruction, World War I, and the beginnings of literary modernism. The city has always been home to prominent poets—including presidents and congressmen, lawyers and Supreme Court judges, foreign diplomats, US poets laureate, professors, and inventors—as well as writers from across the country who came to Washington as correspondents. A broad range of voices is represented in this incomparable volume.

Language as key and map to places, people, and histories lost For immigrants and migrants, the wounds of colonization, displacement, and exile remain unhealed. Crossing oceans and generations, from her childhood home in Baguio City, the Philippines, to her immigrant home in Virginia, poet Luisa A. Igloria demonstrates how even our most personal and intimate experiences are linked to the larger collective histories that came before. In this poetry collection, Igloria brings together personal and family histories, ruminates on the waxing and waning of family fortunes, and reminds us how immigration necessitates and compels transformations. Simultaneously at home and displaced in two different worlds, the speaker lives in the past and the present, and the return to her origins is fraught with disappointment, familiarity, and alienation. Language serves as a key and a map to the places and people that have been lost. This collection folds memories, encounters, portraits, and vignettes, familiar and alien, into both an individual history and a shared collective history—a grandfather’s ghost stubbornly refusing to come in out of the rain, an elderly mother casually dropping YOLO into conversation, and the speaker’s abandonment of her childhood home for a second time. The poems in this collection spring out of a deep longing for place, for the past, for the selves we used to be before we traveled to where we are now, before we became who we are now. A stunning addition to the work of immigrant and migrant women poets on their diasporas, Maps for Migrants and Ghosts reveals a dream landscape at the edge of this world that is always moving, not moving, changing, and not changing.

The only publication of its kind, this annual anthology is made up exclusively of work by writers who have not yet published a full-length book. The poems included in this eclectic sampling represent the best from the many that have been nominated by the country’s top literary magazines and writing programs, as well as some two thousand additional poems submitted through an open online competition. The work of the fifty writers represented here provides the best perspective available on the continuing vitality of poetry as it’s being practiced today. Distributed for the Samovar Press in cooperation with Meridian: The Semi-Annual from the University of Virginia

Already singled out by The New York Times and the subject of a feature in The New Yorker, Virginia Adair has, after decades of shunning book publication, decided to collect eighty of her best poems in a volume that will surely be hailed as among the most accomplished works of our time. Ants on the Melon includes poems that concern the author's childhood, that explore sensuality in candid terms, that starkly treat her husband's suicide and her own blindness, and that explore both her own emotional landscape and the universal mysteries of the human condition. Technically brilliant, using strict, classical prosody, yet entirely modern in sensibility, Virginia Adair's poetry will play a central role in the ongoing American poetry renaissance.

In her fourth full-length book, White Blood: A Lyric of Virginia, Kiki Petrosino turns her gaze to Virginia, where she digs into her genealogical and intellectual roots, while contemplating the knotty legacies of slavery and discrimination in the Upper South. From a stunning double crown sonnet, to erasure poetry contained within DNA testing results, the poems in this collection are as wide-ranging in form as they are bountiful in wordplay and truth. In her poem 'The Shop at Monticello,' she writes: 'I’m a black body in this Commonwealth, which turned black bodies/ into money. Now, I have money to spend on little trinkets to remind me/ of this fact. I’m a money machine & my body constitutes the common wealth.' Speaking to history, loss, and injustice with wisdom, innovation, and a scientific determination to find the poetic truth, White Blood plants Petrosino’s name ever more firmly in the contemporary canon.

Reading lyric poetry over the past century. The Lyric Theory Reader collects major essays on the modern idea of lyric, made available here for the first time in one place. Representing a wide range of perspectives in Anglo-American literary criticism from the twentieth and twenty-first centuries, the collection as a whole documents the diversity and energy of ongoing critical conversations about lyric poetry. Virginia Jackson and Yopie Prins frame these conversations with a general introduction, bibliographies for further reading, and introductions to each of the anthology’s ten sections: genre theory, historical models of lyric, New Criticism, structuralist and post-structuralist reading, Frankfurt School approaches, phenomenologies of lyric reading, avant-garde anti-lyricism, lyric and sexual difference, and comparative lyric. Designed for students, teachers, scholars, poets, and readers with a general interest in poetics, this book presents an intellectual history of the theory of lyric reading that has circulated both within and beyond the classroom, wherever poetry is taught, read, discussed, and debated today.

This is an amazing book, a major achievement in the field of women's studies.--Renaissance Quarterly, reviewing Women's Writing in Italy, 1400-1650