Contains the most important work of more than 100 English and American authors.

"David Orr is no starry-eyed cheerleader for contemporary poetry; Orr’s a critic, and a good one. . . . Beautiful & Pointless is a clear-eyed, opinionated, and idiosyncratic guide to a vibrant but endangered art form, essential reading for anyone who loves poetry, and also for those of us who mostly just admire it from afar." —Tom Perrotta Award-winning New York Times Book Review poetry columnist David Orr delivers an engaging, amusing, and stimulating tour through the world of poetry. With echoes of Francine Prose’s Reading Like a Writer, Orr’s Beautiful & Pointless offers a smart and funny approach to appreciating an art form that many find difficult to embrace.

As well as representing many of the most important poets of the last 100 years, Strong Words charts many different stances and movements, from modernism to postmodernism, from futurism to the future theories of poetry.

First published in February 1936, just under a year from when the idea for it was first discussed, this is one of the most important and influential anthologies of the twentieth century. Since then three further editions by, in succession, Anne Ridler, Donald Hall and Peter Porter have been published. All took as their kernel the original selection by Michael Roberts. This "Faber Finds" reissue restores that pristine selection. More likely than not, the original idea was T. S. Eliot's, the choice of editor was undoubtedly his, and it was an inspired one. Michael Roberts was a poet himself, and a good one, but more important for this task was his acute awareness of the poetry scene, and his sense of the modern movement within it. Yes, his purpose was tendentious. He excludes some poets he admires such as Edmund Blunden and Walter de la Mare because (they) 'seem to me to have written good poems without having been compelled to make any notable development of poetic technique.' On the other hand, 'I have included only poems which seem to me to add to the resources of poetry, to be likely to influence the future development of poetry and language . . .' From the very start (and could there be a more arresting one?) with Gerard Manley Hopkins' "The Wreck of the Deutschland" Michael Roberts powerfully and consistently fulfils that aim. Philip Hobsbaum, in "The Oxford Companion to Twentieth-Century Poetry," says of "The Faber Book of Modern Verse," 'it also encapsulates, as no other literary document quite does, the innovative quality of the 1930s.'

In his moving debut collection, Matt Rasmussen faces the tragedy of his brother's suicide, refusing to focus on the expected pathos, blurring the edge between grief and humor. In "Outgoing," the speaker erases his brother's answering machine message to save his family from "the shame of dead you / answering calls." In other poems, once-ordinary objects become dreamlike. A buried light bulb blooms downward, "a flower / of smoldering filaments." A refrigerator holds an evening landscape, "a tinfoil lake," "vegetables / dying in the crisper." Destructive and redemptive, Black Aperture opens to the complicated entanglements of mourning: damage and healing, sorrow and laughter, and torment balanced with moments of relief.

Modern Poems on the Bible is a collection of imaginative and engaging contemporary responses to the Bible. Guided by the classic rabbinic genre of midrash conceived 1,500 years ago, Curzon chooses poems from Jewish and non-Jewish writers alike and places them beside the biblical passages that were their inspiration. Among the more than 170 poems in this collection are those by some of the great modern poets, including Yeats, Rilke, Auden, and Amichai. There are also poems by master prose writers: Primo Levi, Jorge Luis Borges, and D.H. Lawrence, to name a few.

A gift dedicated to Leonard Bernstein on his 70th birthday (1988). It was signed by the artist, Yossi Stern, and by Teddy Kollek. In addition to the numerous line drawings illustrating the poetry, Stern crafted an original book cover with a colorful drawing of a wedding scene.

Collection of modern English children's poetry. Suggested level: primary, intermediate.

From the winner of the PEN/Voelker Award, poems of love, terror, rage, and desire. Here I am, not a practical man, But clear-eyed in my contact lenses, Following no doubt a slightly different line than the others, Seeking sexual pleasure above all else, Despairing of art and of life, Seeking protection from death by seeking it On a racebike, finding release and belief on two wheels . . . --from "The Death of the Shah" The poems in Ooga-Booga are about a youthful slave owner and his aging slave, and both are the same man. This is the tenderest, most savage collection yet from Frederick Seidel, "the most frightening American poet ever" (Calvin Bedient, Boston Review).