Contains over 575 of the most frequently requested poems in America, divided by subject and indexed by authors and first lines.

Presents a collection of over one hundred American poems spanning more than three hundred fifty years and includes works by Colonial poet Anne Bradstreet, Edgar Allan Poe, Emily Dickinson, Robert Frost, and T.S. Eliot.

Over 175,000 copies have been sold of this perennially popular collection of America's favorite poems.

"The Passionate Shepherd to His Love," "Shall I compare thee to a summer's day?" "Death, be not proud," "The Raven," "The Road Not Taken," plus works by Blake, Wordsworth, Byron, Shelley, Keats, many others.

The 126 poems in this superb collection of 19th and 20th century British and American verse range from famous poets such as Wordsworth, Tennyson, Whitman, and Frost to less well-known poets. Includes 10 selections from the Common Core State Standards Initiative.

Rich treasury of verse from the 19th and 20th centuries includes works by Edgar Allan Poe, Robert Frost, Walt Whitman, Langston Hughes, Emily Dickinson, T. S. Eliot, other notables.

A collection of favorite poems sent in by thousands of Americans, with selections ranging from Shakespeare to Allen Ginsberg, includes comments from normal readers on how the poems affect them.

Timed to the publication of the author's new illustrated children's book, A Family of Poems, the national bestseller is now available in a specially priced gift edition Jacqueline Kennedy Onassis loved literature, especially poetry. "Once you can express yourself," she wrote, "you can tell the world what you want from it. All the changes in the world, for good or evil, were first brought about by words." Now, Caroline Kennedy shares her mother's favorite poems and the worlds behind her strong belief in the power of literature. A wonderful volume for reading aloud or by yourself, a meaningful gift or keepsake, The Best-Loved Poems of Jacqueline Kennedy Onassis offers an intimate view of Jacqueline Kennedy Onassis' world, and a poignant glimpse into her heart.

For this companion to her New York Times best-selling collection A Family of Poems, Caroline Kennedy has hand-selected more than a hundred of her favorite poems that lend themselves to memorization. Some are joyful. Some are sad. Some are funny and lighthearted. Many offer layers of meaning that reveal themselves only after the poem has been studied so closely as to be learned by heart. In issuing the challenge to memorize great poetry, Caroline Kennedy invites us to a deeply enriching experience. For as she reminds us, “If we learn poems by heart, not only do we have their wisdom to draw on, we also gain confidence, knowledge and understanding that no one can take away.” Illustrated with gorgeous, original watercolor paintings by award-winning artist Jon J Muth , this is truly a book for all ages, and one that families will share again and again. Caroline’s thoughtful introductions shed light on the many ways we can appreciate poetry, and the special tradition of memorizing and reciting poetry that she celebrates within her own family.

WINNER OF THE 2021 PULITZER PRIZE IN POETRY FINALIST FOR THE 2020 NATIONAL BOOK AWARD FOR POETRY Natalie Diaz’s highly anticipated follow-up to When My Brother Was an Aztec, winner of an American Book Award Postcolonial Love Poem is an anthem of desire against erasure. Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality. Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—in it, a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.