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.

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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.

While there is a tacit appreciation that freedom from violence will lead to more prosperous relations among peoples, violence continues to be deployed for various political and social ends. Yet the problem of violence still defies neat description, subject to many competing interpretations. Histories of Violence offers an accessible yet compelling examination of the problem of violence as it appears in the corpus of canonical figures – from Hannah Arendt to Frantz Fanon, Michel Foucault to Slavoj Žižek – who continue to influence and inform contemporary political, philosophical, sociological, cultural, and anthropological study. Written by a team of internationally renowned experts, this is an essential interrogation of post-war critical thought as it relates to violence.

"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.

Noting that Israel's earliest responses to earth-shaking changes were cast in the powerfully expressive language of poetry, Hugh R. Page Jr. argues that the careful collection and preservation of these traditions-now found in every part of the Hebrew Bible-was an act of resistance, a communal no to the forces of despair and a yes to the creative power of the Spirit. Further, Page argues, the power of these poems to craft and shape a future for a people who had suffered acute displacement and marginalization offers a rich spiritual repertoire for Africana peoples today, and for all who find themselves perennially outside the social or political mainstream. Here Page offers fresh translations and brief commentary on the Bible's fifteen earliest poems, and explores the power and relevance of these poems, and the ancient mythic themes behind them, for contemporary life at the margins.

"Rhythm and Resistance offers practical lessons about how to teach poetry to build community, understand literature and history, talk back to injustice, and construct stronger literacy skils across content areas and grade levels-- from elementary school to graduate school. Rhythm and Resistance reclaims poetry as a necessary part of a larger vision of what it means to teach for justice." from cover.

As one of the foundational texts in the field of postcolonial writing, Barbara Harlow’s Resistance Literature introduced new ground in Western literary studies. Originally published in 1987 and now reissued with a new Preface by Mia Carter, this powerfully argued and controversial critique develops an approach to literature which is essentially political. Resistance Literature introduces the reader to the role of literature in the liberation movements of the developing world during the 20th Century. It considers a body of writing largely ignored in the west. Although the book is organized according to generic topics – poetry, narrative, prison memoirs – thematic topics, and the specific historical conditions that influence the cultural and political strategies of various resistance struggles, including those of Palestine, Nicaragua and South Africa, are brought to the fore. Among the questions raised are the role of women in the developing world; communication in circumstances of extreme atomization; literature versus propaganda; censorship; and the problem of adopting literary forms identified with the oppressor culture.

“To read these poems is to be reminded again and again of our true allegiance to each other.” —from the introduction by Julia Alvarez With a powerful and poignant introduction from Julia Alvarez, Resistencia: Poems of Protest and Revolution is an extraordinary collection, rooted in a strong tradition of protest poetry and voiced by icons of the movement and some of the most exciting writers today. The poets of Resistencia explore feminist, queer, Indigenous, and ecological themes alongside historically prominent protests against imperialism, dictatorships, and economic inequality. Within this momentous collection, poets representing every Latin American country grapple with identity, place, and belonging, resisting easy definitions to render a nuanced and complex portrait of language in rebellion. Included in English translation alongside their original language, the fifty-four poems in Resistencia are a testament to the art of translation as much as the act of resistance. An all-star team of translators, including former US Poet Laureate Juan Felipe Herrera along with young, emerging talent, have made many of the poems available for the first time to an English-speaking audience. Urgent, timely, and absolutely essential, these poems inspire us all to embrace our most fearless selves and unite against all forms of tyranny and oppression.