In this collection, Schevill brings together a series of poems that he has been working on since his first book was published in 1947. Diverse characters, both real and imaginary, reveal fantasies of American life and history. The dramatic voices of the characters contrast with the subjective voice of the narrator as he moves through time and space, remembering and anticipating.
E. L. Mayo was a quiet poet who embraced obscurity almost as a condition for his intellectual freedom. Still, a few discerning critics noticed. David Daiches has said that “Mayo’s poems … pretend to be simple prose–like utterances, whereas in fact the best of them contain an echoing poetic meaning which begins to relase itself a split second after we have read the words.”
Kenneth Rexroth wrote: “Janet Lewis uses reason to veil and adorn the flesh of feeling and intuition. This is the way the greatest poetry has always been written.” The poems in this collection range over a period of 60 years. The style is spare, direct, cutting to the core of subject. Richness of intelligence and a concern for the human has also characterized every phase of Lewis’ development.
Lucien Stryk’s poetry is spare and quiet, but intensely powerful. Selected Poems brings together nearly all his published work, including all the poems from Notes for a Guidebook, The Pit and Other Poems, and Awakening, as well as new and previously uncollected poems.
For more than 30 years Thomas McGrath has held a special place among American poets. His lyric and rhapsodic strengths are unequalled. His use of rhetoric and of the sonorities of poetic speech have been compared to Hart Crane and Dylan Thomas. McGrath's work has become more significant in recent years, as a new generation of pets with intense political concerns have discovered his work.
The sharpness of Lucien Stryk’s poetry is made of simple things—frost on a windowpane at morning, ducks moving across a pond, an argument flailing in the distance, a neighbor's fuss over his lawn—set down in a language that is at once direct and powerful. Awakening is, in large part, an approach to what is most familiar by a poet whose language and poetic attention have found their own maturity.
The Complete Works of Robert Browning, Volume III
· With Variant Readings and Annotations
· By Robert Browning
· Edited by Roma A. King Jr., Morse Peckham, Park Honan, Donald Smalley, and John Hulsman
In seventeen volumes, copublished with Baylor University, this acclaimed series features annotated texts of all of Robert Browning’s known writing. The series encompasses autobiography as well as influences bearing on Browning’s life and career and aspects of Victorian thought and culture.
In seventeen volumes, copublished with Baylor University, this acclaimed series features annotated texts of all of Robert Browning’s known writing. The series encompasses autobiography as well as influences bearing on Browning’s life and career and aspects of Victorian thought and culture. Volume II contains Browning’s play, Strafford: An Historical Tragedy (1837), and the long poem, Sordello (1840).
This unique collection of poems, translated by more than forty major contemporary American poets, grew out of a project of the Poetry Center of the New York YMHA supported by the Bollingen Foundation and under the direction of Miss Elizabeth Kray. The purpose was two-fold: “to stimulate the art of translation” and to open “the flow of foreign poetry into native English current.”
In seventeen volumes, copublished with Baylor University, this acclaimed series features annotated texts of all of Robert Browning’s known writing. The series encompasses autobiography as well as influences bearing on Browning’s life and career and aspects of Victorian thought and culture. Volume I contains two dramatic poems, Pauline; A Fragment of a Confession and Paracelsus, along with a sonnet, “Eyes Calm Beside Thee.”
With Forms of Discover, Yvor Winters completes his critical canon. The distinguished poet-critic defines by analysis and example the development of the method that he has called “post-Symbolist.” Starting with the styles of the English Renaissance, Winters discusses at length the felicities and shortcomings of these traditions, the main defect being that sensory imagery was little more than ornament.
Yvor Winters has here collected, with an introduction, the major critical works—Primitivism and Decadence, Maule’s Curse, and The Anatomy of Nonsense—of the period in which he worked out his famous and influential critical position. The works together show an integrated position which illuminates the force and importance of the individual essays. With The Function of Criticism, a subsequent collection, In Defense of Reason provides an incomparable body of critical writing.