National Poetry Month: Virtual Book Display

James Joyce (1882-1941) led the vanguard of twentieth-century fiction, and his experimental use of language and stream of consciousness continues to captivate, intrigue, and influence readers and writers. Universally known for his novels A Portrait of the Artist as a Young Man (1916), Ulysses (1922), and Finnegans Wake(1939), Joyce was also a lyric poet and based some of his poems on music. Syd Barrett of Pink Floyd, the band Sonic Youth, and composers Samuel Barber and Ross Lee Finney have musically adapted his poems. This volume combines two of Joyce's poetry books --Chamber Music (1907), a collection of thirty-six love poems, and Pomes Penyeach (1927), which features thirteen poems -- with two longer poems by Joyce, "The Holy Office" and "Gas from a Burner."

One of the most original American writers, Edgar Allan Poe shaped the development of both the detectvie story and the science-fiction story. Some of his poems—"The Raven," "The Bells," "Annabel Lee"—remain among the most popular in American literature. Poe's tales of the macabre still thrill readers of all ages. Here are familiar favorites like "The Purloined Letter," "The Fall of the House of Usher," and "The Murders in the Rue Morgue," together with less-known masterpieces like "The Imp of the Perverse," "The Narrative of A. Gordon Pym," and "Ligeia," which is now recognized as one of the first science-fiction stories, a total of seventy-three tales in all, plus fifty-three poems and a generous sampling of Poe's essays, criticism and journalistic writings.

An NPR Favorite Book of 2019 In her third collection of poems, Jillian Weise delivers a reckoning to the ableism of the Western Canon. These poems investigate and challenge the ways that nondisabled writers have appropriated disabled bodies, from calling out William Carlos Williams to biohacking Raymond Carver's "Cathedral" to chronicling the ongoing headlines of violence against disabled women. Part invective, part love poem, Cyborg Detective holds a magnifying glass to the marginalization and fetishization of disabled people while claiming space and pride for the people who already use technology and cybernetic implants every day.

Warm tenderness and fiery critique sit side-by-side in Bolina's English as A Second Language, a collection that skewers, laments, and celebrates America with intelligence, humility, and a disarming sense of humor. In Jaswinder Bolina's English as A Second Language and Other Poems, we are asked to imagine the tender and harsh realities of this world within a single breath-- a Steiff monkey resting next to a child in a crib and the tired hands of "a thousand /women in Sidi Bouzid" assembling the stuffed animal. Coated in an armor of wit and humor and steeped in the idiosyncrasies of language, English as a Second Language pits sentimentality against cynicism and the personal against the national. What remains is the kaleidoscopic image of the modern American condition. From elegy to persona, wide-ranging poems tell the story of a child of immigrants becoming a parent against the tumultuous backdrop of our politics and culture. Where the collection asks, "What chance do any of us have?," the poet finds hope, possibility. Bolina's musical poems zip across time, challenging the fixity of the book. Clues offer the possibility of an alternate reading, where backwards, a new emotional arc appears--dreamlike, the nostalgic origin story of a sleep-deprived parent tracing a path through language and history. Forwards, backwards, English as a Second Language skewers, laments, and celebrates America with intelligence and humility.

What happens when we imagine loving the people-and the parts of ourselves-that we do not believe are worthy of love? Kai Cheng Thom grew up a Chinese Canadian transgender girl in a hostile world. As an activist, psychotherapist, conflict mediator, and spiritual healer, she's always pursued the same deeply personal mission- to embrace the revolutionary belief that every human being, no matter how hateful or horrible, is intrinsically sacred. But then Kai Cheng found herself in a crisis of faith, overwhelmed by the viciousness with which people treated one another, and barely clinging to the values and ideals she'd built her life around- justice, hope, love, and healing. Rather than succumb to despair and cynicism, she gathered all her rage and grief and took one last leap of faith- she wrote. Whether prayers or spells or poems-and whether there's a difference-she wrote to affirm the outcasts and runaways she calls her kin. She wrote to flawed but nonetheless lovable men, to people with good intentions who harm their own, to racists and transphobes seemingly beyond saving. What emerged was a blueprint for falling back in love with being human.

No one will protect you. Months after being named the 2022 Kentucky Teacher of the Year, Willie Edward Taylor Carver Jr. announced his decision to leave the public school system. His career as a high school English teacher had spanned more than a decade but ended abruptly--another casualty of the cruel and dangerous anti-LGBTQ+ discrimination that is creeping back into the halls of government and the homes of Americans. At the beginning of Carver's career, an administrator warned him about discussing his otherwise openly gay identity at work: "No one will protect you, including me." A new administration allowed for more freedom, but the initial warning eventually rang true. School officials failed repeatedly to address harassment of students and of Carver himself, until he could no longer endure such a purposeful deterioration of human rights. While Carver's testimony before the House of Representatives brought much-needed attention to the need for protections for LGBTQ+ people in schools, the damage was done. In Gay Poems for Red States, Carver counters the injustice of a persistent anti-LGBTQ+ movement by asserting that a life full of beauty and pride is possible for everyone. More than a collection of poetry, Carver's earnest and heartfelt verses are for those wishing to discover and understand the vastness of Appalachia, and for the LGBTQ+ Appalachians who long for a future--for a home--in an often unwelcoming place.

When Brianna Pastor released her self-published poetry collection, Good Grief, she was blown away by the outpouring of support from people who reached out and said, "Yes. Me too." For anyone who has struggled with questions of identity or coped with serious emotional issues, including grief, trauma, anxiety, and depression, this collection will help you find hope on the other side. we don't know how long our pain will last. we assume that because it hurts now, it is probably going to hurt tomorrow. it may even hurt the next day. perhaps it will get worse. but we sleep, and you see, and we do this marvelous thing in our sleep--we mend. And tomorrow is not always what we thought it would be.--from Good Grief

Orphaned as a child, Fatimah Asghar grapples with coming of age and navigating questions of sexuality and race without the guidance of a mother or father. These poems at once bear anguish, joy, vulnerability, and compassion, while also exploring the many facets of violence: how it persists within us, how it is inherited across generations, and how it manifests itself in our relationships. In experimental forms and language both lyrical and raw, Asghar seamlessly braids together marginalized people's histories with her own understanding of identity, place, and belonging.

First, you must realize you're homesick for all the lives you're not living. Then, you must commit to the road and the rising loneliness. To the sincere thrill of coming apart. So begins Joy Sullivan's Instructions for Traveling West--a lush debut collection that examines what happens when we leave home and leap into the deep unknown. Mid-pandemic, Sullivan left the man she planned to marry, sold her house, quit her corporate job, and drove west. This dazzling collection tells that story as it illuminates the questions haunting us all: What possible futures lie on the horizon? What happens when we heed the call of furious reinvention? A book for anyone flinging themselves into fresh starts, Instructions for Traveling West grapples with loss, loneliness and belonging. These poems teach us that naming our desire is profound alchemy. Each of us holds the power to set our own course forward. Expansive and heart-opening--exquisite in their specificity, galvanizing in their scope--the poems in Instructions for Traveling West speak to the longing that lives within us all. They remind us that "joy is not a trick."

In Leaves of Grass, American poet Walt Whitman assembled most of his poetic works. Included in this collection are some of Whitman's most famous poems, including "Song of Myself," "I Sing the Body Electric," "Out of the Cradle Endlessly Rocking," and "O Captain! My Captain!" The first edition of Leaves of Grass was published in 1855 and contained only twelve poems. Whitman kept revising his collection throughout his life; the final edition contains more than three hundred poems. This is an unabridged version of the poems from the final edition of Whitman's celebrated collection, published shortly before his death in 1892.

The definitive edition of Emily Dickinson's correspondence, expanded and revised for the first time in over sixty years. Emily Dickinson was a letter writer before she was a poet. And it was through letters that she shared prose reflections--alternately humorous, provocative, affectionate, and philosophical--with her extensive community. While her letters often contain poems, and some letters consist entirely of a single poem, they also constitute a rich genre all their own. Through her correspondence, Dickinson appears in her many facets as a reader, writer, and thinker; social commentator and comedian; friend, neighbor, sister, and daughter. The Letters of Emily Dickinson is the first collected edition of the poet's correspondence since 1958. It presents all 1,304 of her extant letters, along with the small number available from her correspondents. Almost 300 are previously uncollected, including letters published after 1958, letters more recently discovered in manuscript, and more than 200 "letter-poems" that Dickinson sent to correspondents without accompanying prose.

Amy M. Alvarez explores the cultural, spiritual, and place-based experiences of Afro-Caribbean and African American diasporic peoples in this haunting and emotionally charged collection of poems that meditates on the meaning of home and existence. Born in New York City to Jamaican and Puerto Rican parents, Alvarez draws readers into a journey of self-discovery and identity, connecting the past with the present while highlighting the complexities of navigating life as a multicultural American. The musicality of her language weaves together themes of environment, family, and migration, as well as her own ancestry as a Black Latinx woman. Makeshift Altar is an intimate collection that explores identities forged by colonialism and displacement and shaped by individual choice and collective power.

FINALIST FOR THE 2024 NATIONAL BOOK AWARD FOR POETRY "This is an incredibly powerful book of poetry that is also fiction but it is so real, and singular, as to defy definition, and I defy anyone to read it and come away unchanged." --Tommy Orange, author of There There and Wandering Stars A stunning, multimorphic work of poetry and prose about Indigenous identity mother is a work rooted in an intimate fracture: an Indigenous child is adopted out of her tribe and raised by a non-Indian family. As an adult finding her way back to her origins, our unnamed narrator begins to put the pieces of her birth family's history together through the stories told to her by her mother, father, sister, and brother, all of whom remained on the reservation where she was born. Through oral histories, family lore, and imagined pasts and futures, a collage of their community emerges, raising profound questions about adoption, inheritance, and Indigenous identity in America. Through poetic vignettes whose unconventional forms mirror the nonlinear, patchwork process of constructing a sense of self, m.s. RedCherries has crafted an indelible and utterly original work about the winding roads that lead us home.

Originally published in 1923, The Prophet continues to inspire millions worldwide with its timeless words of love and mystical longing. Writing with insight, hope, and a remarkable compassion for the human condition, Kahlil Gibran explores ideas of joy and sorrow, friendship, good and evil, pleasure, reason and passion, expressing humanity's yearning for a Unity of Being, only achieved through love. Introduced and annotated throughout by world expert Suheil Bushrui, this revised and updated edition is a truly enlightening experience for anyone seeking solace and wisdom in the chaotic modern age.

From a celebrated Chickasaw writer, a spiritual meditation, in prose and poetry, on our relationship to the animal world, in an illustrated gift package. Concerned that human lives and the natural world are too often defined by people who are separated from the land and its inhabitants, Indigenous writer and environmentalist Linda Hogan depicts her own intense relationships with animals as an example we all can follow to heal our souls and reconnect with the spirit of the world. From her modest forest home in Colorado, and venturing throughout the region, especially to her beloved Oklahoma, she introduces us to horses, packrats, snakes, mountain lions, elks, wolves, bees, and so many others whose presence has changed her life. In this illuminating collection of essays and poems, lightly sprinkled with elegant drawings, Hogan draws on many Native nations' ancient stories and spiritual traditions to show us that the soul exists in those delicate places where the natural world extends into human consciousness-in the mist of morning, the grass that grew a little through the night, the first warmth of this morning's sunlight. Altogether, this beautifully packaged gift is a reverential reminder for all of us to witness and appreciate the radiant lives of animals.

Often compared to the works of E.E. Cummings and Elizabeth Bishop, these poems are a free-ranging exploration of outer and inner worlds, of nature and the human mind
In celebration of the centenary of May Swenson’s birth, The Library of America presents a one-volume edition of all of the poems that Swenson published in her lifetime—from her first collection Another Animal (1954) to the innovative shaped poems of Iconographs (1970) to her final work In Other Words (1987)—as well as a selection of previously uncollected work.

In this deeply intimate second poetry collection, Ocean Vuong searches for life among the aftershocks of personal and social loss, embodying the paradox of sitting in grief while being determined to survive beyond it. Shifting through memory, and in concert with the themes of his novel On Earth We're Briefly Gorgeous, Vuong contends with the meaning of family and the cost of being the product of an American war in America. At once vivid, brave, and propulsive, these poems circle fragmented lives to find both restoration as well as the epicenter of the break. The author of the critically acclaimed poetry collection Night Sky with Exit Wounds, winner of the 2016 Whiting Award, the 2017 T. S. Eliot Prize, and a 2019 MacArthur fellowship, Vuong writes directly to our humanity without losing sight of the current moment. These poems represent a more innovative and daring experimentation with language and form, illuminating how the themes we perennially live in and question are truly inexhaustible. Bold and prescient, and a testament to tenderness in the face of violence, Time Is a Mother is a return and a forging forth all at once.

At last, a major American poet collected for the first time in the sixth volume of the definitive Library of Edition of her works STARRED REVIEW IN PUBLISHERS WEEKLY Ursula K. Le Guin's career began and ended with poetry. This sixth volume in the definitive Library of America edition of her works gathers, for the first time, her collected poems--from her earliest collection Wild Angels (1974) through her final publication, the collection So Far So Good, which she delivered to her editor just a week before her death in 2018. The themes explored in the poems gathered here resonate through all Le Guin's oeuvre, but find their strongest voice in her poetry: exploration as a metaphor for both human bravery and creativity, the mystery and fragility of nature and the impact of humankind on their environment, the Tao Te Ching, marriage, womanhood, and even cats. Le Guin's poetry is often traditional in form but never in style: her verse is earthy, surprising, and lyrical.  Including some 40 poems never before collected, this volume restores to print much of Le Guin's remarkable verse. It features a new introduction  by editor Harold Bloom, written before his death in 2019, in which he reflects on the power of Le Guin's poems, which he calls "American originals." It also features helpful explanatory notes and a chronology of Le Guin's life.

In a new introduction to the work, the poet and editor Kevin Young suggests that Hughes, who was 24 at the time of the original publication, from this very first moment is “celebrating, critiquing, and completing the American dream,” and that he manages to take Walt Whitman’s American “I” and write himself into it.
We find here not only such classics as “The Negro Speaks of Rivers” and the great twentieth-century anthem that begins “I, too, sing America,” but also the poet’s shorter lyrics and fancies, which dream just as deeply. “Bring me all of your / Heart melodies,” the young Hughes offers, “That I may wrap them / In a blue cloud-cloth / Away from the too-rough fingers / Of the world.”

We Have Crossed Many Rivers: New Poetry from Africa is a fascinating anthology of some of the finest contemporary poetic voices from twenty-nine African countries. Inspired by the examples of first generation African poets like Wole Soyinka, Christopher Okigbo, Dennis Brutus, and Mazisi Kunene, the poets in this anthology display rootedness in, and preoccupation with, the discourses of identity and political freedom. At the same time, they engage the more contemporary themes of human and economic rights, governance, the natural environment, love, family and generational relations representative of the African continent. Poems from Tanure Ojaide, Yewande Omotoso, Reesom Haile and Frank Chipasula are inlcluded and in all there are contributions from 68 poets.

While Hoffman's debut collection interrogated the mythos built around grief, inhabiting an Alaska of the mind, her stunning sophomore collection When There Was Light looks at the past for what it was.These poems map out a topography where global movements of diaspora and war live alongside personal reckonings: a house's foreclosure, parents' divorce, the indelible night spent drunk with a best friend "[lying] down inside a chronic row of corn." Here, her father's voice "is the stray dog barking / at the snow, believing the little strawberries grow wilder / against a field." In these pages, she points to Russia and Poland and Germany, saying, "It was / another time. My people / another time. The synagogues burn decades / of new snow." The brilliance of this collection illuminates the relationship between memory and language; "another time" means different, back then, gone and lost to us, and it means over and over, always, again. With this linguistic dexterity and lyrical tenderness, Hoffman's work bridges private and public histories, reminding us of the years cloaked in shadows and the years when there was light.