Other books that might interest you

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  Sisters' Entrance

  Emtithal Mahmoud

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  2015 World Poetry Slam Champion and Woman of the World co-Champion Emtithal "Emi" Mahmoud presents her hauntingly beautiful debut poetry collection. 
  Brimming with rage, sorrow, and resilience, this collection traverses an expansive terrain: genocide; diaspora; the guilt of surviving; racism and Islamophobia; the burdens of girlhood; the solace of sisterhood; the innocence of a first kiss.  Heart-wrenching and raw, defiant and empowering, Sisters’ Entrance explores how to speak the unspeakable. 
  Includes an audio-exclusive preface by the author.

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  The Graveyard Poets

  Thomas Gray, Thomas Dermondy,...

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  At first thought this seems an unlikely area to find fine poetry. The "Graveyard Poets", also known as “Churchyard Poets or "the Boneyard Boys” began in pre-romantic days with a leaning towards gloom, melancholy and the general decay of churchyards. It should be remembered that in the 18th Century City graveyards were a teeming mass of overcrowding and disease, their country brethren better but hardly idylls of worship. 
  What would eventually lead to the Gothic literary genre began, in the main, with reflections by Christian clergymen upon God, mortality and the assumed after-life. 
  And in their musings are classics from such talented poets as Thomas Gray, Thomas Parnell, James Thomson and Edward Young together with many others who elevate words from a perhaps murky underworld to examples of poetic beauty which few can rival. 
   This volume comes to you from Portable Poetry, a specialized imprint from Deadtree Publishing.  Our range is large and growing and covers single poets, themes, and many compilations.

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  Anniversary Poems

  John Donne

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  Elizabeth Drury, daughter of Donne's patron, Sir Robert Drury, died in 1610. A year later Donne laments her hyperbolically as the soul of the created universe. In "An Anatomy of the World: The First Anniversary," he poetically scrutinizes that year-old corpse, the world, as if he were performing an autopsy (an "anatomy"). He finds it corrupt in every part, the dead woman having carried with her every spark of goodness it once contained. To commemorate the second anniversary of Miss Drury's death, Donne's "Progress of the Soul" (1612) celebrates her liberation from this world, urges readers to follow her example, and performs a cheerful spiritual meditation upon the process of death, burial, and corruption—cheerful because death frees us from the inconveniences of this life and serves as a portal to the next. Each poem is introduced by an encomium that, though purporting to be written by another hand, appears to be the poet's own work. (Summary by Thomas Copeland)

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  The Container

  Clare Bayley

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  A harrowing, intense drama about people-trafficking, set inside a container lorry.
  A freight container, somewhere in Europe. Inside are five people with one common aim: to reach England and start a new life. Can they trust the agent to get them there? Can they rely on each other? And how far will each of them go to get what they want?
  Clare Bayley's play The Container was first performed (inside an actual container lorry) at the Edinburgh Festival Fringe in 2007. It won a Fringe First Award for outstanding new writing on the Edinburgh Festival Fringe, and an Amnesty Freedom of Expression Award.

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  The Tiger

  William Blake

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  LibriVox volunteers bring you twelve different recordings of The Tiger, by William Blake. This was the weekly poetry project for the week of December 3rd, 2006.

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  As We Know - Poems

  John Ashbery

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  Dating from one of the most studied creative periods of John Ashbery’s career, a groundbreaking collection showcasing his signature polyphonic poem “Litany” First published in 1979, four years after Ashbery’s masterpiece Self-Portrait in a Convex Mirror, the poems in As We Know represent the great American poet writing at the peak of his experimental powers. The book’s flagship poem, the seventy-page “Litany,” remains one of the most exciting and challenging of Ashbery’s career. Presented in two facing columns, the poem asks to be read as independent but countervailing monologues, creating a dialogue of the private and the public, the human and the divine, the real and the unreal—a wild and beautiful conversation that contains multitudes. As We Know also collects some of Ashbery’s most witty, self-reflexive interrogations of poetry itself, including “Late Echo” and “Five Pedantic Pieces” (“An idea I had and talked about / Became the things I do”), as well as a wry, laugh-out-loud call-and-response sequence of one-line poems on Ashbery’s defining subject: the writing of poetry (“I Had Thought Things Were Going Along Well / But I was mistaken”). Perhaps the most admired poem in this much-discussed volume is “Tapestry,” a measured exploration of the inevitable distance that arises between art, audience, and artist, which the critic Harold Bloom called “an ‘Ode on a Grecian Urn’ for our time.” Built of doubles, of echoes, of dualities and combinations, As We Know is the breathtaking expression of a singular American voice.

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