What Goes On Selected And New Poems 1995 2009

Brilliant new poems and an expansive gathering from six collections by a Pulitzer Prize winner celebrated as “indispensable.” What Goes On displays the evolving style and sensibility of a major award-winning poet, and a traceable growth that has blossomed into a provocative confrontation with questions of consciousness and existence. Stephen Dunn’s poems probe life’s big questions without ever losing sight of the significance of the mundane.

Justly celebrated as one of our strongest poets, Stephen Dunn selects from his eight collections and presents sixteen new poems marked by the haunting "Snowmass Cycle."

“A wonderful example of the poet’s ability to satisfy readers and anticipate their thoughts.”—Elizabeth Lund, Washington Post In his sixteenth collection, Stephen Dunn continues to bring his imagination and intelligence to what Wallace Stevens calls “the problems of the normal,” which of course pervade most of our lives. The poem “Don’t Do That” opens with the lines: “It was bring-your-own if you wanted anything / hard, so I brought Johnnie Walker Red / along with some resentment I’d held in / for a few weeks.” In other poems, Dunn contemplates his own mortality, echoing Yeats—“That is no country for old men / cadenced everything I said”—only to discover he’s joined their ranks. In “The Writer of Nudes” his speaker is in search of the body’s “grammar” but tells his models, “Don’t expect to see yourself as other / than I see you.” Full of grace, wit, humor, and masterful precision, the poems in Here and Now attest to the contradictions we live with in the here and now. Political and metaphysical, these astonishing poems remind us of the essential human comedy of getting through each day. from "The House on the Hill" . . . from out of the fog, a large, welcoming house would emerge made out of invention and surprise. No things without ideas! you'd shout, and the doors would open, and the echoes would cascade down to the valleys and the faraway towns.

Committed to exploring the role of poetry and poets in our culture, Stephen Dunn provides new, expanded versions of the essays originally published by W. W. Norton in 1993, now out of print. In Walking Light, Dunn discusses the relationship between art and sport, the role of imagination in writing poetry, and the necessity for surprise and discovery when writing a poem. Humorous, intelligent and accessible, Walking Light is a book that will appeal to writers, readers, and teachers of poetry. Stephen Dunn is the author of eleven collection of poetry. He teaches writing and literature at the Richard Stockton College in Pomona, New Jersey, and lives in Port Republic, New Jersey.

A new edition of the later selected work of a Nobel Prize-winning poet Often considered to be "the greatest poet of our age" (The Guardian), Seamus Heaney was awarded the Nobel Prize in Literature in 1995 "for works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past." He saw poetry as a vocation and credited it with "the power to persuade the vulnerable part of our consciousness of its rightness in spite of the evidence of wrongness all around it, the power to remind us that we are hunters and gatherers of values." Paul Muldoon wrote that Heaney was "the only poet I can think of who was recognized worldwide as having moral as well as literary authority." Shortly before his death in 2013, Seamus Heaney began to compile Selected Poems 1988–2013, and although he was unable to complete the project, his choices have been followed here. This volume encapsulates the finest work from Seeing Things (1991) with its lines of loss and revelation; The Spirit Level (1996) where we experience "the poem as ploughshare that turns time / Up and over."; the landmark translation of Beowulf (1999); Electric Light (2001), a book of origins and oracles; and his final collections, District and Circle (2006) and Human Chain (2010), which limn the interconnectedness of being, our lifelines to our inherited past.

As Angela Jackson has developed as a poet, her poetry has engaged various artistic perspectives, yet always maintains a characteristic combination of compassion, grace, and daring. Jackson moves with ease from the personal to the historical--filled alternately with wonder, righteous anger, tenderness, and a tangible intensity. Her verse is rich and passionate and brimming with poetic surprises.

Ronald J Pelias explores leaning as a metaphor for analyzing interpersonal interaction. Bodies leaning toward one another are engaged, developing the potential for long-lasting, meaningful relationships. But this ideal is not often realized. Pelias makes use of a wide variety of tools such as personal narrative, autoethnography, poetic inquiry and performative writing in his exploration of the physical space of relationships. This deeply personal work is essential for scholars and students of qualitative research and autoethnography.

“This may be an anthology for anyone who’s been broken-hearted, but it’s not an anthology for anyone who’s faint-hearted . . . Superb” (Entertainment Weekly). It’s Not You, It’s Me is a poetry anthology—at once amusing, angry, sweet, and bitter—that gives a fresh voice to the all-too-familiar experience of ending a relationship. Williams has compiled over ninety poems by contemporary writers including Denis Johnson and Kim Addonizio, as well as former poets laureate Robert Hass, Maxine Kumin, and Mark Strand, whose comforting and healing words dragged him out of his breakup-induced depression. We have all been through a breakup, but these poems have created an art out of heartbreak: sharing their wisdom on the pain of the flip side of romance, and poking fun at the mess we become at the mercy of love. “This collection . . . gathers many of the poems that have helped Williams (a poet himself, with two books to his name) through his rooms of anguish over the years. Happily, they’re pretty great.” —The New York Times “In It’s Not You, It’s Me: The Poetry of Breakup today’s big contemporary poets make breaking up and even divorce sound painfully beautiful. You’ll want to read with a box of tissues, a pint of chocolate ice cream and sappy love songs playing in the background.” —Lemon Drop Literary