Why Write Poetry

Hasan Namir's debut collection of poetry, War / Torn, is a brazen and lyrical interrogation of religion and masculinity--the performance and sense of belonging they delineate and draw together. Namir summons prayer, violence, and the sensuality of love, revisiting tenets of Islam and dictates of war to break the barriers between the profane and the sacred. Praise for War / Torn: War / Torn mourns, loves and burns all the derogatory impulses of our continuous present. This book is of and against our time. War / Torn is a breathless elegy in the most defiantly tender poetics you can imagine. --Jordan Scott, author of Night & Ox, and winner of the Latner Poetry Prize by the Writer's Trust of Canada

With passion, wit, and good common sense, the celebrated poet Mary Oliver tells of the basic ways a poem is built-meter and rhyme, form and diction, sound and sense. Drawing on poems from Robert Frost, Elizabeth Bishop, and others, Oliver imparts an extraordinary amount of information in a remarkably short space. "Stunning" (Los Angeles Times). Index.

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

Without An Angel is a painful, raw poetry book, taken straight from the life of the bestselling author, Mitchell Bogatz.

Do you want to write a poem? This book will show you 'how to grow your own poem'... Kate Clanchy has been teaching people to write poetry for more than twenty years. Some were old, some were young; some were fluent English speakers, some were not. None of them were confident to start with, but a surprising number went to win prizes and every one finished up with a poem they were proud of, a poem that only they could have written – their own poem. Kate's big secret is a simple one: to share other poems. She believes poetry is like singing or dancing and the best way to learn is to follow someone else. In this book, Kate shares the poems she has found provoke the richest responses, the exercises that help to shape those responses into new poems, and the advice that most often helps new writers build their own writing practice. If you have never written a poem before, this book will get you started. If you have written poems before, this book will help you to write more fluently and confidently, more as yourself. This book not like other creative writing books. It doesn't ask you to set out on your own, but to join in. Your invitation is inside.

These confrontational poems about sex and boredom, drugs and suicide, document Jones' depressive, alcoholic years as an enfant terrible.

An impassioned call for a return to reading poetry and an incisive argument for poetry’s accessibility to all readers, by critically acclaimed poet Matthew Zapruder In Why Poetry, award-winning poet Matthew Zapruder takes on what it is that poetry—and poetry alone—can do. Zapruder argues that the way we have been taught to read poetry is the very thing that prevents us from enjoying it. In lively, lilting prose, he shows us how that misunderstanding interferes with our direct experience of poetry and creates the sense of confusion or inadequacy that many of us feel when faced with it. Zapruder explores what poems are, and how we can read them, so that we can, as Whitman wrote, “possess the origin of all poems,” without the aid of any teacher or expert. Most important, he asks how reading poetry can help us to lead our lives with greater meaning and purpose. Anchored in poetic analysis and steered through Zapruder’s personal experience of coming to the form, Why Poetry is engaging and conversational, even as it makes a passionate argument for the necessity of poetry in an age when information is constantly being mistaken for knowledge. While he provides a simple reading method for approaching poems and illuminates concepts like associative movement, metaphor, and negative capability, Zapruder explicitly confronts the obstacles that readers face when they encounter poetry to show us that poetry can be read, and enjoyed, by anyone.