From James P. Lenfestey, a collection of poems that lends delicacy and gentle humor to durable, long-lasting love.Writing love poems fifty years into a marriage is no easy task: If he exaggerates his love, she'll know . . . And if his desire for her is undiminished, / who would believe? But in A Marriage Book, Lenfestey meets his own challenge with aplomb. These poems drop readers into the rich, textured world of one couple's enduring intimacy, from the warmth of a bedroom occupied by two to squabbles over miscommunications and crumbs in the kitchen. As the marriage (and the Book) transition into parenthood, Lenfestey illuminates the equally stalwart wonder of observing one's children as they age and develop. Paternal love persists, and is even fed by, watching his children argue, suffer their own mistakes, and roar horrible breath at breakfast. So much poetry is about storms, / bruised fruit, locusts eating everything, he writes. This poem is about a harvest that satisfies. A Marriage Book is a collection that essences the magic from the household quotidian, creating a technicolor portrait of a vibrant and dynamic family.
Every day people tune in to The Writer's Almanac on public radio and hear Garrison Keillor read them a poem. And here, for the first time, is an anthology of poems from the show, chosen by the narrator for their wit, their frankness, their passion, their "utter clarity in the face of everything else a person has to deal with at 7 a.m."
The title Good Poems comes from common literary parlance. For writers, it's enough to refer to somebody having written a good poem. Somebody else can worry about greatness. Mary Oliver's "Wild Geese" is a good poem, and so is James Wright's "A Blessing." Regular people love those poems. People read them aloud at weddings, people send them by e-mail.
Good Poems includes poems about lovers, children, failure, everyday life, death, and transcendance. It features the work of classic poets, such as Emily Dickinson, Walt Whitman, and Robert Frost, as well as the work of contemporary greats such as Howard Nemerov, Charles Bukowski, Donald Hall, Billy Collins, Robert Bly, and Sharon Olds. It's a book of poems for anybody who loves poetry whether they know it or not.
we are the boat / returning to dock / we are the footprints / on the northern trail / we are the iron / coloring the soil / we cannot / be erased
In El Dorado, Peter Campion explores what it feels like to live in America right now, at the beginning of the twenty-first century. Splicing cell-phone chatter with translations of ancient poems, jump-cutting from traditional to invented forms, and turning his high-res lens on everything from box stores to trout streams to airport lounges, Campion renders both personal and collective experience with capacious and subtle skill.
Whether celebrating clones or revising Led Zeppelin, Equi melds verse with aphorism, wisdom with wicked playfulness.--Entertainment Weekly
Equi's poems are under the breath asides from your cleverest friend--witty, thoughtful, and wry.
A slight implies
if not an insult
(real or imagined)
at least something
a slight cold,
a slight headache.
No one ever says:
You make me slightly happy.
Although this, in fact,
is often the case.
Widely published and anthologized, Elaine Equi's work has appeared in The New Yorker, Poetry, The American Poetry Review, Nation, and numerous volumes of The Best American Poetry.
Chris Martin details daily delights, sidewalks and subways, and bulldogs at the park, giving equal attention to all. In his poems, the reader witnesses the fragmentation of the speaker's mind into particles swirling and waltzing until eventually rising into the atmosphere.
Do you explain
ice by acting
Simply by moving we implicate the hoax
Chris Martin is the author of American Music, selected by C.D. Wright for the Hayden Carruth Award, and was named one of the Poetry Society of America's New American Poets in 2010. He currently lives in New York.