An exploration of the Persian poet's spiritual philosophy, with original translations of his poetry- Features extensive insight into the meanings and contexts of the poetry and philosophies of this spiritual teacher - Includes over 30 complete poems by Haf z, including "The Wild Deer," often regarded as his masterpiece For 600 years the Persian poet Haf z has been read, recited, quoted, and loved by millions of people in his homeland and throughout the world. Like his predecessor Rumi, he is a spiritual guide in our search for life's essence. Haf z is both a mystic philosopher and a heartfelt poet of desires and fears. Haf z: Teachings of the Philosopher of Love is the perfect introduction to the man known as the philosopher of love, whose message of spiritual transcendence through rapture and service to others is especially important to our troubled world. His wisdom speaks directly to the cutting edge of philosophy, psychology, social theory, and education and can serve as a bridge of understanding between the West and the Middle East, two cultures in desperate need of mutual empathy.
These classic Kerouac meditations, zen koans and prose poems express the poet's beatific quest for peace and joy through oneness with the universe.
"The Scripture of the Golden Eternity is fueled by Kerouac's discerning meditation on the nature of impermanence & consciousness, subtle like the dharma it invokes. We're here to disappear, therefore let's be as vivid & generous as we can. The intelligence & compassion behind this text is still alive."--Anne Waldman, The Jack Kerouac School of Disembodied Poetics
Scripture of the Golden Eternity is Jack Kerouac's statement of confidence in his oneness with the universe of energy and form, a confidence to which his whole being swelled. His was not the search for the ecstasy of the mystic or psychedelic or the Artaud-mad. He sought a recognition in philosophy of his early sense that his body participated in the universal forms of energy with a quality of exuberance--that 'serious exuberance' which he so accurately called jazz."--Eric Mottram, Introduction
Jack Kerouac (1922-1969) was a principal actor in the Beat Generation, a companion of Allen Ginsberg and Neal Cassady in that great adventure. His books include On the Road, The Dharma Bums, Mexico City Blues, Lonesome Traveler, Visions of Cody, Pomes All Sizes (City Lights), Scattered Poems (City Lights) and The Scripture of the Golden Eternity (City Lights).
Robert Bly is the author of many books, including Jumping Out of Bed, The Man in the Black Coat Turns, and Iron John: A Book About Men. He has translated Neruda, Vallejo, and Lorca and received the National Book Award for his collection The Light Around the Body. His most recent book is The Maiden King: The Reunion of Masculine and Feminine, with Marion Woodman.
In a new interpretation of a poet who has swayed the course of modern poetry--in France and elsewhere--James Lawler focuses on what he demonstrates is the crux of Rimbaud's imagination: the masks and adopted personas with which he regularly tested his identity and his art.
A drama emerges in Lawler's urbane and resourceful reading. The thinking, feeling, acting Drunken Boat is an early theatrical projection of the poet's self; the Inventor, the Memorialist, and the Ing nu assume distinct roles in his later verse. It is, however, in Illuminations and Une Saison en enfer that Rimbaud enacts most powerfully his grandiose dreams. Here the poet becomes Self Creator, Self-Critic, Self-Ironist; he takes the parts of Floodmaker, Oriental Storyteller, Dreamer, Lover; and he recounts his descent into Hell in the guise of a Confessor.
In delineating and exploring the poet's "theatre of the self" Lawler shows us the tragic lucidity and the dramatic coherence of Rimbaud's work.
"The Poem's Heartbeat may well be the finest general book available on prosody."--Library Journal (starred review)
"A provocative, definitive manual."--Publishers Weekly
Finally back in print, this slender, user-friendly guide to rhyme, rhythm, meter, and form sparks "intuitive and technical lightning-flashes" for poets and readers curious to know a poem's inner workings. Clear, good-humored, and deeply readable, Alfred Corn's book is the modern classic on prosody--the art and science of poetic meter.
Each of the book's ten chapters is a progressive, step-by-step presentation rich with examples to illustrate concepts such as line, stress, scansion marks, slant rhyme, and iambic pentameter. "By the book's end," noted a rave review in The Boston Review, "Corn, magi-teacher and impeccable guide, has taught the novice to become artist and magician." The Poem's Heartbeat also includes a selected bibliography and encourages readers and students to carry their investigations further.
The word "line" comes from the Latin linea, itself derived from the word for a thread of linen. We can look at the lines of poetry as slender compositional units forming a weave like that of a textile. Indeed, the word "text" has the same origin as the word "textile." It isn't difficult to compare the compositional process to weaving, where thread moves from left to right, reaches the margin of the text, then shuttles back to begin the next unit . . .
The bestselling author of Under the Tuscan Sun brings poetry
out of the classroom and into the homes of everyday readers.
"The history of poetry and of Poetry in America are almost interchangeable, certainly inseparable," wrote A. R. Ammons. Founded by Harriet Monroe in 1912, Poetry magazine established its reputation immediately by printing T. S. Eliot's "Love Song of J. Alfred Prufrock," Carl Sandburg's "Chicago Poems," Wallace Stevens's "Sunday Morning," and the first important poems of Ezra Pound, Marianne Moore, William Carlos Williams, Robert Frost, and many other then unknown, now classic authors. Publishing monthly without interruption, Poetry has become America's most distinguished magazine of verse, presenting, often for the very first time, virtually every notable poet of the last nine decades--an unprecedented record. Decade by decade, this bountiful ninetieth-anniversary anthology from Poetry includes the poems of the major talents--along with several lesser known--in all their variety: William Butler Yeats, Edgar Lee Masters, Sara Teasdale, D. H. Lawrence, Edna St. Vincent Millay, Vachel Lindsay, Robert Graves, May Sarton, Langston Hughes, W. H. Auden, Stephen Spender, Hart Crane, Robert Penn Warren, Dylan Thomas, e. e. cummings, Gwendolyn Brooks, James Merrill, John Ashbery, Frank O'Hara, Randall Jarrell, Elizabeth Bishop, Robert Lowell, Robinson Jeffers, Theodore Roethke, Karl Shapiro, Anne Sexton, Thom Gunn, John Berryman, Sylvia Plath, Maxine Kumin, Ted Hughes, Adrienne Rich, and Galway Kinnell. In recent decades, Poetry has presented Seamus Heaney, Rita Dove, Billy Collins, Kay Ryan, Eavan Boland, Stephen Dunn, Mary Oliver, Yusef Komunyakaa, Jane Kenyon, James Tate, Sharon Olds, Louise Gl ck, Marilyn Hacker, and many, many others. T. S. Eliot called Poetry "an American institution." The Poetry Anthology is sure to be an American keepsake.
The place of poetry in modern democracy is no place, according to conventional wisdom. The poet, we hear, is a casualty of mass entertainment and prosaic public culture, banished to the artistic sidelines to compose variations on insipid themes for a dwindling audience. Robert Pinsky, however, argues that this gloomy diagnosis is as wrongheaded as it is familiar. Pinsky, whose remarkable career as a poet itself undermines the view, writes that to portray poetry and democracy as enemies is to radically misconstrue both. The voice of poetry, he shows, resonates with profound themes at the very heart of democratic culture.
There is no one in America better to write on this topic. One of the country's most accomplished poets, Robert Pinsky served an unprecedented two terms as America's Poet Laureate (1997-2000) and led the immensely popular multimedia Favorite Poem Project, which invited Americans to submit and read aloud their favorite poems. Pinsky draws on his experiences and on characteristically sharp and elegant observations of individual poems to argue that expecting poetry to compete with show business is to mistake its greatest democratic strength--its intimate, human scale--as a weakness.
As an expression of individual voice, a poem implicitly allies itself with ideas about individual dignity that are democracy's bedrock, far more than is mass participation. Yet poems also summon up communal life.. Even the most inward-looking work imagines a reader. And in their rhythms and cadences poems carry in their very bones the illusion and dynamic of call and response. Poetry, Pinsky writes, cannot help but mediate between the inner consciousness of the individual reader and the outer world of other people. As part of the entertainment industry, he concludes, poetry will always be small and overlooked. As an art--and one that is inescapably democratic--it is massive and fundamental.