Poetry

Now in paperback: the national bestseller from the Pulitzer Prize–winning poet

"To read Thirst, Mary Oliver's most recent book of poems, is to feel gratitude for the simple fact of being alive." —Angela O'Donnell, America Magazine

Thirst, a collection of forty-three new poems from Pulitzer Prize–winner Mary Oliver, introduces two new directions in the poet's work. Grappling with grief at the death of her beloved partner of over forty years, she strives to experience sorrow as a path to spiritual progress, grief as part of loving and not its end. And within these pages she chronicles for the first time her discovery of faith, without abandoning the love of the physical world that has been a hallmark of her work for four decades.

"Mary Oliver moves by instinct, faith, and determination. She is among our finest poets, and still growing."
—Alicia Ostriker, The Nation

"It has always seemed, across her [many] books of poetry, . . . that Mary Oliver might leave us at any minute. Even a 1984 Pulitzer Prize couldn't pin her to the ground. She'd change quietly into a heron or a bear and fly or walk on forever."
—Susan Salter Reynolds, Los Angeles Times

"'My work is loving the world,' Oliver tells us….She has always done that work…in poems of considerable beauty. Now she rises, not above the world, but through it."
—Jay Parini, The Guardian, 10/6/2007

"Mary Oliver is, to my mind, one of the most gifted American poets working in English today. In her hands, the language acquires a lucidity approaching translucence; the accuracy of her vision and the precision of her voice are unique in their refreshing simplicity. Perhaps most singular is the tendency of her poems to be at once powerful and appealing; an affection for the natural world and a sympathy toward the reader abide."
—Katherine Hollander, Pleiades, Fall 2007

"To read Thirst is to feel gratitude for the simple fact of being alive. This is not surprising, as it is the effect [Oliver's] best work has produced in readers for the past 43 years."
—Angela O'Donnell, America magazine

"'My work is loving the world.' That first line of 'Messenger,' the first poem in Mary Oliver's new collection Thirst (Beacon Press), names what she does better than any other poet writing today. Just as Joan Didion's memoir The Year of Magical Thinking, which had a similar 'occasion,' was arguably her best work ever, so is Thirst Oliver's."
—Tim Pfaff, Bay Area Reporter, 1/11/07

The wickedly funny collection of nursery rhymes for the South Park generation-illustrated by the incomparable Barry Moser. Andrew Hudgins, Pulitzer Prize and National Book Award-nominated author of the critically acclaimed Ecstatic in the Poison, brings us this new collection of laugh-out-loud tongue-in-cheek nursery rhymes that do for poetry what Edward Gorey did for cartooning. Illustrated by the distinguished artist and graphic designer Barry Moser, Shut Up, You're Fine! includes such heart-warming titles as "Playing Houth," "The Thumping of the Bed," "Two Starving Kids in Africa," and "Daddy, Are We Meat?

The poetry and prose collected in Plainwater are a testament to the extraordinary imagination of Anne Carson, a writer described by Michael Ondaatje as "the most exciting poet writing in English today." Succinct and astonishingly beautiful, these pieces stretch the boundaries of language and literary form, while juxtaposing classical and modern traditions.

Carson envisions a present-day interview with a seventh-century BC poet, and offers miniature lectures on topics as varied as orchids and Ovid. She imagines the muse of a fifteenth-century painter attending a phenomenology conference in Italy. She constructs verbal photographs of a series of mysterious towns, and takes us on a pilgrimage in pursuit of the elusive and intimate anthropology of water. Blending the rhythm and vivid metaphor of poetry with the discursive nature of the essay, the writings in Plainwater dazzle us with their invention and enlighten us with their erudition.

A collection of poems exploring a continuing struggle with identity; Everything this poet touches upon is volatile - the poet himself, the people and world around him, ideas and mythologies, the ghosts of memory and the dreams of possible futures, all seem to burst into fragments. Mark Turcotte uses poetry to gather up the pieces - the shards of joy and grief, peace and doubt, strength and temptation, questions and answers - as he tries to define and rediscover what is lost when everyday life becomes explosive. The first part of the book is a series of lyrical poems that all begin with the phrase "Back when I used to be Indian," a self-contradictory concept that strikes at the heart of Turcotte's identity. His absent father and his own experience of fatherhood are the subjects of a second group of poems, leading him to explore the legacy that burdened his father and, in turn, the different kind of legacy that now burdens him. In a third and final group, Turcotte's imagination reaches again into the many flames of his experience, leading toward the title poem, where even the most dangerous of fires become a guiding light.

The narrator in this latest collection of poems by Ray Young Bear is alter ego and spiritual seeker Edgar Bearchild, who balances the hapless polarities of life in the Black Eagle Child Settlement with wry humor, a powerful intelligence, and the occasional designer drug. Bearchild is forever influenced by tribal history, animism, supernaturalism, religion, and mythology.

Whether faced with tragedy or comedy, Bearchild lives in a world replete with signs and portents, from the Lazy-Boy recliner that visually accesses a faraway crime to the child's handprint that myseriously appears on a frostly ladder. Edgar and his wife, Selene Buffalo Husband, and the other members of the Black Eagle Child Settlement create and recreate prophecies that "quietly wait and glow" in the "mythical darkness that would follow the stories."

This compelling selection of recent work by internationally celebrated poet Keith Waldrop presents three related poem sequences--"Shipwreck in Haven," "Falling in Love through a Description," and "The Plummet of Vitruvius"--in a virtuosic poetic triptych. In these quasi-abstract, experimental lines, collaged words torn from their contexts take on new meanings. Waldrop, a longtime admirer of such artists as the French poet Raymond Queneau and the American painter Robert Motherwell, imposes a tonal override on purloined materials, yet the originals continue to show through. These powerful poems, at once metaphysical and personal, reconcile Waldrop's romantic tendencies with formal experimentation, uniting poetry and philosophy and revealing him as a transcendentalist for the new millennium.

Apples of the Earth is a marvelous first collection. In elegant, luminous language, Elenbogen evokes the places and people she loves and grieves over. Her leaps of imagination are startling: in one deft instant, she can connect commonplace objects to motions of the spirit and the heart. Her tone is everywhere sure and clear, the voice of a born poet. Lynn Sharon Schwartz, author of The Writing on the Wall