Come feel the cool and shadowed breeze, come smell your way among the trees, come touch rough bark and leathered leaves: Welcome to the night. Welcome to the night, where mice stir and furry moths flutter. Where snails spiral into shells as orb spiders circle in silk. Where the roots of oak trees recover and repair from their time in the light. Where the porcupette eats delicacies—raspberry leaves!—and coos and sings. Come out to the cool, night wood, and buzz and hoot and howl—but do beware of the great horned owl—for it’s wild and it’s windy way out in the woods!
"The first thing I recognize as the beginning of a poem," writes Richard Pevear, "is a distinct rhythm, not only of stress but of movement. Once I hear it, I can find words for it. But the essential thing, finally, is simultaneity—the completion of a shape, a thought, an emotion, a figure, all at the same time. The Trojan War, the figures of Greek tragedy, certain elements of the Gospels, the stories of Malory, are parts of my personal language." Originally published in 1978. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
"In late August of 1975 when my wife Gailyn and I and our one-and-a-half-year-old daughter arrived in Bolinas, I was almost 29 years old and had become known for writing minimal poetry sometimes consisting of a single word", Aram Saroyan writes in his introduction to Day and Night. "A young writer's ego is a delicate matter, subject as it is to routine battery and assault. When I wrote the first section of a long poem called 'Lines for My Autobiography' one afternoon on the typewriter in the poet Joanne Kyger's house. I was both exhilarated and uneasy. After all, it was two and a half pages long and I'd never before written a poem of even half its length. I ended up throwing it in the waste basket, but Gailyn fished it out, read it, and told me it was the best thing I'd ever written and to go on writing it". That poem and many others like it -- limpid, direct, revealing, open-hearted essays toward a first-person life story -- make up Saroyan's very appealing book about "big-city boys...becoming farmers" in an eccentric, idealist, crackpot-utopian California beach town in the 1970s. This is an unashamedly youthful book, starry-eyed in its approach to family-starting and community-founding, innocently celebrative of the simple wonders of a life lived close to nature. Glancing back at a glamorous but troubled childhood spent among the bright lights of Manhattan and the luxuriant palms of Beverly Hills, the young Saroyan experiences this new world with a freshness of vision.
Other People’s Comfort Keeps Me Up at Night—the book that launched the career of one of our most important young American poets—is back in print. The debut collection from award-winning poet Morgan Parker demonstrates why she’s become one of the most beloved writers working today. Her command of language is on full display. Parker bobs and weaves between humor and pathos, grief and anxiety, Gwendolyn Brooks and Jay-Z, the New York School and reality television. She collapses any foolish distinctions between the personal and the political, the “high” and the “low.” Other People’s Comfort Keeps Me Up at Night not only introduced an essential new voice to the world, it contains everything readers have come to love about Morgan Parker’s work.
Alex Dimitrov’s third book, Love and Other Poems, is full of praise for the world we live in. Taking time as an overarching structure—specifically, the twelve months of the year—Dimitrov elevates the everyday, and speaks directly to the reader as if the poem were a phone call or a text message. From the personal to the cosmos, the moon to New York City, the speaker is convinced that love is “our best invention.” Dimitrov doesn’t resist joy, even in despair. These poems are curious about who we are as people and shamelessly interested in hope.
In his seventieth year, the award-winning poet looks back on what was and accepts what is, in a deeply moving and beautiful sequence about what sustains him. Beginning with "My Friends Don't Get Buried," the lament of a delinquent mourner as his friends have begun to die, and ending with the plaintive note to self "don't write elegies/anymore," Edward Hirsch takes us backward through the decades in these memory poems of startling immediacy. He recalls the black dress a lover wore when he couldn't yet know the tragedy of her burning spirit; the radiance of an autumn day in Detroit when his students smoked outside, passionately discussing Shelley; the day he got off late from a railyard shift and missed an antiwar demonstration. There are direct and indirect elegies to lost contemporaries like Mark Strand, William Meredith, and, most especially, his longtime compatriot Philip Levine, whom he honors in several poems about daily work in the late midcentury Midwest. As the poet ages and begins to lose his peripheral vision, the world is "stranger by night," but these elegant, heart-stirring poems shed light on a lifetime that inevitably contains both sorrow and joy.
The Night Watchman is the 3rd poetry book by 5 star rated author Kyle Coare.When day ends, and the night falls,when the sun leaves the sky and darkness calls,the watchman sits, his duty to observe,protect the dreams, of those who deserve.This collection of poems delves deep into the night, down dark alleyways, through old ruins.it looks into the heart of society and into the world of dreams.
The Pulitzer Prize–winning poet “illuminates the shadow side of life in poems as perfectly formed and directed as the beam of a flashlight” (Booklist). The poems in Charles Simic’s new collection evoke a variety of settings and images, from New York City to small New England towns; from crowds spilling onto the sidewalk on a hot summer night to an abandoned wooden church and a car graveyard overgrown with weeds. His subjects range from a bakery early in the morning to the fingerprints on a stranger’s front door; from waiters in an empty restaurant to the decorations in a window of a funeral home; from a dog tied to a chain to a homeless man sleeping at the foot of a skyscraper; and other moments of solitude and clear vision. “What is beautiful,’ he writes in one poem, “is found accidentally and not sought after. What is beautiful is easily lost.” Simic is the metaphysician of the ordinary, a poet who reminds us of the mysteries of our daily lives. “This first book of poems since 1999’s Jackstraws continues Simic’s familiar, unsettling methods and extends them into the terrain of older age . . . Simic remains a powerful, and funny, chronicler of an individual world one where pastry, omelets and queen-size beds offer their ambiguous pleasures, and where, inseparably, ‘the butchery of the innocent/ Never stops.’ It is a world that should be familiar.” —Publishers Weekly “Nabokovian in his caustic charm and sexy intelligence, Simic perceives the mythic in the mundane and pinpoints the perpetual suffering that infuses human life with both agony and bliss.” —Booklist
