Pulitzer Prize-winner Anthony Hecht has long been regarded as one of the great modern American poets, and is hailed by many as the unofficial Poet Laureate' of the USA. This volume brings together all the poems contained in The Hard Hours (1967), Millions of Strange Shadows (1977), and The Venetian Vespers (1980), and versions of Joseph Brodsky's early poems, which Hecht was the first to translate. These three distinguished books affirm Hecht's reputation as a technically accomplished poet capable of powerfully expressing deep sentiment and original thought.

In his centenary year, this volume of the Pulitzer Prize winner and former poet laureate’s poems celebrates the indispensable artistry of a writer who faced the history of his era with a “clear-eyed mercy toward human weakness” (The New York Times Book Review) and was hailed in his day as “the best poet writing in English” (Joseph Brodsky). This volume brings together for the first time all of the poems that appeared in Anthony Hecht’s seven trade collections, from A Summoning of Stones of 1954 through to The Darkness and the Light of 2001; it adds the remarkable work contained in his posthumously issued Interior Skies: Late Poems from Liguria of 2011; and it rounds this out with the best of the many poems which were left uncollected at the time of his death in 2004, the earliest dating from 1950 and the latest from 2001. Including the woodcuts by Leonard Baskin that accompanied some of his pieces through the years, Collected Poems brings us the full sweep of the experience and artistry of Anthony Hecht, who, as an infantryman in World War II, bore witness to the shaping events of his time, which continue to shape our own. As the editor Philip Hoy states in his introduction: “Anthony Hecht once wrote that poems can allow us to contemplate our ‘sweetest triumphs’ and our ‘deepest desolations,’ and by employing ‘the manifold devices of art’ to recover for us what he memorably called ‘the inexhaustible plenitude of the world.’ The work gathered together here amply attests to the truth of that claim, and makes it clear that Hecht was one of the finest poets, not just of his generation, but of the twentieth century.”

Anthony Hecht, now in his eightieth year, has earned a place alongside such poets as W. H. Auden, Robert Frost, and Elizabeth Bishop. Here under one cover are his three most recent collections–The Transparent Man, Flight Among the Tombs, and The Darkness and the Light. The perfect companion to his Collected Earlier Poems (continuously in print since 1990), this book brings the eloquent sound of Hecht’s music to bear on a wide variety of human dramas: from a young woman dying of leukemia to the tangled love affairs of A Midsummer Night’s Dream; from Death as the director of Hollywood films to the unexpected image of Marcel Proust as a figure skater. He glides with a gaining confidence, inscribes Tentative passages, thinks again, backtracks, Comes to a minute point, Then wheels about in widening sweeps and lobes, Large Palmer cursives and smooth entrelacs, Preoccupied, intent On a subtle, long-drawn style and pliant script Incised with twin steel blades and qualified Perfectly to express, With arms flung wide or gloved hands firmly gripped Behind his back, attentively, clear-eyed, A glancing happiness.

Divided into two parts, this new book contains a collaboration with the artist Leonard Baskin called "Presumptions of Death, " reproducing 22 masterly wood engravings and all of Hecht's other poems written since his last book, The Transparent Man.

THE VENETIAN VESPERS (1979) “In its clear-eyed mercy toward human weakness, Anthony Hecht’s poetry goes from strength to strength. The Venetian Vespers is at once an intense corroboration and an ample extension of his subtle, supple talents. Nothing humane is alien to him… There is a handful of short poems that are fostered alike by beauty and fear. But it is the four long poems that confirm Hecht as a poet of the widest apprehensions and comprehension, and this without the gigantism that so haunts American poetic ambition.” —Christopher Ricks, The New York Times Book Review MILLIONS OF STRANGE SHADOWS (1977) “The high artistry of Anthony Hecht has been to nurture his own gift, and to work at it with the deliberateness and steadiness that it deserved from him... Emotional intensity and formal power were combined in Hecht from his beginnings… The thirty poems in Millions of Strange Shadows are all fully written, but several truly are the best he has published and are very likely to endure. The very best is ‘Green: An Epistle,’ which is a lesson in profound, controlled subjectivity and self-revelation, an exact antithesis to the opaque squalors of ‘confessional’ poets. Almost equally remarkable is ‘Coming Home,’ in which the poet John Clare receives a deeper interpretation than any critic has afforded him…” —Harold Bloom, The New Republic THE HARD HOURS (1968) “Anthony Hecht’s first volume of poems, A Summoning of Stones, established him as one of the most accomplished of his extremely accomplished generation. His work was remarkable enough for its classical poise and elegance, but it also had a weight which set it apart. Since then his poetry has come clear in a direction nobody could have predicted…He did the most difficult thing of all: this most fastidious and elegant of poets shed every artifice and began to write with absolute raw simplicity and directness. Only a poet with an immense burden of something to say ever dreams of taking this course, and only an inspired artist can bring it off. The result here has been some of the most powerful and unforgettable poems at present being written in America,” —Ted Hughes

Nominee for National Book Critics Circle Award, this volume contains many delights and some long poems. There is a European feel about Hecht's verse that is striking, partly due to the richness of the classical allusions, and partly due to the way Hecht handles autobiography. Poetry in the 20th century is very much shaped by the individualism of our times, but poetry that is in essence confessional, eccentric, and overly particularized quickly becomes tiresome. Hecht often avoids this pitfall by realizing his own insight through cultural rather than personal metaphor, and this allows his words and imagery to remain fresh and resonant. ISBN 0-394-58506-2: $18.95.

In these essays, acclaimed poet and critic Anthony Hecht explores the ways in which poetry can be read and the many pleasures it affords. Ranging from Shakespeare's sonnets to Eliot, Frost, and Simic, Melodies Unheard offers profound insight into poetic form, meter, rhyme, and meaning--into the mysteries of poetry itself. Anthony Hecht's vast knowledge of literature and his gift for mesmerizing argument are both amply present in Melodies Unheard. Whether defending the sestina against accusations of boredom and dolefulness or examining the structure of Shakespeare's sonnets or unraveling some of the complexity of Moby-Dick, these essays are models of civility, candor, and grace. I know of no other poet, certainly none of Anthony Hecht's stature, who sheds as much light on the intricacies and hidden designs of poems and who does it with such style.--Mark Strand Anthony Hecht declares himself 'a poet first and only secondarily a critic, ' but Melodies Unheard proves again that he is a master in both trades. His discourse on such subjects as rhyme, the sestina, and 'the music of forms' is both scholarly and delightful; his articles on individual poets are finely done; and best of al