NON-SONNETS placesprocrastination-trails on centre-stage. Split into 14-line segments, it captures and re-pastes the random, Google Search history results generated during periods in which the author had (unsuccessfully) committed to attempting to write a "traditional" sonnet. Thus, it becomes both a visible record of an unwritten sonnet, and a sonnet-cycle in itself: encapsulating the classical form's frustrations in construction; concerns and inconsistencies; flights-of-fancy; and the general, Shakespearean unrequitedness of everyday life.

154 contemporary poets offer their own startling and imaginative versions of Shakespeare's sonnets

'This Complete Sonnets and Poems is a distinguished addition to a distinguished series. It will repay continuing study, and act as a valuable point of reference for readers concerned more generally with Shakespeare's art and language. Colin Burrow's good sense, tact and balance as aneditor are deeply impressive.' -H. R. Woudhuysen, Times Literary SupplementThis is the only fully annotated and modernized edition to bring together Shakespeare's Sonnets as well as all his poems (including those attributed to him after his death). A full introduction discusses his development as a poet, and how the poems relate to his plays; detailed notes explain the language and allusions in clear modern English. While accessibly written, the edition takes account of the most recent scholarship and criticism.

A Goodreads Choice Award nominee The Bard meets the Backstreet Boys in this collection of 100 classic pop songs reimagined as Shakespearean sonnets This hilarious book of poetry transforms disco staples, classic rock anthems, and recent chart-toppers into hilarious iambic pentameter! All your favorite songs are here, including hits by Jay-Z, Johnny Cash, Katy Perry, Michael Jackson, Talking Heads, and many others. An entertaining journey into the world of Elizabethan poetry, and based on the immensely popular Tumblr of the same name, Pop Sonnets is the perfect gift for Shakespeare fans and music lovers alike. “Ever wonder what Taylor Swift and Beyoncé would sound like in iambic pentameter? We hadn’t either, but now we can't get enough.” —TIME

Out of print for decades, this is the legendary American poet's tribute to Federico García Lorca, including translations of the great Spanish poet's work. Jack Spicer was one of the outstanding figures of the mid-twentieth-century San Francisco Renaissance, bent on fashioning a visionary new lyricism. Spicer called his poems “dictations,” and they combine outrageous humor, acid intelligence, brilliant wordplay, and sheer desolation to incandescent effect. “Frankly I was quite surprised when Mr. Spicer asked me to write an introduction to this volume,” writes the dead Federico García Lorca at the start of After Lorca, Spicer’s first book and one that, since it originally appeared in 1957, has exerted a powerful influence on poetry in America and abroad. “It must be made clear at the start that these poems are not translations,” Lorca continues. “In even the most literal of them Mr. Spicer seems to derive pleasure in inserting or substituting one or two words which completely change the mood and often the meaning of the poem as I had written it. More often he takes one of my poems and adjoins to half of it another of his own, giving rather the effect of an unwilling centaur. (Modesty forbids me to speculate which end of the animal is mine.) Finally there are an almost equal number of poems that I did not write at all (one supposes that they must be his).” What so puzzles Lorca continues to delight and inspire readers of poetry today.

The Self and the Sonnet is an interdisciplinary study which considers the sonnet, a near eight hundred year old form, and looks at the historical meanderings and the popularity of the form among cultures that are far removed from the location of its origin in Italy. The book tracks the notion of the self from its Platonic beginnings to the Postmodern, using insights from Charles Taylor, Brian Morris and Calvin O. Schrag so as to work out a model of the self. Jan Patočka’s phenomenological notions of the self and Chaos Theory are important cohesive elements in the composition of this model. A limit point in Mathematics is a point that is not in the set around which all the points cluster. The book looks at the self from the limit points of the body, mind, world and language. It analyzes sonnets which predominantly show a tendency to one of these limit points. However, it keeps in mind the other limit points as possibilities of a comprehensive analysis. The motivation for this body of research comes primarily from the notion of the sonnet being a form that initially exists along with the epic as canonical writers of literary epics also write sonnets. The historic and narrative moment of self in sonnet form calls for a questioning of both the self and the sonnet. The book tries to address the questions: ‘What changes in the notion of self prompt the origin and persistence of the sonnet across cultures?’ and ‘Why and how is this form compatible with a self that is postmodern and global?’ The Anglo-American sonnet, for the most, is addressed but cultures and their attendant forms are also addressed when considering the sonnet. The Arabic zajal, the Persian ghazal, the Chinese sonnet and the Korean Sijo-sonnet are forms that are touched upon along with the Indian postcolonial versions like the forms of the sonnet in Modern Indian Languages such as Bangla, Gujarati and Marathi.

In partnerships with the website sonnetsofshakespeare.com, which contains video recordings of the author reciting each sonnet, The Wit and Wisdom of Shakespeare thoroughly demystifies 32 of Shakespeare’s sonnets. Each is presented and illuminated by a short Essence Statement, clarified in a Diagram for Greater Understanding, and described in a unique and entertaining narrative description. Embedded within the descriptions are tidbits of interesting information about Shakespeare, his associates, and cultural circumstances of the time—along with writing techniques and word play in which Shakespeare indulged, and observations from Shakespeare scholars.