Marie Spartali Stillman was one of a small number of professional female artists working in the second half of the 19th century. She was an important presence in the Victorian art world of her time and closely affiliated with members of the Pre-Raphaelite circle. 'Poetry in Beauty', the first retrospective of Spartali Stillman's work, will showcase approximately 50 works by the artist. Spartali Stillman's style reflects her British Pre-Raphaelite training as well as the influence of Renaissance art, derived from the many years she lived and worked in Italy. Works from public and private collections in the United States, United Kingdom, and Canada, many of which have not been exhibited since Spartali Stillman's lifetime, will also be on view.

The Beauty, an incandescent new collection from one of American poetry’s most distinctive and essential voices, opens with a series of dappled, ranging “My” poems—“My Skeleton,” “My Corkboard,” “My Species,” “My Weather”—using materials sometimes familiar, sometimes unexpected, to explore the magnitude, singularity, and permeability of our shared existence. With a pen faithful to the actual yet dipped at times in the ink of the surreal, Hirshfield considers the inner and outer worlds we live in yet are not confined by; reflecting on advice given her long ago—to avoid the word “or”—she concludes, “Now I too am sixty. / There was no other life.” Hirshfield’s lines cut, as always, directly to the heart of human experience. Her robust affirmation of choice even amid inevitability, her tender consciousness of the unjudging beauty of what exists, her abiding contemplation of our moral, societal, and biological intertwinings, sustain poems that tune and retune the keys of a life. For this poet, “Zero Plus Anything Is a World.” Hirshfield’s riddling recipes for that world (“add salt to hunger”; “add time to trees”) offer a profoundly altered understanding of our lives’ losses and additions, and of the small and larger beauties we so often miss.

Chosen by the American Library Association as a 2012 Notable Book in Poetry. Beauty is a Verb is a ground-breaking anthology of disability poetry, essays on disability, and writings on the poetics of both. Crip Poetry. Disability Poetry. Poems with Disabilities. This is where poetry and disability intersect, overlap, collide and make peace. " BEAUTY IS A VERB] is going to be one of the defining collections of the 21st century...the discourse between ability, identity & poetry will never be the same." --Ron Silliman, author of In The American Tree "This powerful anthology succeeds at intimately showing...disability through the lenses of poetry. What emerges from the book as a whole is a stunningly diverse array of conceptions of self and other."--Publishers Weekly, starred review From "Beauty and Variations" by Kenny Fries: How else can I quench this thirst? My lips travel down your spine, drink the smoothness of your skin. I am searching for the core: What is beautiful? Who decides? Can the laws of nature be defied? Your body tells me: come close. But beauty distances even as it draws me near. What does my body want from yours? My twisted legs around your neck. You bend me back. Even though you can't give the bones at birth I wasn't given, I let you deep inside. You give me--what? Peeling back my skin, you expose my missing bones. And my heart, long before you came, just as broken. I don't know who to blame. So each night, naked on the bed, my body doesn't want repair, but longs for innocence. If innocent, despite the flaws I wear, I am beautiful. Sheila Black is a poet and children's book writer. In 2012, Poet Laureate Philip Levine chose her as a recipient of the Witter Bynner Fellowship. Disability activist Jennifer Bartlett is a poet and critic with roots in the Language school. Michael Northen is a poet and the editor of Wordgathering: A Journal of Poetics and Disability.

A book of poetic essays written in English, Kahlil Gibran's The Prophet is full of religious inspirations. With the twelve illustrations drawn by the author himself, the book took more than eleven years to be formulated and perfected and is Gibran's best-known work. It represents the height of his literary career as he came to be noted as ‘the Bard of Washington Street.’ Captivating and vivified with feeling, The Prophet has been translated into forty languages throughout the world, and is considered the most widely read book of the twentieth century. Its first edition of 1300 copies sold out within a month.

Joseph J. Capista’s Intrusive Beauty reckons with reluctant ecstasy and the improbable forms that beauty assumes. In this powerful debut, Capista traverses earth and ether to yield poems that elucidate the space between one’s life and one’s livelihood. While its landscapes range from back-alley Baltimore to the Bitterroot Valley, this book remains close to unbidden beauty and its capacity to sway one’s vision of the world. Whether a young father who won’t lower the volume on the radio or a Victorian farm boy tasked with scaring birds from seed-sown furrows, the inhabitants of Intrusive Beauty are witness to the startling ease with which one’s assorted lives come in time to comprise a singular life. Mortality, love, duty, desire, an acute longing for transcendence: here, old themes resound anew as they’re uttered in a multiplicity of forms and means, holding fast always to the heart.

What does mathematics have to do with poetry? Seemingly, nothing. Mathematics deals with abstractions while poetry with emotions. And yet, the two share something essential: Beauty. "Euclid alone has looked on beauty bare," says the title of a poem by Edna St. Vincent Millay.A winner of the CHOICE Outstanding Academic Title 2015, "Mathematics, Poetry and Beauty" tries to solve the secret of the similarity between the two domains. It tries to explain how a mathematical argument and a poem can move us in the same way. Mathematical and poetic techniques are compared, with the aim of showing how they evoke the same sense of beauty.The reader may find that, as Bertrand Russell said, "Mathematics, rightly viewed, possesses not only truth, but supreme beauty -- a beauty hold and austere, like that of sculpture ... sublimely pure, and capable of a stern perfection such as only the greatest art can show."