Marina Tsvetaeva is acknowledged today as one of the twentieth century's greatest poets, a masterful innovator who produced a remarkable body of work before her untimely death in 1941.

As the visual representation of an essentially oral text, Sylvia Huot points out, the medieval illuminated manuscript has a theatrical, performative quality. She perceives the tension between implied oral performance and real visual artifact as a fundamental aspect of thirteenth- and fourteenth-century poetics. In this generously illustrated volume, Huot examines manuscript texts both from the performance-oriented lyric tradition of chanson courtoise, or courtly love lyric, and from the self-consciously literary tradition of Old French narrative poetry. She demonstrates that the evolution of the lyrical romance and dit, narrative poems which incorporate thematic and rhetorical elements of the lyric, was responsible for a progressive redefinition of lyric poetry as a written medium and the emergence of an explicitly written literary tradition uniting lyric and narrative poetics. Huot first investigates the nature of the vernacular book in the thirteenth and fourteenth centuries, analyzing organization, page layout, rubrication, and illumination in a series of manuscripts. She then describes the relationship between poetics and manuscript format in specific texts, including works by widely read medieval authors such as Guillaume de Lorris, Jean de Meun, and Guillaume de Machaut, as well as by lesser-known writers including Nicole de Margival and Watriquet de Couvin. Huot focuses on the writers' characteristic modifications of lyric poetics; their use of writing and performance as theme; their treatment of the poet as singer or writer; and of the lady as implied reader or listener; and the ways in which these features of the text were elaborated by scribes and illuminators. Her readings reveal how medieval poets and book-makers conceived their common project, and how they distinguished their respective roles.

A collection of selected poems written by the author from 1979 up to the year 1990. This book not only reflects the authors poetic style as a writer but at the same time his definition of what poetry is as an artistic expression. The poems meanings touch on themes like death, marriage, and love.

WINNER OF THE READ RUSSIA PRIZE 2020 Alexander Pushkin established what we know as Russian literature. This collection includes his strongly personal lyric verse, which springs spontaneously from his everyday life - his numerous loves, his exile, his hectic life in St Petersburg - while the narrative poems here, from exotic Southern tales to comic parodies and fairy tales of enchanted tsars, display his endless ability to surprise. His landmark work The Bronze Horseman, with its ghostly central figure of Peter the Great, holds the meaning of all Russian history. Antony Wood's translations reveal the variety, inventiveness and perfection of Pushkin's verse.

WINNER OF THE FELIX DENNIS PRIZE FOR BEST FIRST COLLECTION SHORTLISTED FOR THE T.S. ELIOT PRIZE FOR POETRY 2020 A startlingly radical and surreal poetic journey, RENDANG takes the reader from West Sumatra to Planet Mongo via Gray's Inn Road, alighting on Indonesian artefacts, gentrification, and citizenry. RENDANG is an urgent comment on what it means to be a person now, a dissection of and love letter to the histories, places, and things that make us. Through adept and complex language play, a ludic voice, and a masterful command of form, Will Harris creates a poetry that charts the ambivalences, difficulties, and voices of our contemporary landscape.

A selection of poems by celebrated poet Gillian Conoley that spans her arresting body of work: from the idiosyncrasies of Texas girlhood toward an encompassing inquiry into spirit and matter, individual and state.

For critics like John Ruskin and Walter Pater, Dante Gabriel Rossetti (1828-1892) was one of the great creative figures of the day, a painter and a poet of major stature. Yeats and the young Pound regarded him as an exemplary figure of solitary dedication to art and beauty. He called the sonnet 'a moment's monument', and his best short lyrics are instants of oppressed emotion cut free of time. In this, as in the suggestiveness of his imagery, he anticipates the French Symbolists. He can also be regarded as the founder of modern verse translation, not only for the freshness of his versions but also for his choice of poets---Villon, Cavalcanti and the young Dante. In this selection, Clive Wilmer has made a personal choice, emphasizing the 'pure poetry' of the lyrics at the expense of the more conventionally Victorian monologues and narratives. He has also included a generous selection from the translations, and provided a biographical and critical introduction.