As a preeminent modernist poet and translator of the classics, John Frederick Nims's work is an elegant fusion of contemporary sensibility with formalist experimentation. But form, for this writer of meditative verse, is only a helpmeet to the quintessential content of the poem, the meaning that gives it value in our time and, one hopes, beyond. Concerning the formal elements of poetry, Nims comments: "One might say they are like the scaffolding at a construction site, meant to be thrown away and not regarded once the building is completed." In his newest collection, The Six-Cornered Snowflake, his poems range through an astonishing variety of complex structures: the shaped-poem of the title work, the sestina, the vocal "Pindar's lattice" of the "First Olympian Ode," the nervous galliambics of "Catullus 63"--just to name a few. As William Pritchard, writing for The New York Times Book Review, so aptly observed, "Mr. Nims has consistently had the nerve to be interested in what language could be made to do, rather than what the psyche would be made to reveal."

"In 1611, Kepler wrote an essay wondering why snowflakes always had perfect, sixfold symmetry. It's a simple enough question, but one that no one had ever asked before and one that couldn't actually be answered for another three centuries. Still, in trying to work out an answer, Kepler raised some fascinating questions about physics, math, and biology, and now you can watch in wonder as a great scientific genius unleashes the full force of his intellect on a seemingly trivial question, complete with new illustrations and essays to put it all in perspective."—io9, from their list "10 Amazing Science Books That Reveal The Wonders Of The Universe" When snow began to fall while he was walking across the Charles Bridge in Prague late in 1610, the eminent astronomer Johannes Kepler asked himself the following question: Why do snowflakes, when they first fall, and before they are entangled into larger clumps, always come down with six corners and with six radii tufted like feathers? In his effort to answer this charming and never-before-asked question about snowflakes, Kepler delves into the nature of beehives, peapods, pomegranates, five-petaled flowers, the spiral shape of the snail's shell, and the formative power of nature itself. While he did not answer his original question—it remained a mystery for another three hundred years—he did find an occasion for deep and playful thought. "A most suitable book for any and all during the winter and holiday seasons is a reissue of a holiday present by the great mathematician and astronomer Johannes Kepler…Even the endnotes in this wonderful little book are interesting and educationally fun to read."—Jay Pasachoff, The Key Reporter —New English translation by Jacques Bromberg —Latin text on facing pages —An essay, "The Delights of a Roving Mind" by Owen Gingerich —An essay, "On The Six-Cornered Snowflake" by Guillermo Bleichmar —Snowflake illustrations by Capi Corrales Rodriganez —John Frederick Nims' poem "The Six-Cornered Snowflake" —Notes by Jacques Bromberg and Guillermo Bleichmar

Here are the eleven remarkable stories of Tennessee Williams's first volume of short fiction, originally published in 1948 and reissued as a paperbook in response to an increasingly insistent public demand. It was this book which established Williams as a short story writer of the same stature and interest he had shown as a dramatist. Each story has qualities that make it memorable. In "One Arm" we live through his last hours and memories with a 'rough trade" ex-prizefighter who is awaiting execution for murder. "The Field of Blue Children" explores some of the strange ways of the human heart in love, "Portrait of a Girl in Glass" is a luminous and nostalgic recollection of characters who figure in "The Glass Menagerie," while "Desire and the Black Masseur" is an excursion into the logic of the macabre. "The Yellow Bird," well known through the author's recorded reading of it, which tells of a minister's daughter who found a particularly violent but satisfactory way of expiating a load of inherited puritan guilt, may well become part of American mythology.

The poets are presented in ample selections so that each may be heard clearly, and biographical and bibliographical notes invite further investigation. From cover to cover, themes ebb and flow and boundaries blur as verses converse in a harmony unusual for the twenty-first century."--BOOK JACKET.

"I look for new forms and possibilities," writes Jerome Rothenberg in Poems for the Game of Silence, "but also for ways of presenting in my own language the oldest possibilities of poetry going back to the primitive and archaic cultures that have been opening up to us over the last hundred years." It is this combined sense of mystery and authenticity, in words and new structures that approach archetypal chant, that informs his poetry. First published in 1971, this volume brings together a selection of Rothenberg's early groundbreaking work: a wide range of experimental forms, both written and oral, set beside renderings of Native American, Australian, and other primitive songs, as well as the ancestral poems exploring his own origins that look forward to his later poetry.

Bertholf's selections are so attuned to the essentials of Duncan's writing that even those familiar with the whole body of Duncan's work will become more sensitized to his recurring imagery and consistency of thought pattern throughout this collection. --Publishers Weekly.