"Richard Hugo's free-swinging, go-for-it remarks on poetry and the teaching of poetry are exactly what are needed in classrooms and in the world."—James Dickey Richard Hugo was that rare phenomenon of American letters—a distinguished poet who was also an inspiring teacher. The Triggering Town is Hugo's now-classic collection of lectures, essays, and reflections, all "directed toward helping with that silly, absurd, maddening, futile, enormously rewarding activity: writing poems." Anyone, from the beginning poet to the mature writer to the lover of literature, will benefit greatly from Hugo's sayd, playful, profound insights and advice concerning the mysteries of literary creation.

The historical writings that helped shape our current understandings of poetry. Toward the Open Field brings together many of the great prose pieces—essays, letters, declarations, defenses, manifestos, and apologia—by the most influential European and American poets from the Romantics to the Symbolists, Surrealists, and Moderns. Hitherto uncollected and all in English, the work in this anthology follows the changing notions of what a poem is, what a poet is, and why we read a poem, tracing the development of stylistic and ideological strategies that have spawned our current, conflicting understandings of verse. The book begins with Wordsworth's 1802 "Preface" to the Lyrical Ballads and proceeds through 150 years of English language tradition, including the European poetries which greatly influenced it. These prose works allow the reader to share one of the great extended conversations by poets about poetry during a dynamic period of literary experimentation. Includes work by Charles Baudelaire, André Breton, Aimé Césaire, Samuel Taylor Coleridge, Emily Dickinson, T.S. Eliot, Ralph Waldo Emerson, Gerard Manley Hopkins, Langston Hughes, John Keats, Federico Garcia Lorca, Mina Loy, Stéphane Mallarmé, Marianne Moore, Charles Olson, Ezra Pound, Arthur Rimbaud, Percy Bysshe Shelley, Gertrude Stein, Wallace Stevens, Paul Valéry, Walt Whitman, William Carlos Williams, William Wordsworth and Louis Zukofsky.

“This may be an anthology for anyone who’s been broken-hearted, but it’s not an anthology for anyone who’s faint-hearted . . . Superb” (Entertainment Weekly). It’s Not You, It’s Me is a poetry anthology—at once amusing, angry, sweet, and bitter—that gives a fresh voice to the all-too-familiar experience of ending a relationship. Williams has compiled over ninety poems by contemporary writers including Denis Johnson and Kim Addonizio, as well as former poets laureate Robert Hass, Maxine Kumin, and Mark Strand, whose comforting and healing words dragged him out of his breakup-induced depression. We have all been through a breakup, but these poems have created an art out of heartbreak: sharing their wisdom on the pain of the flip side of romance, and poking fun at the mess we become at the mercy of love. “This collection . . . gathers many of the poems that have helped Williams (a poet himself, with two books to his name) through his rooms of anguish over the years. Happily, they’re pretty great.” —The New York Times “In It’s Not You, It’s Me: The Poetry of Breakup today’s big contemporary poets make breaking up and even divorce sound painfully beautiful. You’ll want to read with a box of tissues, a pint of chocolate ice cream and sappy love songs playing in the background.” —Lemon Drop Literary

A collection of essays by contemporary American poets on the subject of their art

Richard Hugo, whom Carolyn Kizer has called” one of the most passionate, energetic, and honest poets living,” here offers an extraordinary collection of new poems, each one a “letter” or a “dream.” Both letters and dreams are special manifestations of alone-ness; Hugo’s special senses of alone-ness, of places, and of other people are the forces behind his distinctively American and increasingly authoritative poetic voice. Each letter is written from a specific place that Hugo has made his own (a “triggering town,” as he has called it elsewhere) to a friend, a fellow poet, an old love. We read over the poet’s shoulder as the town triggers the imagination, the friendship is re-opened, the poet’s selfhood is explored and illuminated. The “dreams” turn up unexpectedly (as dreams do) among the letters; their haunting images give further depth to the poet’s exploration. Are we overhearing them? Who is the “you” that dreams?

Recently appointed as the new U. S. Poet Laureate, Ted Kooser has been writing and publishing poetry for more than forty years. In the pages of The Poetry Home Repair Manual, Kooser brings those decades of experience to bear. Here are tools and insights, the instructions (and warnings against instructions) that poets—aspiring or practicing—can use to hone their craft, perhaps into art. Using examples from his own rich literary oeuvre and from the work of a number of successful contemporary poets, the author schools us in the critical relationship between poet and reader, which is fundamental to what Kooser believes is poetry’s ultimate purpose: to reach other people and touch their hearts. Much more than a guidebook to writing and revising poems, this manual has all the comforts and merits of a long and enlightening conversation with a wise and patient old friend—a friend who is willing to share everything he’s learned about the art he’s spent a lifetime learning to execute so well.

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