The Value of Poetry shows how and why poetry matters in the contemporary world twenty-first century readers.

"Poems spurn skimming. They entreat our full attention. A distracted age such as ours, then, seems an unpropitious time for poetry. Dense, oblique, relatively lengthy, or difficult poems - and at least one of this quartet of terms fits many of the poems in the modern and contemporary canon - ask to be read closely, carefully, and often without an instrumental or definite end in mind, one point that differentiates poems - and literature more broadly - from other categories of 'difficult' texts, such as legal contracts, philosophical treatises, or scientific papers. Some poems require so many readings and so much study before anything like sense breaks through that even the most dedicated reader may find herself asking, 'is this worth the effort?'"--

"The novelist and poet Ben Lerner argues that our hatred of poetry is ultimately a sign of its nagging relevance"--

“This is a book for anyone,” Glyn Maxwell declares of On Poetry. A guide to the writing of poetry and a defense of the art, it will be especially prized by writers and readers who wish to understand why and how poetic technique matters. When Maxwell states, “With rhyme what matters is the distance between rhymes” or “the line-break is punctuation,” he compresses into simple, memorable phrases a great deal of practical wisdom. In seven chapters whose weird, gnomic titles announce the singularity of the book—“White,” “Black,” “Form,” “Pulse,” “Chime,” “Space,” and “Time”—the poet explores his belief that the greatest verse arises from a harmony of mind and body, and that poetic forms originate in human necessities: breath, heartbeat, footstep, posture. “The sound of form in poetry descended from song, molded by breath, is the sound of that creature yearning to leave a mark. The meter says tick-tock. The rhyme says remember. The whiteness says alone,” Maxwell writes. To illustrate his argument, he draws upon personal touchstones such as Emily Dickinson and Robert Frost. An experienced teacher, Maxwell also takes us inside the world of the creative writing class, where we learn from the experiences of four aspiring poets. “You master form you master time,” Maxwell says. In this guide to the most ancient and sublime of the realms of literature, Maxwell shares his mastery with us.

"David Orr is no starry-eyed cheerleader for contemporary poetry; Orr’s a critic, and a good one. . . . Beautiful & Pointless is a clear-eyed, opinionated, and idiosyncratic guide to a vibrant but endangered art form, essential reading for anyone who loves poetry, and also for those of us who mostly just admire it from afar." —Tom Perrotta Award-winning New York Times Book Review poetry columnist David Orr delivers an engaging, amusing, and stimulating tour through the world of poetry. With echoes of Francine Prose’s Reading Like a Writer, Orr’s Beautiful & Pointless offers a smart and funny approach to appreciating an art form that many find difficult to embrace.

We wake and sleep every day. Growing up, as we must. Debut poetry chapbook Can You Catch My Flow? captures the everyday ordinary events of the human condition in poetic snapshots. No matter the walks of life, the reader is sure to find themselves within the lines. Lidy's poetry reveals an understanding that deep meaning can be felt in the details. Her poetry portrays a range of topics from the pressures to conform to societal expectations, friendship, monarch butterflies, partying, insomnia, and the quest for peace...just to name a few. Enjoy!- Shelah L. Maul From emerging from our cocoons, everything we have become is forever ingrained upon us. And hopeful for the next destination, we flap our wings and await the storm. -excerpt, Arrival of the Monarch

Daniel Brown’s Subjects in Poetry is the first book to examine the broad and imposing topic of poetic subject matter, probing both what poems are about and how that influences the way they're made. It comprises one poet’s attempt to plumb the nature of his art, to ask how the selection of material remains a crucial yet unexplored area of poetic craft, and to suggest the vast range of possible subjects for poems. The book begins by venturing a novel definition of “subject,” derived from Robert Frost’s dictum that poetry constitutes an “art of having something to say.” Brown posits that a poem can say something by expressing, evoking, or addressing. He considers each of these ways-of-saying in turn, first defining it and then looking at poems in which it predominates. Brown next makes a wide-ranging case for the value of subjects to poems, poets, and the art of poetry, especially at a time when many poems appear subjectless. He concludes the book with practical guidance on finding subjects, improving them, and realizing their potential. Replete with thoughtful readings of poems both classic and contemporary, Subjects in Poetry should appeal to poets across all levels and readers interested in understanding the art and practice of poetry.