Conceptions and practices of poetry change not only from time to time and from place to place but also from poet to poet. This has never been more the case than in recent years. Gerald Bruns’s magisterial What Are Poets For? explores typographical experiments that distribute letters randomly across a printed page, sound tracks made of vocal and buccal noises, and holographic poems that recompose themselves as one travels through their digital space. Bruns surveys one-word poems, found texts, and book-length assemblies of disconnected phrases; he even includes descriptions of poems that no one could possibly write, but which are no less interesting (or no less poetic) for all of that. The purpose of the book is to illuminate this strange poetic landscape, spotlighting and describing such oddities as they appear, anomalies that most contemporary poetry criticism ignores. Naturally this breadth raises numerous philosophical questions that Bruns also addresses—for example, whether poetry should be responsible (semantically, ethically, politically) to anything outside itself, whether it can be reduced to categories, distinctions, and the rule of identity, and whether a particular poem can seem odd or strange when everything is an anomaly. Perhaps our task is simply to learn, like anthropologists, how to inhabit such an anarchic world. The poets taken up for study are among the most important and innovative in the late twentieth and early twenty-first centuries: John Ashbery, Charles Bernstein, Paul Celan, Kenneth Goldsmith, Lyn Hejinian, Susan Howe, Karen Mac Cormack, Steve McCaffery, John Matthias, J. H. Prynne, and Tom Raworth.What Are Poets For? is nothing less than a lucid, detailed study of some of the most intractable writings in contemporary poetry.

Although readers of prose fiction sometimes find descriptive passages superfluous or boring, description itself is often the most important aspect of a poem. This book examines how a variety of contemporary poets use description in their work. Description has been the great burden of poetry. How do poets see the world? How do they look at it? What do they look for? Is description an end in itself, or a means of expressing desire? Ezra Pound demanded that a poem should represent the external world as objectively and directly as possible, and William Butler Yeats, in his introduction to The Oxford Book of Modern Verse (1936), said that he and his generation were rebelling against, inter alia, "irrelevant descriptions of nature" in the work of their predecessors. The poets in this book, however, who are distinct in many ways from one another, all observe the external world of nature or the reflected world of art, and make relevant poems out of their observations. This study deals with the crisp, elegant work of Charles Tomlinson, the swirling baroque poetry of Amy Clampitt, the metaphysical meditations of Charles Wright from a position in his backyard, the weather reports and landscapes of John Ashbery, and the "new way of looking" that Jorie Graham proposes to explore in her increasingly fragmented poems. All of these poets, plus others (Gary Snyder, Theodore Weiss, Irving Feldman, Richard Howard) who are dealt with more briefly, attend to what Wallace Stevens, in a memorable phrase, calls "the way things look each day." The ordinariness of daily reality is the beginning of the poets' own idiosyncratic, indeed unique, visions and styles.

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

Essential reading for students and anyone interested in the great philosophers, this book opened up appreciation of Martin Heidegger beyond the confines of philosophy to the reaches of poetry. In Heidegger's thinking, poetry is not a mere amusement or form of culture but a force that opens up the realm of truth and brings man to the measure of his being and his world.

What is more direct and intimate than one-to-one conversation? Here two forces in American poetry, the Kenyon Review and the University of Arkansas Press, bring together discussions between one of America's leading poets and editors, David Baker, and nine of the most exciting poets of our day. The poets, who represent a wide array of vocations and aesthetic positions, open up about their writing processes, their reading and education, their hopes for and discontents with the contemporary scene, and much more, treating readers to a view of the range and capacity of contemporary American poetry.

Audisee® eBooks with Audio combine professional narration and text highlighting for an engaging read aloud experience! Two poets, one white and one black, explore race and childhood in this must-have collection tailored to provoke thought and conversation. How can Irene and Charles work together on their fifth grade poetry project? They don't know each other . . . and they're not sure they want to. Irene Latham, who is white, and Charles Waters, who is Black, use this fictional setup to delve into different experiences of race in a relatable way, exploring such topics as hair, hobbies, and family dinners. Accompanied by artwork from acclaimed illustrators Sean Qualls and Selina Alko (of The Case for Loving: The Fight for Interracial Marriage), this remarkable collaboration invites readers of all ages to join the dialogue by putting their own words to their experiences.

Winner 2017 Benjamin Franklin GOLD AWARD for POETRY. Winner 2017 MONTAIGNE MEDAL for most thought-provoking books. Major tour de force traces arc of one of millions of American immigrant families, survivors of WWII. Raw, eloquent, nuanced, intimate--illuminates the many faces of war, toll taken on innocent civilians, how trauma echoes down through