A comprehensive guide to writing or reading poetry, by “one of our most lucid and important critics” (American Academy of Arts and Letters). Why does a great lyric poem ask to be reread, even after we know it by heart? In How Poems Get Made, acclaimed poet and critic James Longenbach answers this question by discussing a wide range of exemplary poems, from Shakespeare through Blake, Dickinson, and Moore, to a variety of poets making poems today. In each chapter of How Poems Get Made, Longenbach examines a specific aspect of the poetic medium—including Diction, Syntax, Rhythm, Echo, Figure, and Tone—and shows how a poet may manipulate these most basic elements to bring a poem to life.

Imagine a house that's furnished with anything you could needùevery person you've loved, living or dead, every story you've told, mythic or mundane. The Iron Key unlocks the door to this house. Names, dates, addresses, receipts, books, paintingsùthese elegantly composed poems are cluttered with the accumulated treasures of a lifetime. But a painful acknowledgment of loss fuels this dream of abundance, and to embrace deprivation is to feel the promise of everything still to come: the poem to be written, the friend to be mourned, the child to be loved. Throughout The Iron Key the city of Venice stands for this promise, at once fragile and magnificent, but the poems themselves take place in upstate New York or suburban New Jersey, in the dead of winter and in a country perpetually at war. Again and again, out of unpropitious circumstances, The Iron Key brings us to the oldest threshold, the door that opens onto the future. We cannot know that beauty will survive there, but the poems themselves are proof that we will continue to be overwhelmed by the beautiful. --Book Jacket.

A National Book Critics Circle Award Finalist Earthling confronts our deepest fears in clear and haunting language, from "a poet of extraordinary gifts" (American Academy of Arts and Letters). "Earthling" is one of the oldest words in the English language, our original word for ploughman, a keeper of the earth. In poems simultaneously ordinary and otherworldly, James Longenbach traces the life of a modern-day earthling as he looks squarely at his little patch of earth and at the vast emptiness of interstellar space. Beginning with the death of the earthling’s mother and ending with a confrontation with his own mortality, the poems within Earthling resist complaint or agitation. In them, the real and the imagined, the material and the allegorical, intersect at shifting angles and provide fresh perspectives and lasting consolation.

A poet and scholar explores how lyric poetry works by examining the lives and works of thirteen twentieth- and twenty-first–century American poets and musicians. For more than a century, American poets have heeded the siren song of Ezra Pound’s make it new, staking a claim for the next poem on the supposed obsolescence of the last. But great poems are forever rehearsing their own present, inviting readers into a nowness that makes itself new each time we read or reread them. They create the present moment as we enter it, their language relying on the long history of lyric poetry while at the same time creating a feeling of unprecedented experience. In poet and critic James Longenbach’s title, the word “now” does double duty, evoking both a lyric sense of the present and twentieth-century writers’ assertion of “nowness” as they crafted their poetry in the wake of Modernism. Longenbach examines the fruitfulness of poetic repetition and indecision, of naming and renaming, and of the evolving search for newness in the construction, history, and life of lyrics. Looking to the work of thirteen poets, from Marianne Moore and T. S. Eliot through George Oppen and Jorie Graham to Carl Phillips and Sally Keith, and several musicians, including Virgil Thomson and Patti Smith, he shows how immediacy is constructed through language. Longenbach also considers the life and times of these poets, taking a close look at the syntax and diction of poetry, and offers an original look at the nowness of lyrics. Praise for The Lyric Now “Longenbach is a lyric poet, practical critic, and literary scholar. These are distinct roles, and there are vanishingly few people good, let alone so distinguished, in all three. In The Lyric Now, he brings a career’s worth of wisdom to bear while writing with élan and urgency for both the specialist and nonspecialist reader. No one is better at explaining how poems work, how literary history happens, and why we should care about both.” —Langdon Hammer, author of James Merrill: Life and Art “[Longenbach] does prove—with stylistic wit and epigrammatic verve—that close reading can be a literary art in its own right. . . . Taken together, these essays . . . make an implicit case for the importance of syntax to lyric poetry. This is particularly evident in Longenbach’s reading of Moore’s “The Octopus,” and in masterful readings of poems by Jorie Graham and Carl Philips. When he contrasts Patti Smith’s prose and John Ashbery’s poetry with the songs of Bob Dylan, his skill as an expert close reader proves his point about the power of syntax. This volume proves a simple yet fundamental truth: “a lyric works particularly, sentence by sentence, line by line”. . . . Summing Up: Highly recommended.” —Choice

With passion, wit, and good common sense, the celebrated poet Mary Oliver tells of the basic ways a poem is built-meter and rhyme, form and diction, sound and sense. Drawing on poems from Robert Frost, Elizabeth Bishop, and others, Oliver imparts an extraordinary amount of information in a remarkably short space. "Stunning" (Los Angeles Times). Index.

In lucid, elegant poems, Forever contemplates love against the pressing question of mortality after a diagnosis of cancer. Praised for a voice with "the crystalline, transformative, pure pitch of a lyric poet" (Ilya Kaminsky), James Longenbach explores a life lived with the knowledge of its end in his sixth collection. These luminous, lyrical poems pose a question: Why did this poet once live as if he would live forever? And what does it mean to know that we will not? Forever explores the meaning of love, from its discovery in the first poem, "Two People," to its maintenance in the last, "Forever." In between, the volume explores the precariously imminent demise of all that we love—the finite lives of other people, the mortal beauty of Venice—all thrown into urgent relief by the poet’s own cancer diagnosis. Evoking "the vivid dailiness of domestic life…and the specificity and poignance" of memories, "these lyrics are intimately personal, achingly autobiographical" (Langdon Hammer, American Scholar). Forthright, moving, and wry, the poems in Forever look back gratefully—excitedly—on a lifetime of self-making and self-shattering events.

In this unique poetry anthology, 100 grown men - bestselling authors, poets laureate, actors, producers and other prominent figures from the arts, sciences and politics, share the poems that have moved them to tears.