Recommendations based on "My Wicked Wicked Ways Poems"

The first biography of an American masterThe Songs We Know Best, the first comprehensive biography of the early life of John Ashbery―the winner of nearly every major American literary award―reveals the unusual ways he drew on the details of his youth to populate the poems that made him one of the most original and unpredictable forces of the last century in arts and letters.Drawing on unpublished correspondence, juvenilia, and childhood diaries as well as more than one hundred hours of conversation with the poet, Karin Roffman offers an insightful portrayal of Ashbery during the twenty-eight years that led up to his stunning debut, Some Trees, chosen by W. H. Auden for the 1955 Yale Younger Poets Prize. Roffman shows how Ashbery’s poetry arose from his early lessons both on the family farm and in 1950s New York City―a bohemian existence that teemed with artistic fervor and radical innovations inspired by Dada and surrealism as well as lifelong friendships with painters and writers such as Frank O’Hara, Jane Freilicher, Nell Blaine, Kenneth Koch, James Schuyler, and Willem de Kooning. Ashbery has a reputation for being enigmatic and playfully elusive, but Roffman’s biography reveals his deft mining of his early life for the flint and tinder from which his provocative later poems grew, producing a body of work that he calls “the experience of experience,” an intertwining of life and art in extraordinarily intimate ways.

“Mary Oliver would probably never admit to anything so grandiose as an effort to connect the conscious mind and the heart (that’s what she says poetry can do), but that is exactly what she accomplishes in this stunning little handbook.”—Los Angeles TimesFrom the beloved and acclaimed poet, an ultimate guide to writing and understanding poetry.With passion and wit, Mary Oliver skillfully imparts expertise from her long, celebrated career as a disguised poet. She walks readers through exactly how a poem is built, from meter and rhyme, to form and diction, to sound and sense, drawing on poems by Robert Frost, Elizabeth Bishop, and others. This handbook is an invaluable glimpse into Oliver’s prolific mind—a must-have for all poetry-lovers.

This poem - originally published anonymously, written after Wilde's two year's hard labour in Reading prison - is the tale of a man who has been sentenced to hang for the murder of the woman he loved. The Ballad of Reading Gaol follows the inmate through his final three weeks, as he stares at the sky and silently drinks his beer ration. Heart-wrenching and eye-opening, the ballad also expresses perfectly Wilde's belief that humanity is made up only of offenders, each of us deserving a greater charity for the severity of our crimes.

This collection of forty-eight short pieces on Venice showcase Joseph Brodsky at his very best: witty, intelligent, moving and elegant. Looking at every aspect of Venice, from its waterways, streets and architecture to its food, politics and people, Brodsky captures the magnificence and beauty of the city, and recalls his own memories of the place he called home for many winters, as he remembers friends, lovers and enemies he has encountered.Watermark is an unforgettable piece of writing, and a wonderful portrait of a remarkable, unique city.

It is the astonishment of Louise Glück's poetry that it resists collection. With each successive book her drive to leave behind what came before has grown more fierce, the force of her gaze fixed on what has yet to be imagined. She invented a form to accommodate this need, the book-length sequence of poems, like a landscape seen from above, a novel with lacunae opening onto the unspeakable. The reiterated yet endlessly transfigured elements in this landscape―Persephone, a copper beech, a mother and father and sister, a garden, a husband and son, a horse, a dog, a field on fire, a mountain―persistently emerge and reappear with the dark energy of the inevitable, shot through with the bright aspect of things new-made.From the outset ("Come here / Come here, little one"), Gluck's voice has addressed us with deceptive simplicity, the poems in lines so clear we "do not see the intervening fathoms."From within the earth'sbitter disgrace, coldness and barrennessmy friend the moon rises:she is beautiful tonight, but when is she not beautiful?To read these books together is to understand the governing paradox of a life lived in the body and of the work wrested from it, the one fated to die and the other to endure.

Blue Pastures collects fifteen prose works from Pulitzer Prize– and National Book Award–winning poet Mary Oliver."This transcendent collection is Oliver's joyful sharing of her love of her craft."—Library JournalWith consummate craftsmanship, Mary Oliver has fashioned fifteen luminous prose pieces: on nature, writing, and herself and those around her. She praises Whitman, denounces cuteness, notes where to find the extraordinary, and extols solitude. Nature speaks to her and she speaks to nature."This book is biased, opinionated; also it is also joyful, and probably there is despair here too...But the reader will find the pleasures more certain, and more constant, than the rills of despond. Thus it has turned out in my life thus far, influenced by the sustaining passions: love of the wild world, love of literature, love for and from another person." –Mary Oliver

An expansive work inspired by Japanese prose-poetry from a poet of “rigorous intelligence, fierce anger, and deep vulnerability” (Mark Doty). Kimiko Hahn, "a welcome voice of experimentation and passion" (Bloomsbury Review), takes up the Japanese prose-poetry genre zuihitsu―literally "running brush," which utilizes tactics such as juxtaposition, contradiction, and broad topical variety―in exploring her various identities as mother and lover, wife and poet, daughter of varied traditions.

Be terrified.It's you I love,perfect man,Greek God, my own;but I know you'll go,betray me, strayfrom home.So better by far forme if you were stone.--from "Medusa"Stunningly original and haunting, the voices of Mrs. Midas, Queen Kong, and Frau Freud, to say nothing of the Devil's Wife herself, startle us with their wit, imagination, and incisiveness in this collection of poems written from the perspectives of the wives, sisters, or girlfris of famous -- and infamous -- male personages. Carol Ann Duffy is a master at drawing on myth and history, then subverting them in a vivid and surprising way to create poems that have the pull of the past and the crack of the contemporary.

National Book Award FinalistStay, Illusion, the much-anticipated volume of poems by Lucie Brock-Broido, illuminates the broken but beautiful world she inhabits. Her poems are lit with magic and stark with truth: whether they speak from the imagined dwelling of her “Abandonarium,” or from habitats where animals are farmed and harmed “humanely,” or even from the surreal confines of death row, they find a voice like no other—dazzling, intimate, startling, heartbreaking.Eddying between the theater of the lavish and the enigmatic, between the gaudy and the unadorned, Brock-Broido’s verse scours America for material to render unflinchingly the here and now. Grandeur devolves into a comic irony: “We have come to terms with our Self / Like a marmoset getting out of her Great Ape suit.” She dares the unexplained: “The wings were left ajar / At the altar where I’ve knelt all night, trembling, leaning, rough / As sugar raw, and sweet.” Each poem is a rebellious chain of words: “Be good, they said, and so too I was / Good until I was not.” Strange narratives, interior and exterior, make a world that is foreign and yet our own; like Dickinson, Brock-Broido constructs a spider-sibling, commanding the “silk spool of the recluse as she confects her eventual mythomania.” And why create the web? Because: “If it is written down, you can’t rescind it.”

Richard Siken's Crush, selected as the 2004 winner of the Yale Younger Poets prize, is a powerful collection of poems driven by obsession and love. Siken writes with ferocity, and his reader hurtles unstoppably with him. His poetry is confessional, gay, savage, and charged with violent eroticism. In the world of American poetry, Siken's voice is striking. In her introduction to the book, competition judge Louise Gl�ck hails the "cumulative, driving, apocalyptic power, [and] purgatorial recklessness" of Siken's poems. She notes, "Books of this kind dream big. . . . They restore to poetry that sense of crucial moment and crucial utterance which may indeed be the great genius of the form."