In his centenary year, this volume of the Pulitzer Prize winner and former poet laureate’s poems celebrates the indispensable artistry of a writer who faced the history of his era with a “clear-eyed mercy toward human weakness” (The New York Times Book Review) and was hailed in his day as “the best poet writing in English” (Joseph Brodsky). This volume brings together for the first time all of the poems that appeared in Anthony Hecht’s seven trade collections, from A Summoning of Stones of 1954 through to The Darkness and the Light of 2001; it adds the remarkable work contained in his posthumously issued Interior Skies: Late Poems from Liguria of 2011; and it rounds this out with the best of the many poems which were left uncollected at the time of his death in 2004, the earliest dating from 1950 and the latest from 2001. Including the woodcuts by Leonard Baskin that accompanied some of his pieces through the years, Collected Poems brings us the full sweep of the experience and artistry of Anthony Hecht, who, as an infantryman in World War II, bore witness to the shaping events of his time, which continue to shape our own. As the editor Philip Hoy states in his introduction: “Anthony Hecht once wrote that poems can allow us to contemplate our ‘sweetest triumphs’ and our ‘deepest desolations,’ and by employing ‘the manifold devices of art’ to recover for us what he memorably called ‘the inexhaustible plenitude of the world.’ The work gathered together here amply attests to the truth of that claim, and makes it clear that Hecht was one of the finest poets, not just of his generation, but of the twentieth century.”

'Each year Eliot's presence reasserts itself at a deeper level, to an audience that is surprised to find itself more chastened, more astonished, more humble.' Ted Hughes Poet, dramatist, critic and editor, T. S. Eliot was one of the defining figures of twentieth-century poetry. This edition of Collected Poems 1909-1962 includes his verse from Prufrock and Other Observations (1917) to Four Quartets (1943), and includes such literary landmarks as The Waste Land and Old Possum's Book of Practical Cats.

"The subtlest feeling for the measure that I encounter anywhere except in the verses of Ezra Pound."—William Carlos Williams "It is a study, how Creeley lands syntax down the alley, and his vocabulary-pure English-to hit meters and rhymes all of which are spares and strikes."—Charles Olson "Robert Creeley has created a noble body of poetry that extends the work of his predecessors Pound, Williams, Zukofsky, and Olson, and provides like them a method for his successors in exploring our new American poetic consciousness."—Allen Ginsberg "His succinctness is like the unfettered flashing of a diamond." —John Ashbery "Robert Creeley was one of the great giants of 20th Century American poetry. This collection is his monument." —Paul Auster "American poetry is unimaginable and, happily, unknowable without Creeley."—Andrei Codrescu, author of it was today: new poems "Creeley is a touchstone for me-a measure of what poetry is. He is a genius of the sensorium as Kerouac was and a master of the ear as is Miles Davis. He is a carver in space like Van Gogh."—Michael McClure "There is no poetry more vivid, immediate, or telling than Robert Creeley's. His Collected Poems extends the achievement of Dickinson, Whitman, and Williams into postwar America. Creeley's excavation of particular words, images, and sentiments resonate beyond the pages of this book into the fabric of everyday life. This is American invention at its best, as necessary as the air we breathe and the ground we walk on."—Charles Bernstein "'It isn't what a poet says that counts as a work of art,' William Carlos Williams once wrote, 'it's what he makes, with such intensity of perception that it lives with an intrinsic movement of its own to verify its authenticity.' I can't think of another contemporary poet whose acute sensitivity to the particular event of making (and in poetry making includes breaking) each written line is as consummately fine-tuned as Robert Creeley's."—Susan Howe "He was the main support in the old house of poetry—the main beam."—C.D. Wright, Brown University alumni newsletter "There is no poet like Creeley. His multiple subjectivities and magic syllables have kept us curious and honest. Never a false step, never a less than tender heart for the sound, and the brilliant cognitive, often fierce power therein. What a glorious long life in writing. These late poems keep the brilliant tempo. We are very lucky he is still so much among us."—Anne Waldman "Robert Creeley transformed the momentary, spontaneous music of being alive into a profoundly enduring American art: brilliant, necessary, impeccably scored. He made it new for always."—Peter Gizzi

New and Collected Poems By: Roger Wayne Turkington Our love is now a tangible reality, a free-standing entity, yet running free, Larger even than you or me, Stronger than anything else will be. Our love is a century-old strong oak tree, A monument set high upon a hill, Tested when in health or when ill, It is a gift given to behold by you and me. The awardee of the American Medal of Honor, the World Freedom Medal, International Man of the Year 2002, and the Distinguished Service Cross, author Roger Wayne Turkington shares with us his eclectic collection of poetry.

This volume is the only collected edition of poems by Jean Toomer, the enigmatic American writer, Gurdjieffian guru, and Quaker convert who is perhaps best known for his 1923 lyrical narrative Cane. The fifty-five poems here -- most of them previously unpublished -- chart a fascinating evolution of artistic consciousness. The book is divided into sections reflecting four distinct periods of creativity in Toomer's career. The Aesthetic period includes Imagist, Symbolist, and other experimental pieces, such as "Five Vignettes," while "Georgia Dusk" and the newly discovered poem "Tell Me" come from Toomer' s Ancestral Consciousness period in the early 1920s. "The Blue Meridian" and other Objective Consciousness poems reveal the influence of idealist philosopher Georges Gurdjieff. Among the works of this period the editor presents a group of local color poems picturing the landscape of the American Southwest, including "Imprint for Rio Grande." "It Is Everywhere," another newly discovered poem, celebrates America and democratic idealism. The Quaker religious philosophy of Toomer's final years is demonstrated in such Christian Existential works as "They Are Not Missed" and "To Gurdjieff Dying." Robert Jones's clear and comprehensive introduction examines the major poems in this volume and serves as a guide through the stages of Toomer's evolution as an artist and thinker. The Collected Poems of Jean Toomer will prove essential to Toomer's admirers as well as to scholars and students of modern poetry, Afro-American literature, and American studies.

F.T. Prince's Collected Poems 1935-1992 incorporates all the work that he wished to preserve, from his earliest published poems to late, uncollected pieces. Prince has become best known for his wartime poem Soldiers Bathing', a meditation on violence and redemption. Collected Poems reveals the riches of a lifetime's work. His poetry combines a deep affinity with European humanist traditions and a modernist rigour: here is one of the essential twentieth-century writers.

Mary Blachford Tighe was born in Dublin in 1772 and became a poet by the age of seventeen. Her enormously popular 1805 epic poem "Psyche; or, The Legend of Love" made her a fixture of English literary history for much of the nineteenth century. For much of the twentieth century, however, Tighe was better known for her influence on Keats's poetry than the considerable merits of her own work. The Collected Poems and Journals of Mary Tighe restores Tighe to the general canon of English literature of the period. With over eighty-five poems, including the complete Psyche, and extracts from several journals, both by and about Tighe, Harriet Kramer Linkin's annotated edition is the most complete collection of Mary Tighe's work to be published in one volume.

Though his name might not be familiar to many twenty-first century readers, Laurence Whyte (d.1753) is an important missing link in eighteenth-century Ireland’s literary and musical histories. A rural poet who established himself in Dublin as a teacher of mathematics and as an active member (and poetic chronicler) of the much admired and supported Charitable Musical Society, Whyte was a poet of considerable talent and dexterity, and his body of work yields a wealth of insight into the intersecting cultures of his time and place. Published in 1740 and 1742, Whyte’s writing, by turns humorous and poignant, insightful and nostalgic, straddled the worlds of Gaelic and Anglo-Irish, of the rural midlands and the capital, of Catholic and Protestant. Some of the dualities explored in his verse were present, to varying extents, in the work of Jonathan Swift and Oliver Goldsmith. In matters poetical, political and cultural, Whyte is an important, though as yet neglected and unstudied, figure. This edition, comprehensively introduced and annotated, retrieves him from that neglect.