Presents a collection of poetry covering a wide range of subjects, themes, and emotions.

From Twenty Books of Verse published between 1940 and 1993, John Ciardi gives us poems of love written with care and honest discernment; poems of the natural world that reveal humanity's kinship to spiders and nebulae, oceans and thickets; and poems that tellingly render the ritual dance of human life and mortality.

The Collected Poems is a new and definitive edition of the poetry of one of the best-loved and most enduringly popular modern poets. Almost all of Jennings' published poetry (including work never before collected) and a large selection of her unpublished poems are included here, together with resources detailing her poetry, prose, essays, plays and correspondence. An afterword draws on her unpublished autobiography As I Am and her unpublished theological prose to illuminate the religious faith at the heart of her poetry. Two previously unseen photographs of Jennings and reproductions of two of her little-known picture poems complete the volume. Emma Mason, Reader at the University of Warwick who has written extensively on religion and poetry, suggests that Jennings' achievement is her ability to translate the intensity and happiness of her Christian faith into a canon of accessible poems that reach out to a community of readers'. The Collected Poems enables Jennings' poetry to speak to a new community of readers.

Clive Wilmer's New and Collected Poems begins with a fable about the building and destruction of a walled city; it ends with a translation of Mandelstam's 'Hagia Sophia', in which the poet's words construct the heavenly Jerusalem. Between the two is the work of four decades, dominated by wonder at the mortal and the sacred, and a passion for the order made by art. Alongside older poems, two new collections, King Alfred's Book and Report from Nowhere, show Wilmer's continuing engagement with poetry that explores 'the mystery of things'. Over fifty translations, including thirty-six from the Hungarian, conclude the volume, illuminating both the range of Wilmer's material and the insistence on the integrity of the poet's craft which is at the heart of his writing.

When Stevie Smith died in 1971 she was one of the twentieth-century's most popular poets; many of her poems have been widely anthologised, and 'Not Waving but Drowning' remains one of the nation's favourite poems to this day. Satirical, mischievous, teasing, disarming, her characteristically lightning-fast changes in tone take readers from comedy to tragedy and back again, while her line drawings are by turns unsettling and beguiling. In this wholly new edition of her work, Smith scholar Will May collects together the illustrations and poems from her original published volumes for the first time, recording fascinating details about their provenance, and describing the various versions Smith presented both on stage and page. Including over 500 works from Smith's 35-year career, The Collected Poems and Drawings of Stevie Smith is the essential edition of modern poetry's most distinctive voice. I was much further out than you thought And not waving but drowning. - 'Not Waving but Drowning'

Lorna Goodison is a poet alive to places, from the loved and lived-in world of Jamaica where she began and started a family, to the United States and Canada where she has made her teaching career, but always re-connecting with her Caribbean roots. She travels with an ear alert to histories and voices. How differently English sounds in the tropi and in colder lands, at seaside in sunlight and on prairies, mountains and in cities. The same words say quite different things, depending on who speaks them and who's listening, obeying or resisting. She covers a wide range of subjects and themes, too. Her instinct is to celebrate being alive in a world that is rich but in peril. 'And what is the rare quality that has gone out of poetry that these marvellous poems restore?' asks Derek Walcott. 'Joy.' The 'mango of poetry', eaten straight from the tree, Goodison somehow finds growing in Wordsworth country and in Sligo, in Russia and Norway, in Spain and Portugal which spilled their empires into the Caribbean, in Hungary and Far Rockaway. // 'The publication of Lorna Goodison's Collected Poems – with their extraordinary music, sensuous texture, and powerful historical imagination – is a major event. These are poems stunningly alive to the nuances of language, beautifully pitched and tuned, rich with feeling and insight.' Jahan Ramazani // 'Lorna Goodison brings herself into the presence of every poem, and so into the presence of her readers. Like the ideal teacher, she enables us to hear history sing its joy and shout its rage in her own personal tones of voice, and to feel the folds and textures of her various homelands like a display of rich cloths. She excels in both the emblematic and descriptive powers of popular poetry, and introduces us to an array of characters sharply but generously perceived, and often as deliciously audible after death as in life. This is an inspiring collection for a time when hopes for transnational unity are profoundly challenged. Goodison's poems frequently acknowledge the complex unhealed scars of imperial greed and violence, but the impulse is towards hope, and our imaginations are enchanted by a potential global spring of warmth, nourishment, camaraderie and sheer fun. In the poet's own words of gratitude to "Miss Mirry African bush healing woman", we should "turn thanks now" to Lorna Goodison for addressing us across so many years on her unique world-service of human truth – and stay tuned.' Carol Rumens

This collection gives sustained attention to the literary dimensions of children’s poetry from the eighteenth century to the present. While reasserting the importance of well-known voices, such as those of Isaac Watts, William Blake, Lewis Carroll, Christina Rossetti, A. A. Milne, and Carol Ann Duffy, the contributors also reflect on the aesthetic significance of landmark works by less frequently celebrated figures such as Richard Johnson, Ann and Jane Taylor, Cecil Frances Alexander and Michael Rosen. Scholarly treatment of children’s poetry has tended to focus on its publication history rather than to explore what comprises – and why we delight in – its idiosyncratic pleasures. And yet arguments about how and why poetic language might appeal to the child are embroiled in the history of children’s poetry, whether in Isaac Watts emphasising the didactic efficacy of “like sounds,” William Blake and the Taylor sisters revelling in the beauty of semantic ambiguity, or the authors of nonsense verse jettisoning sense to thrill their readers with the sheer music of poetry. Alive to the ways in which recent debates both echo and repudiate those conducted in earlier periods, The Aesthetics of Children’s Poetry investigates the stylistic and formal means through which children’s poetry, in theory and in practice, negotiates the complicated demands we have made of it through the ages.

The poems of Rabindranath Tagore (1861-1941) are among the most haunting and tender in Indian and in world literature, expressing a profound and passionate human yearning. His ceaselessly inventive works deal with such subjects as the interplay between God and the world, the eternal and transient, and with the paradox of an endlessly changing universe that is in tune with unchanging harmonies. Poems such as 'Earth' and 'In the Eyes of a Peacock' present a picture of natural processes unaffected by human concerns, while others, as in 'Recovery - 14', convey the poet's bewilderment about his place in the world. And exuberant works such as 'New Rain' and 'Grandfather's Holiday' describe Tagore's sheer joy at the glories of nature or simply in watching a grandchild play.

John Shaw Neilson (1872-1942) is Australia's great lyric poet and Collected Poems (1934), dedicated to Louise Dyer, bears his imprimatur. Encouraged by his editor, Robert Croll, Neilson was totally involved in its publication and promotion, selecting the poems, rewriting lines, adding new stanzas and restoring A.G. Stephen's earlier changes. Photographic sittings and book signings followed as well as favourable reviews. Neilson modestly attended readings in his honour at the Bookshop of Margareta Webber and enjoyed the concert broadcasts of Margaret Sutherland's compositions which included 'The Orange Tree'. After reading the Collected Poems she wrote to Neilson: "I have set your voice to music."A new introduction by Dr Helen Hewson, an Honorary Associate in the School of Letters, Art and Media at the University of Sydney, explores some of the influences which have shaped Neilson's poetry - his Celtic background, religious upbringing, reading and writing and love of art and music.