criticism poetry

Hardcover. Baltimore, Johns Hopkins University Press , 1st, 1977, Book: Good, Dust Jacket: None, Hardcover, blue cloth covers, silver lettering, 152 pages. Light pencil marking in text.

Softcover. Evanston, IL, Northwestern University Press, reprint, 2001, Book: Very Good, Dust Jacket: None, 355 pages. Softcover with light edgewear to paper wrappers. In this groundbreaking volume, Krzysztof Ziarek rethinks modern experience by bringing together philosophical critiques of modernity and avant-garde poetry. Ziarek explores, through selective readings of avant-garde poetry, the key aspects of the radical critique of experience: technology, everydayness, event, and sexual difference. To that extent, The Historicity of Experience is less a book about the avant-garde than a critique of experience through the avant-garde. Ziarek reads the avant-garde in dialogue with the work of some of the major critics of modernity (Martin Heidegger, Walter Benjamin, Jean-Francois Lyotard, and Luce Irigaray) to show how avant-garde experiments bear critically on the issue of modern experience and its technological organization. The four poets Ziarek considers--Gertrude Stein, Velimir Khlebnikov, Miron Biaoszewski, and Susan Howe--demonstrate the broad reach of and variety of forms taken by the avant-garde revision of experience and aesthetics.

Hardcover. New York, George Braziller, 1st, 1989, Book: Very Good, Dust Jacket: Very Good, 222 pages. Hardcover with dust jacket. Light edgewear to dust jacket and heavy fading on rear. Internally clean. Color illustrations by Hokusai.

Hardcover. Guilford CT, Backbeat, 1st, 2020, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 304 pages, b&w illustrations. Phil Ochs is known primarily as a songwriter; however, his oeuvre extends far beyond that--to short stories, poetry, criticism, journalism, and satire, all of which are included in I'm Gonna Say It Now: The Writings of Phil Ochs, which represents the majority of what Ochs wrote outside of his large circle of songs. This comprehensive tome presents another side of the famous topical songwriter, showcasing his prose and poetry from across the full span of his life.From prizewinning stories and clear-eyed reporting while a journalism major in college to music criticism, satires, and political pieces written while part of the burgeoning folk scene of New York City in the early 1960s and during the tumultuous Vietnam War era; from sharp and lyrical poems (many previously unpublished) to reviews, features, and satires written while living in Los Angeles and the final, elegiac coda writings from near the end of his life--I'm Gonna Say It Now presents the complete picture. The book includes many rare or nearly impossible to find Ochs pieces, as well as previously unpublished works sourced from the unique holdings in the Ochs Archives at the Woody Guthrie Center. Additionally, never-before-seen reproductions from Ochs's journals, notebooks, and manuscripts provide a closer look at the hand of the artist, giving a deeper context and understanding to his writings. Never before published photographs of Ochs bestow the visual cherry on top.

Softcover. Durango CO, Logbridge-Rhodes, 1st, 1988, Book: Very Good, Dust Jacket: None, Softcover, 150 pages, b&w illustrations. Poems by Wright, with letters, interviews, memoirs, elegies, a chronology, and bibliography. Light fade to spine, otherwise clean copy.

Hardcover. UK, Oxford University Press, 2nd pr., 1926, Book: Good, Dust Jacket: None, Hardcover, pale orange cloth with title on spine label. Former copy belonging to COUNTEE CULLEN (1903-1946), with his signature on the front fly leaf. Cullen was an American poet, novelist, children's writer, and playwright, particularly well known during the Harlem Renaissance. 248 pages, b&w frontis. Small paper scars to front endpapers, otherwise clean.

Hardcover. NY, Columbia University Press, 1st, 1989, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 263 pages. Clean copy.

Hardcover. NY, Farrar, Straus and Giroux, 1st, 2025, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket, 497 pages. "The critic Adam Plunkett expertly teases out the many meanings of Frost's poems . . . Blending biography and criticism, Plunkett shows how the circumstances of Frost's peripatetic life gave rise to some of his most successful poems. As in the best critical biographies, Plunkett does not merely track down real-world inspiration for a given work. Rather, he brings together Frost's personal life, literary sources, and publication history to enrich our understanding of the poems, then uses the poems to enhance our understanding of the life. The result is a thorough, elegant, and, at times, surprising study of Frost, who emerges as a remarkably complex poet and a compelling but complicated man." -Maggie Doherty, The New Yorker. Clean copy.

Softcover. NY, Oxford University Press, reprint, 1999, Book: Good, Dust Jacket: None, Softcover, 292 pages. In the teens and twenties, New York was home to a rich variety of literary subcultures. Within these intermingled worlds, gender lines and other boundaries were crossed in ways that were hardly imaginable in previous decades. Among the bohemians of Greenwich Village, the sophisticates of the Algonquin Round Table, and the literati of the Harlem Renaissance, certain women found fresh, powerful voices through which to speak and write. Enda St. Vincent Millay and Dorothy Parker are now best remembered for their colorful lives; Genevieve Taggard, Gwendolyn Bennett, and Helene Johnson are hardly remembered at all. Yet each made a serious literary contribution to the meaning of modern femininity, relationship, and selfhood. Making Love Modern uncovers the deep historical sensitivity and interest in these women's love poetry. Light shelf wear. Clean copy.

Hardcover. Gloucester, MA, Peter Smith, Reprint, 1959, Book: Very Good, Dust Jacket: None, 321 pages. Hardcover with no dust jacket. Green cloth covered boards with light wear to edges & black titles to spine. Faint soil to top edge. Otherwise clean inside and out. Tight copy.

Softcover. Ann Arbor MI, University of Michigan Press, 2nd pr., 1985, Book: Very Good, Dust Jacket: None, Softcover, 462 pages. Illustrated in b&w. Includes bibliography. From rear cover: "From Kenneth Rexroth to the Czechoslovakian secret police, from Marianne Moore to the F.B.I., from Diana Trillling to Time magazine - Allen Ginsberg's work has always drawn a spirited response. Now, for the first time, these responses - remarks, reviews, and essays - have been collected in a single volume. Beginning with William Carlos Williams's early letters of support and ending with James Breslin's biographical analysis of 'The Origins of Howl and Kaddish', this collection reflects a full thirty years of praise, complaint, debate, and analysis of the work of one of the most innovative poets of our century". Previous owner's name on front fly leaf, otherwise clean.

Hardcover. University Press of Kentucky, 1st, 1999, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 338 pages. Nobel Laureate Seamus Heaney, author of nine collections of poetry and three volumes of influential essays, is regarded by many as the greatest Irish poet since Yeats. Passage to the Center is the most comprehensive critical treatment to date on Heaney's poetry and the first to study Heaney's entire body of work (including his recent volumes. It is also the first to examine the poems from the perspective of religion, one of Heaney's guiding preoccupations. According to Tobin, the growth of Heaney's poetry may be charted through the recurrent figure of "the center," a key image in the relationship that evolved over time between the poet and his inherited place, an evolution that involved the continual re-evaluation and re-vision of imaginative boundaries. In a way that previous studies have not, Tobin's work examines Heaney's poetry in the context of modernist and postmodernist concerns about the desacralizing of civilization and provides a challenging engagement with the work of a living master. Clean copy.

Hardcover. Syracuse University Press , 1st, 1991, Book: Very Good, Dust Jacket: Very Good, Hardcover, 493 pages. Remainder line and foxing to top edge, light edgewear to dust jacket, else a clean, tight copy.

Hardcover. Princeton University Press, 1st, 1956, Book: Very Good, Dust Jacket: None, Hardcover, green cloth covers with gilt and black title on spine, 353 pages. WITH THE AUTHOR'S INSCRIPTION pasted to front fly leaf. Clean copy.

Hardcover. NY, St. Martin's Press, 1st, 1995, Book: Very Good, Dust Jacket: Very Good, Hardcover in a violet dust jacket with light fading to spine, 232 pages. A collection of essays exploring all aspects on a controversial English poet, the 17th century libertine, The Earl of Rochester. Different sections focus on sexual politics, on the poetry of intellect, and on Rochester and his contemporaries. Name, date and light pencil notations on front fly leaf, otherwise clean.

Hardcover. Madison WI, University of Wisconsin Press, 1st, 1989, Book: Very Good, Dust Jacket: Good, Hardcover in a lightly worn dust jacket with fading to the spine. "Cary Nelson performs an invaluable service to the reader by recovering the work of dozens of forgotten poets, especially women, blacks, and writers on the left, while making it clear that the texts we recover inevitably gain new meaning from their positioning within contemporary culture." Nicely illustrated in b&w and some color, mostly book jackets and title pages of books discussed. Some light pencil marking in margins.

Softcover. Chicago, University Of Chicago Press, 1st pbk, 2005, Book: Very Good, Dust Jacket: None, Softcover, 123 pages, SIGNED BY AUTHOR on title page. Very clean and tight copy.

Hardcover. NY, Henry Holt, 1st, 1995, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 524 pages. Robert Graves was astonishingly prolific and worked in many genres. He wrote lyric poetry, scholarly studies of mythology, drama, criticism, and journalism, he translated from Latin, and is probably best known for his potboilers "I, Claudius" and "Claudius the God," works that he considered purely commercial and took little interest in. And, as Miranda Seymour makes clear, he was as odd a duck as ever walked. His life was defined by the women to whom he devoted himself. "Abased himself" would perhaps be the better term. The first and most influential was the American Laura Riding, a second-rate poet who fancied herself some sort of prophetess who would save the world from war and turned Graves into her adoring puppy. Later in life Graves devoted himself to a series of young women, each of whom he claimed embodied "the goddess" in whose service he thought he dwelled. Seymour (a novelist herself) writes beautifully, and with the cooperation of key members of the Graves family she has produced what will surely be the definitive biography of Graves for years to come.

Hardcover. New Haven, Yale University Press, 1st, May 11, 2000, Book: Very Good, Dust Jacket: Very Good, Hardcover, 303 pages, illustrated throughout. Very clean and tight copy. Although lumped together with Pop artists such as Roy Liechtenstein and Andy Warhol, and often the movement's spokesperson, Indiana and his paintings actually have an uneasy fit in Pop company, mostly because his work isn't grounded in the commodity-oriented (Campbell Soup) realism of most Pop Art. Instead, his work engages with literature and poetry and with the popular rhetoric of the American dream-all permeated by the particularities of his upbringing and life. Ryan's dual accomplishments are in articulating the dynamics of Indiana's art-especially the connections between the artworks and the sources of imagery and themes in his own biography-and in rendering a sophisticated and judicious roundup of the Pop Art movement.

Hardcover. Oxford, Basil Blackwell, 1st, 1926, Book: Very Good, Dust Jacket: None, Hardcover, blue cloth with faded gilt lettering on spine. 191 pages, b&w frontis. of Hawker. Small name stamp on front fly leaf, otherwise clean copy.

Cambridge MA, Harvard University Press, 1st, 1998, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 188 pages. Clean copy.

Hardcover. New Haven CT, Yale University Press, 1st, 1968, Book: Very Good, Dust Jacket: Fair, Hardcover in a chipped, tape repaired dust jacket. Maroon cloth with gilt lettering on spine. 266 pages. INSCRIBED BY SIPE on the front fly leaf to fellow professor Roger Mitchell. English majors are used to being told that Shakespeare frequently broke the rules of iambic pentameter, and that as he matured artistically, his usage became bolder and freer. Well, it isn't true. Shakespeare's iambics turn out to be extremely orthodox (which just makes all the more impressive the variations he was able to create within the rules). In 1968 Dorothy Sipe went to the remarkable labor of demonstrating this objectively through a painstaking analysis of over 13,000 lines of verse. She also supplied information I've never found anywhere else on the prosodic rules taught by poets to poets in Shakespeare's day. All this said, including a five star rating for the perfect achievement of its goal, the book is definitely not for everyone interested in Shakespeare's verse and methods. It is devoted to proving a highly specific case by means of many, many examples that non-specialists are likely to find tedious. But if you are deeply interested in some subjects -- Shakespeare's iambics, his coinages, and the history of English iambic technique -- it is well worth your time. Dust jacket tanned, otherwise a clean, tight copy.

Hardcover. Cambridge MA, Harvard University Press, 1st, 1995, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket, 266 pages. In these eloquent essays on recent American, British, and Irish poetry, Helen Vendler shows us contemporary life and culture captured in lyric form by some of our most celebrated poets. An incomparable reader of poetry, Vendler explains its power; it is, she says, more often the voice of the soul than the socially marked self, speaking directly to us through the stylization of verse. 'Souls Says,' the title of a poem by Jorie Graham, is thus the name of this collection. In essays on Seamus Heaney, Donald Davie, Allen Ginsberg, John Ashbery, Rita Dove, Jorie Graham, and others, Vendler makes difficult poetry accessible and explores the force and beauty of contemporary lyric verse. Clean copy.

Hardcover. London, William Pickering, 1st, 1835, Book: Good, Dust Jacket: None, Hardcover, 298 pages. Black leather covers with gilt rules, faded gilt title on ribbed spine. All edges gilt. Covers with edgewear and the top 6th of the spine leather is gone. Marbled endpapers with bookplate inside front cover. Rear flyleaf with a chunk cut out. Interior is very good. Medieval and Renaissance French poetry, translated into English by an acclaimed poet, travel writer, historian, and painter. Louisa Costello (1799-1870), was an accomplished Anglo-Irish artist and prolific poet and author. She was also a fine miniature painter, and her illustrations show her exquisite sensibility. 4 beautifully hand-colored lithograph plates by the author. Not all copies contain these plates.