poetry poets

Hardcover. NY, Henry Holt and Co., 1st, 1936, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 20 pages. Green cloth covers stamped in silver. Clean, sharp dust jacket. Uncommon collection of poetry, Frost's own selections, one for each month of the year. Facsimile of "Stopping by Woods" as a frontispiece. No price on dust jacket, rear flap notes Frost's Selected Poems/Third Edition for $2.50. Front fly leaf with short inscription dated 12/8/36. Super condition.

Softcover. NY, Holt Rinehart and Winston, 1st, 1971, Book: Very Good, Dust Jacket: None, Softcover, 86 pages. Author's first book. Blurbs by Mark Strand, Robert Pack, John Logan, Michael Benedikt. Stated First Edition, the hardcover was published simultaneously. Name on front fly leaf, otherwise clean.

Hardcover. Hanover NH, University Press of New England, 1st, 2000, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 121 pages. INSCRIBED BY AUTHOR on the half-title page. Clean copy.

Hardcover. Philadelphia, PA, j.M. Stoddart & Co., 1st Edition, 1873, Book: Good, Dust Jacket: None, 488 pages. Hardcover. "Richly Illustrated with one hundred and fifty steel engravings, executed in the finest style of the art, mostly from original designs by distinguished artists." Light blue, fancy textured endpapers. Previous owner's signature on front endpaper. Cover boards elaborately bound in leather with raised bands and gilt title and decoration on spine. Front cover has engraved decoration in black, with gilt title and design, back cover board has same design without gilt (see image). Boards have some chipping around the corners and edges (see images). Elaborately decorative first title page (see image). All edges gilt (quite bright). Hinge cracked at gutter in one place (second page,--second page), binding remains tight, otherwise. Tanning to pages from age, doesn't affect text or illustrations. Some shadowing on a few pages due to previous owner's pressed flowers (now removed). This beautiful old volume was obviously meant to decorate someone's library, as well as provide some comfort at the beginning of the Twentieth Century.

Softcover. Princeton NJ, Princeton University Press, Revised Ed., 1995, Softcover, pictorial wrappers, 296 pages. In this new edition of George Seferis's poems, the acclaimed translations by Edmund Keeley and Philip Sherrard are revised and presented in a compact, English-only volume. The revision covers all the poems published in Princeton's earlier bilingual edition. Clean,bright copy.

Hardcover. NY, Oxford University Press, 1st, 1957, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped ($4.00) dust jacket, full yellow cloth, black titling. INSCRIBED BY EBERHART and dated on the front fly leaf.

Hardcover. NY, Columbia University Press, 1st, 2014, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 328 pages. William Logan has been a thorn in the side of American poetry for more than three decades. Though he has been called the "most hated man in American poetry," his witty and articulate reviews have reminded us how muscular good reviewing can be. These new essays and reviews take poetry at its word, often finding in its hardest cases the greatest reasons for hope. Logan begins with a devastating polemic against the wish to have critics announce their aesthetics every time they begin a review. "The Unbearable Rightness of Criticism" is a plea to read those critics who got it wrong when they reviewed Lyrical Ballads or Leaves of Grass or The Waste Land. Sometimes, he argues, such critics saw exactly what these books were-they saw the poems plain yet often did not see that they were poems. In such wrongheaded criticism, readers can recover the ground broken by such groundbreaking books. Logan looks again at the poetry of Wallace Stevens, Frank O'Hara, and Philip Larkin; at the letters of T. S. Eliot, Elizabeth Bishop, and Robert Lowell; and at new books by Louise Gluck and Seamus Heaney. Always eager to overturn settled judgments, Logan argues that World War II poets were in the end better than the much-lauded poets of World War I. He revisits the secretly revised edition of Robert Frost's notebooks, showing that the terrible errors ruining the first edition still exist. The most remarkable essay is "Elizabeth Bishop at Summer Camp," which prints for the first time her early adolescent verse along with the intimate letters written to the first girl she loved. Clean, like new.

Softcover. Los Angeles, Black Sparrow Press, 1st, 1969, Book: Very Good, Dust Jacket: None, Softcover, One of 1000 copies in wraps. 62 pages in light brown printed wraps. Clean copy.

Hardcover. NY, Farrar Straus & Giroux, 1st, 1998, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. SIGNED BY MULDOON on the title page. Clean copy.

Hardcover. New York, Farrar Straus Giroux, 1st, 1998, Book: Very Good, Dust Jacket: Very Good, Hardcover, 127 pages. A very clean, tight copy. A prize-winning Irish poet's third collection of verse again brings his simultaneously witty and deeply profound insights into all aspects of modern life, sacred and profane, and includes a sequence of thirty sonnets set in a Paris restaurant.

Hardcover. NY, Alfred A. Knopf, 1st, 1975, Book: Very Good, Dust Jacket: Very Good, Hardcover in a dust jacket with light fading to spine. A collection of 16 poems by Meredith, all based on the fictitious painter Hazard. #66 of 100 copies numbered and SIGNED on a tipped-in prelim page. In addition, also INSCRIBED BY AUTHOR on the front fly leaf. Clean copy.

Hardcover. New Haven, Yale University Press, 1st, 1929, Book: Very Good, Dust Jacket: None, 36 pages. Hardcover, decorated blue boards. SIGNED BY AUTHOR AT TOP OF PRELIMINARY PAGE. Previous owner's bookplate on inside front cover. One the Yale Series of Younger Poets. Slight darkening to spine. No dust jacket. Clean, tight copy.

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. New York, Farrar Straus & Cudahy, 1st, 1956, Book: Very Good, Dust Jacket: Good, Hardcover, 64 pages, b&w iilustrations by Ben Shahn. Dust jacket with closed tear on front panel, light chipping.

Softcover. NY, The Noonday Press, 1st, 1968, Book: Very Good, Dust Jacket: None, Softcover, 111 pages. Former owner's name on the first page, the rest unmarked. Pages lightly tanned.

Hardcover. New York, Century Co., 1st, 1910, Book: Very Good, Dust Jacket: None, Hardcover, 87 pages, illustrated in color and line by John Wolcott Adams. Lavender cloth with 4-color decoration. Decorated endpapers. A clean, tight copy.

Port Townsend WA, Copper Canyon Press, 1st, 2023, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 513 pages. Poetry is vital to language and living. This anthology celebrates 50 years of Copper Canyon Press publications, one extraordinary poem at a time. Since its founding, Copper Canyon has been entirely dedicated to publishing poetry books; here Editor in Chief Michael Wiegers invites press staff and board--past and present--to help curate a retrospective. The result is a collection of beloved poems from books spanning half a century: representing Pulitzer Prize-winning books, debut collections, works in translation, and rare books from Copper Canyon's early days. This book is a tribute to Copper Canyon poets and readers everywhere, because, as Gregory Orr writes, "Certain poems / In an uncertain world-- / The ones we cling to: // They bring us back." Clean copy.

Softcover. Kirksville MO, Truman State University, 1st, 2002, Book: Very Good, Dust Jacket: None, Softcover, 100 pages. Winner of the 2002 T.S. Eliot Prize. Clean copy.

Hardcover. Princeton NJ, Princeton University Press, 1st, 1980, Book: Very Good, Dust Jacket: Very Good, Hardcover, 67 pages, INSCRIBED BY GRAHAM on half title page. The award winning poet's first book, scarce in hardcover. Very good in a similar dust jacket. There is a small ink notation on the last (copyright) page by the previous owner.

Hardcover. NY, Museum of Modern Art, 1st, 1967, Book: Very Good, Dust Jacket: None, Hardcover. Half cloth covers, oatmeal buckram with gray paper, sepia lettering on spine. O'Hara's poems coupled with 30 different artists in loose sheets. In a cloth folio, in a slipcase with a gray paper label. Number 692 from an edition of 2500 copies. Edited by Bill Berkson. A beautifully produced collection that includes poems by Frank O'Hara paired with illustrations by Nell Blaine, Norman Bluhm, Joe Brainard, John Button, Giorgio Cavallon, Allan D'Arcangelo, Elaine de Kooning, Willem de Kooning, Niki de Saint Phalle, Helen Frankenthaler, Jane Freilicher, Michael Goldberg, Philip Guston, Grace Hartigan, Al Held, Jasper Johns, Matsumi Kanemitsu, Alex Katz, Lee Krasner, Alfred Leslie, Roy Lichtenstein, Marisol, Joan Mitchell, Robert Motherwell, Reuben Nakian, Barnett Newman, Claes Oldenburg, Robert Rauschenberg, Larry Rivers, and Jane Wilson. Previous owner's small sticker on inside cover, otherwise clean, bright. The cloth slipcase with light soil, foxing.

Hardcover. NY, The Museum of Modern Art, reprint, 2005, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, unpaginated. Reprint Edition of a work originally published by MOMA in 1967. Limited to 2500 numbered copies though this copy is unnumbered on the limitation/colophon page. Bound in half tan cloth over gray paper-covered boards with titles stamped in red on spine. Illustrated by 30 artists, who had known the poet, to accompany the poems. Square, tight and clean throughout with little or no wear.

Softcover. NY, Archipelago Books, 1st, 2011, Book: Very Good, Dust Jacket: None, Softcover in pictorial wrappers, 171 pages. One of the most transcendent poets of his generation, Darwish composed this remarkable elegy at the apex of his creativity, but with the full knowledge that his death was imminent. Thinking it might be his final work, he summoned all his poetic genius to create a luminous work that defies categorization. In stunning language, Darwish's self-elegy inhabits a rare space where opposites bleed and blend into each other. Prose and poetry, life and death, home and exile are all sung by the poet and his other. On the threshold of immortality, the poet looks back at his own existence, intertwined with that of his people. Clean Copy.

Softcover. NY, Archipelago Books, reprint, 2021, Book: Very Good, Dust Jacket: None, Softcover in pictorial wrappers, 171 pages. One of the most transcendent poets of his generation, Darwish composed this remarkable elegy at the apex of his creativity, but with the full knowledge that his death was imminent. Thinking it might be his final work, he summoned all his poetic genius to create a luminous work that defies categorization. In stunning language, Darwish's self-elegy inhabits a rare space where opposites bleed and blend into each other. Prose and poetry, life and death, home and exile are all sung by the poet and his other. On the threshold of im/mortality, the poet looks back at his own existence, intertwined with that of his people. Clean Copy.