Kamau Brathwaite is a major Caribbean poet of his generation and one of the major world poets of the second half of the twentieth century. Elegguas-a play on "elegy" and "Eleggua," the Yoruba deity of the threshold, doorway, and crossroad-is a collection of poems for the departed. Modernist and post-modernist in inspiration, Elegguas draws together traditions of speaking with the dead, from Rilke's Duino Elegies to the Jamaican kumina practice of bringing down spirits of the dead to briefly inhabit the bodies of the faithful, so that the ancestors may provide spiritual assistance and advice to those here on earth. The book is also profoundly political, including elegies for assassinated revolutionaries like in the masterful "Poem for Walter Rodney."Throughout his poetry, Brathwaite foregrounds "nation-language," that difference in syntax, in rhythm, and timbre that is most closely allied to the African experience in the Caribbean, using the computer to explore the graphic rendition of nuances of language. Brathwaite experiments using his own Sycorax fonts, as well as deliberate misspellings ("calibanisms") and deviations in punctuation. But this is never simple surface aesthetic, rather an expression of the turbulence (in history, in dream) depicted in the poems. This collection is a stunning follow-up to Brathwaite's Born to Slow Horses (Wesleyan, 2005), winner of the Griffin International Poetry Prize.

Winner of the 2009 Agnes Lynch Starrett Poetry Prize “There is something in American poetry that might be called the book of the small town or, equally, the tale of the good family; or, if you like, the American Grafitti Suite. Poems that discover life’s bonuses in new love, wise parents, old books, venerable nature, and the mysteries of all that endures in the face of the viciousness no life escapes—are, well, worth the wait. That’s how I feel about Paper Anniversary. His poems are full of the best news, the kind the soul, as W. C. Williams attested, can get nowhere better than in the life of the lively mind. I think any reader will find this an auspicious, welcome arrival.” —Dave Smith

The Kurals are the wisdom literature of the Tamils, at the southern cape of India; the Kural of Tiruvalluvar is the most famous of them. Text, modern Tamil paraphrase, and Latin translation, with English notes and glossary.

Winner of the 2009 Donald Hall Prize in Poetry These poems address issues of death and personal crisis by filtering them through an obsession with monsters and animals. After an initial loss, the speaker of these poems tries to utilize different personae—monsters, people stuck in horror movies—before turning his attention to the dreamlike animals that stalk him. Eventually, the speaker tries to resolve the conflicts among the figures by creating a cobbled-together garden in which they can coexist.

"Our only sin was not having what they thought was enough. And being forced to take what they called help."Pain and anger resonate deeply in the voice of New Covenant Bound's central narrator. Forced from her homeland on the Tennessee River in the 1930s, she recounts the memory of upheaval and destruction caused by the Tennessee Valley Authority.The Western Kentucky area that now boasts beautiful, expansive bodies of water was once home to some 20,000 people, their houses, farms, townships and ancestral history. Residents were subjected to three waves of forced relocation to make way for Kentucky Lake in the 1930s, Lake Barkley in the 1950s, and Land Between The Lakes National Recreation Area in the 1960s.Renowned poet T. Crunk intersperses narrative prose and vivid lyric verse to explore the devastation one family experienced in this often overlooked episode in Kentucky history. The voices of a grandmother and grandson speak to each other over time, evoking the relentless advance of irrevocable forces that changed the land, forever.

A book of contemporary poetry exploring the fine, shifting line between faith—secular and spiritual faith—and fanaticism in an insecure age, American Fanatics is a lyrical, pop-culture inflected meditation on democracy, morality, beauty, commerce, and the cost of falling dreams.

Rae Armantrout has always organized her collections of poetry as though they were works in themselves. Versed brings two of these sequences together, offering readers an expanded view of the arc of her writing. The poems in the first section, Versed, play with vice and versa, the perversity of human consciousness. They flirt with error and delusion, skating on a thin ice that inevitably cracks: "Metaphor forms / a crust / beneath which / the crevasse of each experience." Dark Matter, the second section, alludes to more than the unseen substance thought to make up the majority of mass in the universe. The invisible and unknowable are confronted directly as Armantrout's experience with cancer marks these poems with a new austerity, shot through with her signature wit and stark unsentimental thinking. Together, the poems of Versed part us from our assumptions about reality, revealing the gaps and fissures in our emotional and linguistic constructs, showing us ourselves where we are most exposed. A reader's companion is available at http://versedreader.site.wesleyan.edu/

The Kurals are the wisdom literature of the Tamils, at the southern cape of India; the Kural of Tiruvalluvar is the most famous of them. German translation with commentary and appendices.

In her wry and riveting new collection, Marianne Boruch discovers things often taken for granted and holds them up to deceptively casual light, questioning them both mercilessly and mercifully. Employing a masterly range of tone and form, Boruch makes a sometimes strange but always revealing investigation of world and self, history and memory, resistance and release. Here a woman levitates behind a door as her daughter badly bangs out Mozart. Here God is caught before the moment of creation, before knowledge, before "the invention/ of the question too, the way all/ at heart are rhetorical, each leaf/ suddenly wedded to its shade." It's here raucous boys on their bikes are told-through telepathy-don't go to this war. Here, that a Dutch still life is returned to the small chaos of its making. And Eve, in "stained fascination," stares down the snake of the lost garden. The lyric impulse in these deeply interior poems stops time, even as the world, indifferent to its mystery, keeps happening.Praise for Marianne Boruch:"Her poems are complex rather than simple rooms ... they bring the world's strangeness, and their own, home to whatever reader is open to old mysteries, both in dreams and in the waking life they illuminate."-Philip Booth, The Georgia Review"Marianne Boruch's (work) has the wonderful, commanding power of true attention: She sees and considers with intensity. Her poems often give fresh examples of how rare and thrilling it can be to notice."-Robert Pinsky, Book World, The Washington Post"Every detail of image and syntax shines with multiplicity."-Donald Revell, The Ohio Review

This is a collection of poems and essays by Ghattas Maqdasi Elias, an important figure in twentieth-century Syrian Orthodox letters and education, also known as ‘Malfono Denho.’ The book contains writings previously published in books and journals as well as items published for the first time in this volume.

Considered one of the greatest works of the Sufi writers, Saadi’s Bostan (The Orchard) is an astounding poetic collection of wisdom that includes anecdotes, proverbs, and quotations that engage the rules of life and psychological observations of individual behavior. Saadi (or Abu Muslih bin Abdallah Shirazi, 1184 – 1283/1291?) was a Persian poet and traveler. Here Bostan is presented in German translation, the work of one of Germany’s great poets, Friedrich Rückert, who also had the distinction of being a professor of oriental languages. The lover of medieval poetry will find this supreme accomplishment of Persian poetry irresistible.

"Sometimes we have questions that seem to defy answers or even suppositions but then we find Love and Strange Horses to help us map out a course to continue loving life. A really wonderful, thoughtful read by an intriguing new voice."—Nikki Giovanni

How do we read a book as an object in a network, in a post-book, post-reading, meta-data environment? Seven Controlled Vocabularies models a generic book, a kind of field guide to the arts, wherein distinctions between various aesthetic disciplines are relaxed or dissolved and where avant-garde notions of difficulty are replaced with more relaxing and ambient formats such as yoga, disco, and meditation. Each of the book's seven sections is devoted to a particular art form-film, photography, painting, the novel, architecture, music, and theory-and includes both text and found photographs as it explores the idea of what it means to be a book in an era when reading is disappearing into a diverse array of cultural products, media formats, and aesthetic practices. Seven Controlled Vocabularies will be available in a variety of print and electronic book delivery systems and formats.

“I have long believed that Lynn Emanuel is one of the most innovative and subversive poets now writing in America. Her aesthetic and artistic choices consistently invoke a complex hybrid poetics that radically reimagines the shape of our poetic discourse. The brilliant, shattering, and disturbing poems of Noose and Hook are not only wry critiques of recent poetic and cultural activity in this country but also compelling signposts to what yet might be possible in our future. This is Lynn Emanuel's most exquisite and powerful book yet.”—David St. John

"As always with a Bob Hicok book, fascinating and a book you sort of can’t help but pick up and suddenly, two hours later, find yourself having read straight through. I can think of just about no contemporary poets who publish such consistently great work."—Corduroy Books

“Joanie Mackowski's hypnotizing View from a Temporary Window is filled with Kafka-like transformations and metamorphoses and haunted by a sense of the body's strangeness. She writes in a relaxed and lucid manner that pays scrupulous attention to both the imaginary and the real, and to what is uncanny in each.”—John L. Koethe