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What's Under the Bed? (Bilingual)
by Joe FentonWhen Fred lays down his head, he imagines there is something monstrous under his bed. (bilingual English/Spanish)
What's in a Name
by Ana Luísa AmaralPoems of effervescent grace from one of the best-known and best-loved poets of Portugal With the elliptical looping of a butterfly alighting on one’s sleeve, the poems of Ana Lui´sa Amaral arrive as small hypnotic miracles. Spare and beautiful in a way reminiscent both of Szymborska and of Emily Dickinson (it comes as no surprise that Amaral is the leading Portuguese translator of Dickinson), these poems—in Margaret Jull Costa’s gorgeous English versions—seamlessly interweave the everyday with the dreamlike and ask “What’s in a name?” “How solid is a name if answered to,” Amaral answers, but “like the Rose—no, like its perfume: ungovernable. Free.” There is much freedom within Amaral’s poetry, room for mysteries to multiply, and yet her beautiful lines are as clear as water: And that time of smiles Which does, incidentally, really exist, I swear, as does the fire And the invisible sea, which with nothing will agree
What's the Import?
by Kerry McsweeneyKerry McSweeney critiques such readings of Romantic, Victorian, and 19th-century American poems. In What's the Import? he proposes and exemplifies an aesthetic or intrinsic critical model rooted in literary-historical contextualization that considers the determination of meanings to be only one of the qualities that full engagement with a poem requires. His wide-ranging study discusses poems by Wordsworth, Keats, Tennyson, Browning, Whitman, Dickinson, Carroll, Dante and Christina Rossetti, Swinburne, Hopkins, Hardy, and the Michael Field poets. What's the Import? contributes to the current debates in North America about the state and direction of English studies and the teaching of literature in general.
What's the Import?: Nineteenth-Century Poems and Contemporary Critical Practice
by Kerry McSweeneyKerry McSweeney critiques such readings of Romantic, Victorian, and 19th-century American poems. In What's the Import? he proposes and exemplifies an aesthetic or intrinsic critical model rooted in literary-historical contextualization that considers the determination of meanings to be only one of the qualities that full engagement with a poem requires. His wide-ranging study discusses poems by Wordsworth, Keats, Tennyson, Browning, Whitman, Dickinson, Carroll, Dante and Christina Rossetti, Swinburne, Hopkins, Hardy, and the Michael Field poets. What's the Import? contributes to the current debates in North America about the state and direction of English studies and the teaching of literature in general.
What's the Weather Inside?
by Karma Wilson Barry BlittHere are more than 120 hysterical, philosophical, rhetorical, and commonsensical poems and pictures that explore the perfectly not-so-perfect world of picky kids, Miss Muffet's revenge, magic homework wands, yellow snow, and Sunday's sundaes! New York Times bestselling author Karma Wilson and renowned New Yorker cartoonist Barry Blitt have created a brilliantly entertaining poetry collection sure to be a source of pleasure and inspiration to kids everywhere.
Wheel With a Single Spoke: and Other Poems
by Nichita Stanescu Sean CotterWinner of the Herder Prize, Nichita St?nescu was one of Romania's most celebrated contemporary poets. This dazzling collection of poems - the most extensive collection of his work to date - reveals a world in which heavenly and mysterious forces converse with the everyday and earthbound, where love and a quest for truth are central, and urgent questions flow. His startling images stretch the boundaries ofthought. His poems, at once surreal and corporeal, lead us into new metaphysical and linguistic terrain.
Wheeling Motel
by Franz WrightIn his tenth collection of poetry, Franz Wright gives us an exquisite book of reconciliation with the past and acceptance of what may come in the future. From his earliest years, he writes in "Will," he had "the gift of impermanence / so I would be ready, / accompanied / by a rage to prove them wrong / . . . and that I too was worthy of love." This rage comes coupled with the poet's own brand of love, what he calls "one / strange alone / heart's wish / to help all / hearts." Poetry is indeed Wright's help, and he delivers it to us with a wry sense of the daily in America: in his wonderfully local relationship to God (whom he encounters along with a catfish in the emerald shallows of Walden Pond); in the little West Virginia motel of the title poem, on the banks of the great Ohio River, where "Tammy Wynette's on the marquee" and he is visited by the figure of Walt Whitman, "examining the tear on a dead face."Here, in Wheeling Motel, Wright's poetry continues to surprise us with its frank appraisal of our soul, and with his own combustible loneliness and unstoppable joy.From the Hardcover edition.
When Blackness Rhymes with Blackness
by Rowan Ricardo PhillipsIn When Blackness Rhymes with Blackness, Rowan Ricardo Phillips pushes African American poetry to its limits by unraveling "our desire to think of African American poetry as African American poetry." Phillips reads African American poetry as inherently allegorical and thus "a successful shorthand for the survival of a poetry but unsuccessful shorthand for the sustenance of its poems." Arguing in favor of the "counterintuitive imagination," Phillips demonstrates how these poems tend to refuse their logical insertion into a larger vision and instead dwell indefinitely at the crux between poetry and race, "where, when blackness rhymes with blackness, it is left for us to determine whether this juxtaposition contains a vital difference or is just mere repetition." From When Blackness Rhymes with Blackness: Phillis Wheatley, like the epigraphs that writers fit into the beginning of their texts, is first and foremost a cultural sign, a performance. It is either in the midst of that performance ("at a concert"), or in that performance's retrospection ("in a cafe´"), that a retrievable form emerges from the work of a poet whose biography casts a far longer shadow than her poems ever have. Next to Langston Hughes, of all African American poets Wheatley's visual image carries the most weight, recognizable to a larger audience by her famed frontispiece, her statue in Boston, and the drama behind the publication of her book, Poems on Various Subjects Religious and Moral. All of this will be fruit for discussion in the pages that follow. Yet, I will also be discussing the proleptic nature with which African American literature talks, if you will, Phillis Wheatley.
When Blackness Rhymes with Blackness
by Rowan Ricardo PhillipsIn When Blackness Rhymes with Blackness, Rowan Ricardo Phillips pushes African American poetry to its limits by unraveling "our desire to think of African American poetry as African American poetry." Phillips reads African American poetry as inherently allegorical and thus "a successful shorthand for the survival of a poetry but unsuccessful shorthand for the sustenance of its poems." Arguing in favor of the "counterintuitive imagination," Phillips demonstrates how these poems tend to refuse their logical insertion into a larger vision and instead dwell indefinitely at the crux between poetry and race, "where, when blackness rhymes with blackness, it is left for us to determine whether this juxtaposition contains a vital difference or is just mere repetition." From When Blackness Rhymes with Blackness: Phillis Wheatley, like the epigraphs that writers fit into the beginning of their texts, is first and foremost a cultural sign, a performance. It is either in the midst of that performance ("at a concert"), or in that performance's retrospection ("in a cafe´"), that a retrievable form emerges from the work of a poet whose biography casts a far longer shadow than her poems ever have. Next to Langston Hughes, of all African American poets Wheatley's visual image carries the most weight, recognizable to a larger audience by her famed frontispiece, her statue in Boston, and the drama behind the publication of her book, Poems on Various Subjects Religious and Moral. All of this will be fruit for discussion in the pages that follow. Yet, I will also be discussing the proleptic nature with which African American literature talks, if you will, Phillis Wheatley.
When Charlie McButton Lost Power
by Suzanne Collins Mike LesterAn electifying picture book from the author of The Hunger Games. Charlie McButton likes computer games so much, he never plays with anything else. When a thunderstorm knocks out the electricity, his tech empire comes tumbling down, and his whole world loses power. He needs batteries--FAST. But the only triple A's he can find are in his little sister's talking doll. Will he resort to desperate measures and cause his little sister to have a meltdown of her own? Or will be snap out of his computer craze long enough to realize he can have fun with her, even without batteries? Suzanne Collins, author of the bestselling Hunger Games trilogy, and award-winning illustrator Mike Lester team up for a hilarious and timely tale that will crack up young computer addicts and those who love them.
When Clouds Touch Us
by Thanhhà LaiInspired by the author’s own childhood, this stunning novel in verse, sequel to the award-winning #1 bestseller Inside Out and Back Again, picks up two years after Hà and her family arrive in Alabama as refugees from the Việt Nam War.Hà and her family have worked hard to make a life for themselves in the US, but it hasn’t come easy. Hà has only just started to feel settled when Mother decides that the family will move to Texas for a new job. Hà knows how hard starting over is and doesn’t want to have to do it again. But sometimes even an unwanted change can bring opportunity, new friends, and a place to call home. This lyrical and compelling sequel to the National Book Award Medalist and Newbery Honor winning, #1 New York Times bestselling novel Inside Out and Back Again follows Hà and her family through another year of upheaval, growth, and love.
When Daddy's Truck Picks Me Up (Elementary Core Reading #120)
by Carol Thompson Jana Novotny HunterNIMAC-sourced textbook
When Earth Leaps Up
by Anne SzumigalskiEdited by Mark Abley; Preface by Hilary Clark; Afterword by Mark Abley This posthumous collection will be a delightful surprise for readers who thought they had heard the last of Anne Szumigalski's nimble, sideslipping, otherworldly voice. Szumigalski's poetic universe is as beguiling and unpredictable as dreams and myth, and like them, her universe can be enchanting, visually lush, and suddenly dangerous. The poems deal with ultimate questions. What is time? What is memory? Is it invented or real? Is death a kind of dream? Is life? Is God a man, a woman, or a Sacred Reptile? The imaginative leaps in When Earth Leaps Up are as easy as looking up at the prairie sky, as simple as turning your head to the side to catch a glimpse of an idea as it skips past you in the form of an interesting stranger, a passing cloud, the face of a loved one, long dead.
When God Made the World
by Matthew Paul TurnerFrom the author of the bestselling children's book When God Made You comes a rhythmic, whimsical journey through creation--for little readers who love science and wonder and the beginnings of all things.For spiritual parents who are looking for a different kind of creation book, Matthew Paul Turner's When God Made the World focuses on the complex way that God created our vast and scientifically operating universe, including the biodiversity of life on our planet and the intricacies of a vast solar system. Scottish illustrator Gillian Gamble brings the natural world to vibrant life with rich colors and poignant detail certain to stretch young minds and engage imaginations.Planet Earth, God made a blue and green sphere,And designed it to orbit the sun once a year.God made daytime and nighttime, climates and seasons,And all kinds of weather that vary by region.God made continents and oceans, islands and seas,A north and south pole that God put in deep freeze.God carved rivers and brooks, mountains and caves,Made beaches with sand and huge crashing waves.God made tropics and plateaus, glaciers and meadows,marshes and tundras and erupting volcanos.
When I Am Gone: Poems for times of loss and grief
by Becky NemsleyA collection of sixty-five poems to help you ride the waves of grief and to provide some comfort and support in the wake of loss. Words written with love to help bring you calm, quiet and a sense of peace at a time that can feel overwhelming. The book is divided into three sections: When you are gone, when they are gone and when I am gone. A reminder to--above all--be gentle with yourself.
When I Find You Again, It Will Be in Mountains: The Selected Poems of Chia Tao
by Mike O'ConnorChia Tao (779-843), an erstwhile Zen monk who became a poet during China's Tang dynasty, recorded the lives of the sages, masters, immortals, and hermits who helped establish the great spiritual tradition of Zen Buddhism in China. Presented in both the original Chinese and Mike O'Connor's beautifully crafted English translation, When I Find You Again, It Will Be in Mountains brings to life this preeminent poet and his glorious religious tradition, offering the fullest translation of Chia Tao's poems to date.
When I Grow Up
by Wes Hargis Al Yankovic'Cause maybe I'll be a gorilla masseuse Or an artist who sculpts out of chocolate mousse Or a rodeo clown or a movie director Or maybe professional pickle inspector... Billy's classmates may have never considered careers in snail training or sumo wrestling before, but by the time the exuberant eight-year-old is done cataloging his dream jobs, they just might share his belief in unlimited potential! Virtuoso wordplay, irresistible rhythm, and laugh-out-loud humor abound in the first picture book by the one and only "Weird Al" Yankovic. This unbridled celebration of creativity and possibility invites readers of all ages to consider afresh what they want to be when they grow up.
When I Grow Up I Want to Be a List of Further Possibilities (A. Poulin, Jr. New Poets of America)
by Chen ChenLONGLISTED FOR THE NATIONAL BOOK AWARD FOR POETRYWINNER OF THE A. POULIN, JR. POETRY PRIZEA LIBRARY JOURNAL BEST BOOK OF 2017 SELECTION: POETRY & LITERATUREON NPR BOOKS'S LIST OF "POETRY TO PAY ATTENTION TO: 2017'S BEST VERSE"A PUBLISHERS WEEKLY 2017 HOLIDAY GIFT GUIDE SELECTIONIn this ferocious and tender debut, Chen Chen investigates inherited forms of love and family—the strained relationship between a mother and son, the cost of necessary goodbyes—all from Asian American, immigrant, and queer perspectives. Holding all accountable, this collection fully embraces the loss, grief, and abundant joy that come with charting one's own path in identity, life, and love.
When I Waked, I Cried To Dream Again: Poems
by A. Van JordanA dynamic, moving hybrid work that celebrates Black youth, often too fleeting, and examines Black lives lost to police violence. In this astonishing volume of poems and lyric prose, Whiting Award–winner A. Van Jordan draws comparisons to Black characters in Shakespearean plays—Caliban and Sycorax from The Tempest, Aaron the Moor from Titus Andronicus, and the eponymous antihero of Othello—to mourn the deaths of Black people, particularly Black children, at the hands of police officers. What do these characters, and the ways they are defined by the white figures who surround them, have in common with Tamir Rice, Trayvon Martin, and other Black people killed in the twenty-first century? Balancing anger and grief with celebration, Jordan employs an elastic variety of poetic forms, including ekphrastic sestinas inspired by the photography of Malick Sidibé, fictional dialogues, and his signature definition poems that break down the insidious power of words like “fair,” “suspect,” and “juvenile.” He invents a new form of window poems, based on a characterization exercise, to see Shakespeare’s Black characters in three dimensions, and finds contemporary parallels in the way these characters are othered, rendered at once undesirable and hypersexualized, a threat and a joke. At once a stunning inquiry into the roots of racist violence and a moving recognition of the joy of Black youth before the world takes hold, When I Waked, I Cried to Dream Again expresses the preciousness and precarity of life.
When I Walk Through That Door, I Am: An Immigrant Mother's Quest
by Jimmy Santiago BacaPoet-activist Jimmy Baca immerses the reader in an epic narrative poem, imagining the experience of motherhood in the context of immigration, family separation, and ICE raids on the Southern border.Jimmy Santiago Baca sends us on a journey with Sophia, an El Salvadorian mother facing a mountain of obstacles, carrying with her the burden of all that has come before: her husband's murder, a wrenching separation from her young son at the border, then rape and abuse at the hands of ICE, yet persevering: "I keep walking/carrying you in my thoughts," she repeats, as she wills her boy to know she is on a quest to find him.
When Mermaids Sleep
by Ann BonwillIn this beautifully lyrical bedtime picture book, young readers will be whisked to a land where mermaids sleep and pirates snore; where fairies slumber on flower petals and a giant's sleepy sighs make the valleys rumble. Featuring dream-like illustrations by Society of Illustrators Gold Medal recipients Steve Johnson and Lou Fancher, When Mermaids Sleep is an ideal addition to the bedtime canon.
When My Brother Was an Aztec
by Natalie Diaz"I write hungry sentences," Natalie Diaz once explained in an interview, "because they want more and more lyricism and imagery to satisfy them." <P><P>This debut collection is a fast-paced tour of Mojave life and family narrative: A sister fights for or against a brother on meth, and everyone from Antigone, Houdini, Huitzilopochtli, and Jesus is invoked and invited to hash it out. These darkly humorous poems illuminate far corners of the heart, revealing teeth, tails, and more than a few dreams. <P><P>I watched a lion eat a man like a piece of fruit, peel tendons from fascialike pith from rind, then lick the sweet meat from its hard core of bones. <br>The man had earned this feast and his own deliciousness by ringing a stick against the lion's cage, calling out Here, Kitty Kitty, Meow! <br>With one swipe of a paw much like a catcher's mitt with fangs, the lionpulled the man into the cage, rattling his skeleton against the metal bars. <br>The lion didn't want to do it-He didn't want to eat the man like a piece of fruit and he told the crowd this: I only wanted some goddamn sleep . . . <P><P>Natalie Diaz was born and raised on the Fort Mojave Indian Reservation in Needles, California. After playing professional basketball for four years in Europe and Asia, Diaz returned to the states to complete her MFA at Old Dominion University. She lives in Surprise, Arizona, and is working to preserve the Mojave language.
When One Has Lived a Long Time Alone
by Galway KinnellA collection of poems ranging from melancholy meditations of a solitary mind concerning estrangement and the longing for reconnection to the natural world and its creatures closely observed.
When Our Fathers Return to Us as Birds (Made in Michigan Writers Series)
by Peter MarkusOver the course of two decades and six books, Peter Markus has been making fiction out of a lexicon shaped by the words brother and fish and mud. In an essay on Markus’s work, Brian Evenson writes, "If it’s not clear by now, Markus’s use of English is quite unique. It is instead a sort of ritual speech, an almost religious invocation in which words themselves, through repetition, acquire a magic or power that revives the simpler, blunter world of childhood." Now, in his debut book of poems, When Our Fathers Return to Us as Birds, Markus tunes his eye and ear toward a new world, a world where father is the new brother, a world where the father’s slow dying and eventual death leads Markus, the son, to take a walk outside to "meet my shadow in the deepening shade." In this collection, a son is simultaneously caring for his father, losing his father, and finding his dead father in the trees and the water and the sky. He finds solace in the birds and in the river that runs between his house and his parents’ house, with its view of the shut-down steel mill on the river's other side, now in the process of being torn down. The book is steadily punctuated by this recurring sentence that the son wakes up to each day: My father is dying in a house across the river. The rhythmic and recursive nature to these poems places the reader right alongside the son as he navigates his journey of mourning. These are poems written in conversation with the poems of Jack Gilbert, Linda Gregg, Jim Harrison, Jane Kenyon, Raymond Carver, Theodore Roethke too—poets whose poems at times taught Markus how to speak. "In a dark time . . .," we often hear it said, "there are no words." But the truth is, there are always words. Sometimes our words are all we have to hold onto, to help us see through the darkened woods and muddy waters, times when the ear begins to listen, the eye begins to see, and the mouth, the body, and the heart, in chorus, begin to speak. Fans of Markus’s work and all of those who are caring for dying parents or grieving their loss will find comfort, kinship, and appreciation in this honest and beautiful collection.