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What the Road Said
by Cleo WadeWhat the Road Said is the New York Times-bestselling comforting and uplifting picture book from bestselling poet and activist Cleo Wade. Which way do I go? That is your choice to make, said the Road.But what if I go the wrong way?The Road curved a little, almost as if it was giving me a hug, and said,Do not worry. Sometimes we go the wrong way on our way to the right way.It's okay to be afraid or to sometimes wander down the wrong path. Bestselling poet and activist Cleo Wade's What the Road Said features illustrations by Lucie de Moyencourt and encourages us to lead with kindness and curiosity, remembering that the most important thing we can do in life is to keep going.
What the Soul Doesn't Want
by Lorna CrozierIn her newest collection, Lorna Crozier describes the passage of time in the way that only she can. Her arresting, edgy poems about aging and grief are surprising and invigorating: a defiant balm. At the same time, she revels in the quirkiness and whimsy of the natural world: the vision of a fly, the naming of an eggplant, and a woman who — not unhappily — finds that cockroaches are drawn to her. “God draws a life. And then rubs it out / with the eraser on his pencil.” Lorna Crozier draws a world in What the Soul Doesn’t Want, and then beckons us in. Crozier’s signature wit and striking imagery are on display as she stretches her wings and reminds us that we haven’t yet seen all that she can do.
What the Thunder Said: How The Waste Land Made Poetry Modern
by Jed RasulaOn the 100th anniversary of T. S. Eliot’s modernist masterpiece, a rich cultural history of The Waste Land’s creation, explosive impact, and enduring influenceWhen T. S. Eliot published The Waste Land in 1922, it put the thirty-four-year-old author on a path to worldwide fame and the Nobel Prize. “But,” as Jed Rasula writes, “The Waste Land is not only a poem: it names an event, like a tornado or an earthquake. Its publication was a watershed, marking a before and after. It was a poem that unequivocally declared that the ancient art of poetry had become modern.” In What the Thunder Said, Rasula tells the story of how The Waste Land changed poetry forever and how this cultural bombshell served as a harbinger of modernist revolution in all the arts, from abstraction in visual art to atonality in music.From its famous opening, “April is the cruellest month, breeding / Lilacs out of the dead land,” to its closing Sanskrit mantra, “Shantih shantih shantih,” The Waste Land combined singular imagery, experimental technique, and dense allusions, boldly fulfilling Ezra Pound’s injunction to “make it new.” What the Thunder Said traces the origins, reception, and enduring influence of the poem, from its roots in Wagnerism and French Symbolism to the way its strangely beguiling music continues to inspire readers. Along the way, we learn about Eliot’s storied circle, including Wyndham Lewis, Virginia Woolf, and Bertrand Russell, and about poets like Mina Loy and Marianne Moore, whose innovations have proven as consequential as those of the “men of 1914.”Filled with fresh insights and unfamiliar anecdotes, What the Thunder Said recovers the explosive force of the twentieth century’s most influential poem.
What to Count (Made in Michigan Writers Series)
by Alise AlousiWith heart and insight, the poems in Alise Alousi’s What to Count speak to what it means to come of age as an Iraqi American during the first Gulf War and its continuing aftermath, but also to the joy and complexity of motherhood, daughterhood, and what it means to live a creative life. More than a description of the world, Alousi’s poetry actively lives in and of the world. These poems explore the nuances of memory through the changes wrought by time, conflict, and distance. In "The Ocularist" and "Art," and others, Alousi’s extraordinary verbal deftness precisely locates the still-tender pains and triumphs of collective being while trying to be an individual in the world. What to Count is a remarkable collection of contemporary poetry—both a lyrical splendor and a contemplative account of lineage, silenced history, and identity.
What to Miss When: Poems
by Leigh SteinPoems about pop culture, mortality, and the internet, written during the Coronavirus pandemic—for readers who are more likely to double-tap Instapoems than put their phone down long enough to read The Decameron.Catalyzed by sheltering in place and by a personal challenge to give up alcohol for thirty days, Leigh Stein, the poet laureate of The Bachelor, has written a twenty-first-century Decameron to frame modern fables. What to Miss When makes mischief of reality TV and wellness influencers, juicy thoughtcrimes and love languages, and the mixed messages of contemporary feminism. &“Think Starlight,&” the first poem in this collection, written before any self-quarantine orders, imagined the likelihood that the United States would follow in Italy&’s footsteps in terms of caseload and hospital overwhelm. By March 17, 2020, the imagined was the real: New York City had closed schools, bars, and restaurants—with the rest of the country close behind. With nihilist humor and controlled despair, What to Miss When explores fears of death and grocery shopping, stress cleaning and drinking, celebrities behaving badly, everything we took for granted, and life mediated by screens—with dissociation-via-internet, and looking for mirrors in a fourteenth-century pandemic text, a kind of survival response to living casually through catastrophe.
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.