How does a contemporary woman with a career as a poet, professor, and editor experience motherhood with one small child, another soon to be born, and her own mother suddenly diagnosed with a brain tumor and AlzheimerÕs? The dichotomy between life as a mother and life as an artist and professional is a major theme in modern literature because often the two seem irreconcilable. In Bring Down the Little Birds, Carmen GimŽnez Smith faces this seeming irreconcilability head-on, offering a powerful and necessary lyric memoir to shed light on the difficultiesÑand joysÑof being a mother juggling work, art, raising children, pregnancy, and being a daughter to an ailing mother, and, perhaps most important, offering a rigorous and intensely imaginative contemplation on the concept of motherhood as such. Writing in fragmented yet coherent sections, the author shares with us her interior monologue, affording the reader a uniquely honest, insightful, and deeply personal glimpse into a womanÕs first and second journeys into motherhood. GimŽnez Smith begins Bring Down the Little Birds by detailing the relationship with her own mother, from whom her own concept of motherhood originated, a conception the author continually reevaluates and questions over the course of the book. Combining fragments of thought, daydreams, entries from notebooks both real and imaginary, and real-life experiences, GimŽnez Smith interrogates everything involved in becoming and being a mother for both the first and second time, from wondering what her children will one day know about her own Òsecret lifeÓ to meditations on the physical effects of pregnancy as well as the myths, the nostalgia, and the glorification of motherhood. While GimŽnez Smith incorporates universal experiences of motherhood that other authors have detailed throughout literature, what separates her book from these many others is that her reflections are captured in a style that establishes an intimacy and immediacy between author and reader through which we come to know the secret life of a mother and are made to question our own conception of what motherhood really means.

Brings together the study of literature with the psychology and history of religions.

In what sense does the literary critic exist in his own right, and in what way does his role go beyond that of the teacher, mystic, philologist, historian, philosopher, rhetorician, and literary artist? This issue of the Bucknell Review focuses on the opposition of rhetoric and interpretation, presenting essays which explore the problems and possibilities critics confront when they adopt either interpretation or rhetoric as a critical starting point. Illustrated.

This book provides an introduction to the elements of poetry, formulates a series of contexts for the interpretation of poems, and offers a substantial anthology. Its purpose is to enable students to read poems with understanding and pleasure and to provide them with a basic vocabulary for analysing and talking about poems.

In Bending the Bow, Robert Duncan is writing on a scale which places him among the poets, after Walt Whitman, bold enough to attempt the personal epic, the large-canvas rendering of man's spirit in history as one man sees it, feels it, lives it, and makes it his own.

An anthology of twentieth-century American poetry, featuring Wallace Stevens, T.S. Eliot, Elizabeth Bishop, Robert Hayden, Gwendolyn Brooks, Derek Walcott, Adrienne Rich, John Ashbery, Anne Sexton, and many others.

In this groundbreaking volume, Fred Moramarco and Al Zolynas bring together a comprehensive and widely representative selection of poetry reflecting both the diversity and commodity of male experience in the United States today. Since the beginning of the contemporary phase of the women's movement in the 1960s, various anthologies devoted to the poetry of women have articulated and defined a distinctive sensibility attuned to the particularities of a woman's life in our time. Although much has been written recently about the male role in our society as well, the discussion generally has assumed a sociopsychological or mythic perspective. Poetry, Moramarco and Zolynas believe, can reveal most about the nature of male life today, especially the enormous changes men have experienced in recent years. As the editors state in their introduction, "A quiet revolution has been taking place in men's poetry over the past few decades, as men have been chronicling the 'history of their hearts' and have been examining those relationships central to their being in the world: their connections to their fathers and mothers; their own sense of fatherhood and of being sons and brothers; their marriages, divorces, and other aspects of their love lives; as well as the ways they conceive of maleness and femaleness." The poems collected in Men of Our Time--257 from more than 170 poets--include a wide mix of ethnic and racial perspectives that reflect the multicultural tenor of American life. They reveal men's most intimate feelings about the loss of childhood, sexual anxieties and fantasies, aging, self-sufficiency and dependency, and the perennial quest for a masculine identity. Above all, the poems are unapologetically grounded in a distinctly male experience or imagination. Men of Our Time reclaims a poetry that is connected to and expressive of men's lives in the closing decade of the twentieth century.