The definitive collection of works by one of the Tang Dynasty's most eccentric (and badly-behaved) poets, now back in print for the first time in decades. Li He is the bad-boy poet of the late Tang dynasty. He began writing at the age of seven and died at twenty-six from alcoholism or, according to a later commentator, “sexual dissipation,” or both. An obscure and unsuccessful relative of the imperial family, he would set out at dawn on horseback, pause, write a poem, and toss the paper away. A servant boy followed him to collect these scraps in a tapestry bag. Long considered far too extravagant and weird for Chinese taste, Li He was virtually excluded from the poetic canon until the mid-twentieth century. Today, as the translator and scholar Anne M. Birrell, writes, “Of all the Tang poets, even of all Chinese poets, he best speaks for our disconcerting times.” Modern critics have compared him to Rimbaud, Baudelaire, Keats, and Trakl. The Collected Poems of Li He is the only comprehensive selection of his surviving work (most of his poems were reputedly burned by his cousin after his death, for the honor of the family), rendered here in crystalline translations by the noted scholar J. D. Frodsham.

"Li He (790-816) was the bad-boy poet of the late Tang Dynasty. He began writing at the age of seven and died at twenty-six from a long illness. An obscure and unsuccessful relative of the imperial family, he would set out at dawn on horseback, pause, write a poem, and toss the paper away. A servant-boy followed him to collect these scraps in a tapestry bag. Long considered far too extravagant and weird for Chinese taste, Li He was virtually excluded from the poetic canon until the mid-twentieth century. Today, as the translator and scholar Anne M. Birrell, writes, "Of all the Tang poets, even of all Chinese poets, he best speaks for our disconcerting times." Modern critics have compared him to Rimbaud, Baudelaire, Keats, and Trakl. The Collected Poems of Li He is the only comprehensive selection of his surviving work. (Most of his poems were reputedly burned by his cousin after his death, for the honor of the family.) This important work was published by Anvil Press and North Point Press in 1983, and is an updated edition of Professor Frodsham's original 1970 translation of Li He's poems published by Clarendon Press. In crystalline translations by the noted scholar J. D. Frodsham, the book has been out of print for decades"--

There is a set-phrase in Chinese referring to the phenomenon of Li Po: "Winds of the immortals, bones of the Tao." He moved through this world with an unearthly freedom from attachment, and at the same time belonged profoundly to the earth and its process of change. However ethereal in spirit, his poems remain grounded in the everyday experience we all share. He wrote 1200 years ago, half a world away, but in his poems we see our world transformed. Legendary friends in eighth-century T'ang China, Li Po and Tu Fu are traditionally celebrated as the two greatest poets in the Chinese canon. David Hinton's translation of Li Po's poems is no less an achievement than his critically acclaimed The Selected Poems of Tu Fu, also published by New Directions. By reflecting the ambiguity and density of the original, Hinton continues to create compelling English poems that alter our conception of Chinese poetry.

Poetica 15 Li He, born in 790 AD, is said to have written poetry of great power at age seven. His death at twenty-six was considered a tragic loss. Legend records him writing poems on horseback, gathering the fragments in a tapestry bag carried by a servant lad. Barely 240 of his poems survive.

Classical Chinese poetry reached its pinnacle during the T'ang Dynasty (618-907 A.D.), and the poets of the late T'ang-a period of growing political turmoil and violence-are especially notable for combining strking formal inovation with raw emotional intensity. A. C. Graham’s slim but indispensable anthology of late T’ang poetry begins with Tu Fu, commonly recognized as the greatest Chinese poet of all, whose final poems and sequences lament the pains of exile in images of crystalline strangeness. It continues with the work of six other masters, including the “cold poet” Meng Chiao, who wrote of retreat from civilization to the remoteness of the high mountains; the troubled and haunting Li Ho, who, as Graham writes, cultivated a “wholly personal imagery of ghosts, blood, dying animals, weeping statues, whirlwinds, the will-o'-the-wisp”; and the shimmeringly strange poems of illicit love and Taoist initiation of the enigmatic Li Shang-yin. Offering the largest selection of these poets’ work available in English in a translation that is a classic in its own right, Poems of the Late T’ang also includes Graham’s searching essay “The Translation of Chinese Poetry” as well as helpful notes on each of the poets and on many of the individual poems.

Li Po (701-762) is considered one of the greatest poets to live during the Tang dynasty—what was considered to be the golden age for Chinese poetry. He was also the first Chinese poet to become well known in the West, and he greatly influenced many American poets during the twentieth century. Calling himself the "God of Wine" and known to his patrons as a "fallen immortal," Li Po wrote with eloquence, vividness, and often playfulness, as he extols the joys of nature, wine, and the life of a wandering recluse. Li Po had a strong social conscience, and he struggled against the hard times of his age. He was inspired by the newly blossoming Zen Buddhism and merged it with the Taoism that he had studied all his life. Though Li Po's love of wine is legendary, the translator, J. P. Seaton, includes poems on a wide range of topics—friendship and love, political criticism, poems written to curry patronage, poems of the spirit—to offer a new interpretation of this giant of Chinese poetry. Seaton offers us a poet who learned hard lessons from a life lived hard and offered his readers these lessons as vivid, lively poetry—as relevant today as it was during the Tang dynasty. Over one thousand poems have been attributed to Li Po, many of them unpublished. This new collection includes poems not available in any other editions.

Pulitzer Prize winner Sylvia Plath’s complete poetic works, edited and introduced by Ted Hughes. By the time of her death on 11, February 1963, Sylvia Plath had written a large bulk of poetry. To my knowledge, she never scrapped any of her poetic efforts. With one or two exceptions, she brought every piece she worked on to some final form acceptable to her, rejecting at most the odd verse, or a false head or a false tail. Her attitude to her verse was artisan-like: if she couldn’t get a table out of the material, she was quite happy to get a chair, or even a toy. The end product for her was not so much a successful poem, as something that had temporarily exhausted her ingenuity. So this book contains not merely what verse she saved, but—after 1956—all she wrote. — Ted Hughes, from the Introduction