An illuminating look at the many forms of poetry's essential excellence by James Longenbach, a writer with "an ear as subtle and assured as any American poet now writing" (John Koethe) "This book proposes some of the virtues to which the next poem might aspire: boldness, change, compression, dilation, doubt, excess, inevitability, intimacy, otherness, particularity, restraint, shyness, surprise, and worldliness. The word ‘virtue' came to English from Latin, via Old French, and while it has acquired a moral valence, the word in its earliest uses gestured toward a magical or transcendental power, a power that might be embodied by any particular substance or act. With vices I am not concerned. Unlike the short-term history of taste, which is fueled by reprimand or correction, the history of art moves from achievement to achievement. Contemporary embodiments of poetry's virtues abound, and only our devotion to a long history of excellence allows us to recognize them." –from James Longenbach's preface The Virtues of Poetry is a resplendent and ultimately moving work of twelve interconnected essays, each of which describes the way in which a particular excellence is enacted in poetry. Longenbach closely reads poems by Shakespeare, Donne, Blake, Keats, Dickinson, Yeats, Pound, Bishop, and Ashbery (among others), sometimes exploring the ways in which these writers transmuted the material of their lives into art, and always emphasizing that the notions of excellence we derive from art are fluid, never fixed. Provocative, funny, and astute, The Virtues of Poetry is indispensable for readers, teachers, and writers. Longenbach reminds us that poetry delivers meaning in exacting ways, and that it is through its precision that we experience this art's lasting virtues.

Poems inspire our trust, argues James Longenbach in this bracing work, because they don't necessarily ask to be trusted. Theirs is the language of self-questioning—metaphors that turn against themselves, syntax that moves one way because it threatens to move another. Poems resist themselves more strenuously than they are resisted by the cultures receiving them. But the resistance to poetry is quite specifically the wonder of poetry. Considering a wide array of poets, from Virgil and Milton to Dickinson and Glück, Longenbach suggests that poems convey knowledge only inasmuch as they refuse to be vehicles for the efficient transmission of knowledge. In fact, this self-resistance is the source of the reader's pleasure: we read poetry not to escape difficulty but to embrace it. An astute writer and critic of poems, Longenbach makes his case through a sustained engagement with the language of poetry. Each chapter brings a fresh perspective to a crucial aspect of poetry (line, syntax, figurative language, voice, disjunction) and shows that the power of poetry depends less on meaning than on the way in which it means—on the temporal process we negotiate in the act of reading or writing a poem. Readers and writers who embrace that process, Longenbach asserts, inevitably recoil from the exaggeration of the cultural power of poetry in full awareness that to inflate a poem's claim on our attention is to weaken it. A graceful and skilled study, The Resistance to Poetry honors poetry by allowing it to be what it is. This book arrives at a critical moment—at a time when many people are trying to mold and market poetry into something it is not.

From the author of FIRST PRIZE, a thriller about an indomitable American businessman whose integrity is pitted against the machinations of three governments. Merritt Fury, an American entrepreneur, savors his return to glamorous Hong Kong to meet with his itinerant business partners, until the irrational behavior of some of them sours his interest in the firm. Harry Briscoe, a senior partner whose business acumen Fury admires, offers his colleagues an ultimatum: agree to pay for the expansion of the firm's tungsten mine, or dissolve the partnership. Fury argues against the scheme, but Briscoe & others seem impervious to reason. And Fury soon realizes that he is the least welcome of all among Briscoe's partners. When Fury decides to stay in the partnership, he learns just how unwelcome he is. He is attacked in his hotel room, almost assassinated by a British secret agent, & courted by Amber Lee, a beautiful government economist who packs an automatic pistol. And when he is kidnapped, he grasps that he is the pivotal factor in a double conspiracy, & that the deadly conflict between his own integrity & the pragmatism of his colleagues could change the future of Hong Kong.

An original collection of poetry by Paul Lake.

At the age of 19, Phillis Wheatley was the first black American poet to publish a book. Her elegies and odes offer fascinating glimpses of the beginnings of African-American literary traditions. Includes a selection from the Common Core State Standards Initiative.

"The novelist and poet Ben Lerner argues that our hatred of poetry is ultimately a sign of its nagging relevance"--

For over fifty years, Wendell Berry has argued that our most pressing ecological and cultural need is a renewed formal intelligence -- a mode of thinking and acting that fosters the health of the earth and its beings. Yet the present industrial economy prioritizes a technical, self-centered way of relating to the world that often demands and rewards busyness over thoughtful observation, independence over relationships, and replacing over repairing. Such a system is both unsustainable and results in destructive, far-reaching consequences for our society and land. In Virtues of Renewal: Wendell Berry's Sustainable Forms, Jeffrey Bilbro combines textual analysis and cultural criticism to explain how Berry's literary forms encourage readers to practice virtues of renewal. While the written word alone cannot enact change, Bilbro asserts that Berry's poetry, essays, and fiction can inspire people to, as Berry writes, "practice resurrection." Bilbro examines the distinct, yet symbiotic, features of these three genres, demonstrating the importance of the humanities in supporting tenable economies. He uses Berry's pieces to suggest the need for more robust language for discussing conservation, ecology, and the natural -- and regenerative -- process of death. Bilbro additionally translates Berry's literature to a wider audience, putting him in conversation with philosophers and theologians such as Ivan Illich, Willie Jennings, Charles Taylor, and Augustine. The lessons that Berry and his work have to offer are not only for those interested in cultivating the land, but also for those who cultivate their communities and live mindfully. In short, these lessons are pertinent to all who are willing to make an effort to live the examined life. Such formative work is not dramatic or quick, but it can foster the deep and lasting transformation necessary to develop a more sustainable culture and economy.