American Poets Project Series

Stephen Foster is the trunk of the tree of American song. His blackface minstrel songs, including “Oh! Susanna,” “Old Folks at Home” (“Way down upon the Swanee River…”), and “My Old Kentucky Home,” and his parlor ballads, such as “Jeanie with the Light Brown Hair,” and “Beautiful Dreamer,” have inspired composers, songwriters, and performers from Charles Ives and George Gershwin to Ray Charles and James Taylor. Foster devoted as much care and craft to his lyrics as he did to his timeless melodies.

In this comprehensive new selection, acclaimed music historian Ken Emerson introduces and annotates the lyrics to more than thirty of Foster’s best and best-known songs. These masterpieces by America’s first full-time professional songwriter, forebear of Irving Berlin, Hoagy Carmichael, Carole King, and Bob Dylan, have been so deeply absorbed into our culture that they are often assumed to be folk music. Alongside are fifty other 19th-century American popular songs that influenced Foster or that he in turn influenced, from “Home! Sweet Home!” in the 1820s to “Western Home” (the original “Home on the Range”) in the 1870s.

About the American Poets Project
Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.

A keepsake edition gathering the lyrics of more than 80 of Gershwin’s most popular songs

Ira Gershwin once remarked that he always tried to “capture the way people spoke to each other—their slang, their clichés, the catch phrases.” Few people in ordinary life, of course, can muster the humor, vivacity, and emotional directness that Gershwin brought to his lyrics. His collaboration with his brother George—one of the summits of American popular music—produced masterpieces that reflect, perhaps, the way people would like to talk. “Someone to Watch Over Me,” “Nice Work If You Can Get It,” “They Can’t Take That Away from Me,” “’S Wonderful”: these have entered the culture and become part of our common language. The insouciant, improvisational air of his lyrics belies the meticulous craftsmanship that Ira brought to every syllable. Robert Kimball has gathered more than 80 examples of Ira Gershwin at his best: the comic invention of songs such as “They All Laughed” and “Let’s Call the Whole Thing Off,” the poignancy of “The Man I Love,” the wry edge of “The Saga of Jenny,” the sheer exuberance of “Fascinating Rhythm,” and dozens more.

About the American Poets Project
Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.

Better known for writing in a variety of other genres, James Agee always thought of himself as essentially a poet. Winner of the Yale Younger Poets competition in 1934 for Permit Me Voyage, Agee was, in the words of editor Andrew Hudgins, “as restless in his poetry as he was later in his prose, exhibiting a variety . . . that we expect from the protean mind that excelled in so many different kinds of writing.” Ranging from intense religious sonnets to lyrics for musical comedy, Agee?s verse takes us into the heart of his unique genius, what Robert Fitzgerald called his “sense of being . . . a raging awareness of the sensory field in depth and in detail.”

About the American Poets Project
Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.

On October 3rd, 2007 Anne Stevenson was named the second recipient of the Poetry Foundation’s Neglected Masters Award. The award brings renewed critical attention to the life’s work of a significant but under-recognized American poet. The Library of America is proud to publish Anne Stevenson: Selected Poems, edited by English Poet Laureate Andrew Motion, in conjunction with the award. Stevenson was born in England of American parents in 1933, grew up and received her schooling in New England and in Ann Arbor, Michigan, and has spent most of her adult life in England. This is the first American edition of her work in more than a generation.

About the American Poets Project
Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.

When American poets turn to the sonnet, they invest it with a glamour and intensity equal to anything they have to show in more flamboyant, new-minted shapes. Like a symphony by Copland or a nude by de Kooning, an American sonnet marries European artistic tradition to New World innovation and expansiveness. Something old and familiar—the themes and schemes and history of the 14-line lyric—becomes something new, vital, and characteristically American.

This unique anthology presents one critic’s selection from two centuries of American sonnets. Some of David Bromwich’s choices—Hart Crane’s tribute to Emily Dickinson, for example, or Emma Lazarus’s dedication of Lady Liberty to the world’s tired and poor—are classics cast in bronze. Others—Elizabeth Bishop’s short-lined “Sonnet” or any sonnet typed by Cummings—are hammers that shatter the mold. The heart of the book is in the clusters of sonnets by Longfellow, Very, Tuckerman, Robinson, Frost, Stickney, Wylie, and Millay. Here are our Petrarchs and Shakespeares, the American masters who, by living within the strictures of the octave and the sestet, found full voice, enlarged a tradition, and changed the sonnet forever.

About the American Poets Project
Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.

Kenneth Koch, in the words of editor Ron Padgett, wrote poetry that became a part of “the mystery and pleasure of being alive.” A center of the New York School, he gained notoriety by mocking the stodginess and academicism of much mid-century verse.

This enthralling selection encompasses the full range of Koch’s poetry, and includes such already classic works as “Fresh Air” (his devastatingly satirical assault on mid-1950s poetic conformism), “The Pleasure of Peace” (with its defiant assertion that “One single piece of pink mint chewing gum contains more pleasures / Than the whole rude gallery of war!”), “The Art of Poetry,” his astonishing and light-footed survey of the aims and methods of poetry, and poems from the late collection New Addresses, including “To World War Two,” “To Psychoanalysis,” and “To the French Language.”

A poet at once directly accessible and deeply mysterious, Kenneth Koch was the master of an art of surprise in which the world is constantly reimagined.

About the American Poets Project
Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.

With an ear tuned to the most delicate musical effects, an eye for exact and heterogeneous details, and a mind bent on experiment, Louis Zukofsky was preeminent among the radical Objectivist poets of the 1930s. This is the first collection to draw on the full range of Zukofsky’s poetry——containing short lyrics, versions of Catullus, and generous selections from “A”, his 24-part “poem of a life”—and provides a superb introduction to a modern master of whom the critic Guy Davenport has written: “Every living American poet worth a hoot has stood aghast before the steel of his integrity.”

The most formally radical poet to emerge among the second wave of American modernists, Louis Zukofsky continues to influence younger poets attracted to the rigor, inventiveness, and formal clarity of his work. Born on New York’s Lower East Side in 1904 to emigrant parents, Zukofsky achieved early recognition when he edited an issue of Poetry devoted to the Objectivist poets, including George Oppen and Charles Reznikoff. In addition to an abundance of short lyrics and a sound-based version of the complete poems of Catullus, he worked for most of his adult life on the long poem “A” of which he said: “In a sense the poem is an autobiography: the words are my life.”

Zukofsky’s work has been described as difficult although he himself said: “I try to be as simple as possible.” In the words of editor Charles Bernstein, “This poetry leads with sound and you can never go wrong following the sound sense. . . . Zukofsky loved to create patterns, some of which are apparent and some of which operate subliminally. . . . Each word, like a stone dropped in a pond, creates a ripple around it. The intersecting ripples on the surface of the pond are the pattern of the poem.” Here for the first time is a selection designed to introduce the full range of Zukofsky’s extraordinary poetry.

About the American Poets Project
Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.

Meditative, comic, emotionally wrenching, steeped in both the natural world and the life of the mind, the poetry of A. R. Ammons is at once cosmic in scope and intimate in its moment-to-moment transformations. With his mastery of description and cadence, his roiling wit and fearless gaze, Ammons was a philosopher of the everyday who found surprise everywhere he looked. “He is often witty, sometimes bawdy,” writes editor David Lehman, “on a perpetual quest to find forms capacious enough for an imagination intent on finding a place for everything.”

A compound, in editor David Lehman’s words, of “wisdom, pathos, humor, mortal longing, and intimations of immortality,” the work of A. R. Ammons is like nothing else in modern American poetry. Ammons’s tireless formal invention and restless curiosity about every aspect of nature and of the mind are embodied in poetry that is effortlessly accessible and generous in its impulses. Whether spreading out in the long forms of Tape for the Turn of the Year or Garbage, or honing his perceptions down to the extreme brevity of his shorter lyrics, he holds tight to his vision of the way “all day / life itself is bending, / weaving, changing, / adapting, failing, / succeeding.”

This new selection covering the whole range of Ammons’s career offers a superb introduction to the pleasures and surprises of his work. His uncanny ability to balance wide-ranging abstract speculation with meticulous observation of natural phenomena, in poetry that encompasses moods of tragic pathos, low comedy, and seemingly casual profundity marks him as one of the preeminent figures in our recent literature.

About the American Poets Project
Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.

Discover the most enduring works of the legendary poet and first black author to win a Pulitzer Prize—now in one collectible volume

“If you wanted a poem,” wrote Gwendolyn Brooks, “you only had to look out of a window. There was material always, walking or running, fighting or screaming or singing.” From the life of Chicago’s South Side she made a forceful and passionate poetry that fused Modernist aesthetics with African-American cultural tradition, a poetry that registered the life of the streets and the upheavals of the 20th century. Starting with A Street in Bronzeville (1945), her epoch-making debut volume, The Essential Gwendolyn Brooks traces the full arc of her career in all its ambitious scope and unexpected stylistic shifts.

“Her formal range,” writes editor Elizabeth Alexander, “is most impressive, as she experiments with sonnets, ballads, spirituals, blues, full and off-rhymes. She is nothing short of a technical virtuoso.” That technical virtuosity was matched by a restless curiosity about the life around her in all its explosive variety. By turns compassionate, angry, satiric, and psychologically penetrating, Gwendolyn Brooks’ poetry retains its power to move and surprise.

About the American Poets Project
Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.

From first to last, poetry was part of Edith Wharton’s writing life. While rarely (after early youth) her primary focus, it always served her as a medium for recording the most vivid impressions and emotions, an intimate journal of longings and regrets. “Poetry was important to Wharton,” writes editor Louis Auchincloss, “because it enabled her to express the deeply emotional side of her nature that she kept under such tight control, not only in her life but in the ordered sweep of her fiction.”

In later years her poetry also engaged with the public passions of wartime, as she found herself involved with the plight of Allied soldiers in France. Her first models were Romantic, but in the course of her life she absorbed the influences of Symbolism and Modernism; and throughout her poetic career she showed a care for form even in her most private utterances, as in the erotic ode “Terminus,” never published in her lifetime. This volume collects the bulk of Wharton’s significant poetry, including much work previously uncollected or unpublished.

About the American Poets Project
Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.

The most comprehensive collection available of Menashe’s concise and powerfully suggestive poetry

Samuel Menashe (1925-2011) was the first recipient of The Poetry Foundation’s Neglected Masters Prize in 2004 and this volume was published in conjunction with that award. Born in New York City, Menashe practiced his art of “compression and crystallization” (in Derek Mahon’s phrase) in poems that are brief in form but startlingly wide-ranging and profound in their engagement with ultimate questions. Dana Gioia has written: “Menashe is essentially a religious poet, though one without an orthodox creed. Nearly every poem he has ever published radiates a heightened religious awareness.”

Intensely musical and rigorously constructed, Menashe’s poetry stands apart in its solitary meditative power. But it is equally a poetry of the everyday, suffused, in the words of Christopher Ricks, with “the courage of comedy, flanked by the respect of innocence.” The humblest of objects, the minutest of natural forms here become powerfully suggestive, and even the shortest of the poems are spacious in the perspectives they open.

About the American Poets Project
Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.

Writers on both sides of the American Civil War “brought to the crisis” (in editor J. D. McClatchys’ words) “poetry’s unique ability to stir the emotions, to freeze the moment, to sweep the scene with a panoramic lens and suddenly swoop in for a close-up of suffering or courage.” This vibrant collection brings together the most memorable and enduring work inspired by the conflict: the masterpieces of Whitman and Melville, Sidney Lanier on the death of Stonewall Jackson, the anti-slavery poems of Longfellow and Whittier, the front-line narratives of Henry Howard Brownell and John W. De Forest, the anthems of Julia Ward Howe and James Ryder Randall. Grief, indignation, pride, courage, patriotic fervor, ultimately reconciliation and healing: the poetry of the Civil War evokes unforgettably the emotions that roiled America in its darkest hour.

About the American Poets Project
Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.

The first important American Jewish poet, Emma Lazarus is remembered above all for her classic sonnet “The New Colossus,” whose phrases (“Give me your tired, your poor.”) have become part of the American language. In this new selection of Lazarus’s work, John Hollander demonstrates that in her relatively brief life she achieved real poetic mastery in a variety of modes.

In early poems like “Phantasies” and “Symphonic Studies,” she explored fluently imagined inner landscapes suggested by the music of Schumann. Later, her deepening interest in Jewish history and culture was expressed in such powerful poems as “1492,” “The New Ezekiel,” and “The Guardian of the Red Disk.” Influenced both by American models, among them her poetic mentor Emerson, and by the poets whose work she translated, including Heinrich Heine and the medieval Hebrew poets Solomon Ibn Gabirol and Judah ha-Levi, she forged a poetic style of high technical accomplishment and moral passion.

Long neglected, her work is revealed in this volume as an important contribution to American poetry.

About the American Poets Project
Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.

“Staggering, swaggering, intoxicating”: John Berryman achieved a poetry where (in the words of editor Kevin Young) “protagonists search for a lover or friend, ancestor or listener, with a recklessness that only Whitman allowed himself. . . . Berryman becomes Everyman attempting, falling short of, and often achieving greatness.”

Young’s selection, the first new selection of Berryman’s poems in over 30 years, encompasses the formal accomplishments of his early work, epitomized in the masterful Homage to Mistress Bradstreet; the explosive and mesmerizing diction of Dream Songs, and his wrenching religious poems.

At once traditional and radical, Berryman was a master of technique who remade language with gusto. No poet of his time wrote more distinctively or inventively, or with more relentless intensity. With its formal exuberance and its uncompromising, often heartbreaking expressiveness, his poetry continues to surprise and challenge.

About the American Poets Project
Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.

A beloved figure in his own era——a household name for such poems as “Barbara Frietchie” and “The Barefoot Boy”—John Greenleaf Whittier remains an emotionally honest, powerfully reflective voice. A Quaker deeply involved in the struggle against slavery (he was harassed by mobs more than once) he enlisted his poetry in the abolitionist cause with such powerful works as “The Hunters of Men,” “Song of Slaves in the Desert,” and “Ichabod!”, his mournful attack on Daniel Webster’s betrayal of the anti-slavery cause.

Whittier’s narrative gift is evident in such perennially popular poems as “Skipper Ireson’s Ride” and the Civil War legend “Barbara Frietchie,” while in his masterpiece “Snow-Bound” he created a vivid, flavorful portrait of the country life he knew as a child in New England. “His diction is easy, his detail rich and unassuming, his emotion deep,” writes editor Brenda Wineapple. “And the shale of his New England landscape reaches outward, promising not relief from pain but a glimpse of a better, larger world.”

About the American Poets Project
Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today’s most discerning poets and critics.