LITMIR.BIZ

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The publisher is proud to present this new edition of an old American favorite, authentically and unforgettably illustrated by a distinguished American artist.Artist-illustrator Herbert Meyer's illustrations give new life to Longfellow's epic poem. Besides being warmly evocative, they are historically authentic, for the artist did extensive research on the American Indians. Meyer's artistic vision does full justice to Longfellow's immortal epic, which is not only an American favorite, but is known and admired throughout the world for its hauntingly beautiful poetry.The Song of Hiawatha's particular blend of myth and history, native tradition and foreign influence has survived the years, and its artistic authenticity is undisputed. The same, we hope, can be said for the illustrations of Herbert Meyer, brought to light in this new, digital edition.

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David Lloyd's verses are a genuine contribution to the literature of haiku. They capture an image, a moment in time, and engrave it in the memory for all time. This is the mark of good haiku, as indeed it is of good verse in general. His haiku can excite the senses, as in:See the sharp needlesforever sewing the skyTo the pine branches.Free of irony, except the irony of nature which sets the tone, calls the shots, with a not always recognizable impartiality, their perceptions are too clear for comment:Flowing downstreamBetween the mountain pines,A bird's embryo.Dogwood blossoms,Their edges turning brown,Recalling legends.Poetic magic raised to a higher power by the author's pen and ink vignettes, complementing each verse. Eye pleasing and evocative, these sketches open little doors to experience.

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The following haiku verses, written in an American style, are departures from the exacting nature of this Japanese poem. By relaxing the restraints upon subject and style, the American poet gains the opportunity to experiment with and to possibly enhance the classic European examples. Although Japanese savants differ about the precise poetics of haiku, they agree that these short poems, highly successful since the thirteenth century, should be composed of three lines, the first and last bearing five syllables and the second bearing seven syllables.Kyoto BuddhaHe of stone, I of flesh, yetIt is he who smiles

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This collection of haiku poetry from Bernard Lionel Einbond is a spectacular.Part one includes Rising Darkness, Countenances of the Poor, and The Coming Indoors, then part two concludes with Insomnia in Haiku Form. Each poem expressed paints a simple mental picture of each experience with Bernard:-The bright one starin the black wide sky…observethe old wise owl.-Have you ever heardthe sound of snowflakes fallingon the snow? Listen.

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Winner of the National Poetry SeriesMothers masquerading as witches and sepulchral bellhops who reveal themselves to be fathers: in Justin Boening’s debut collection of poems, selected for the National Poetry Series by Wayne Miller, nothing is as it seems.Peopled by figures both uncanny and tragic—lionesses who dance and cry, surgeons who carry with them the trauma of past lives, an opera singer whose notes go awry—Not on the Last Day, but on the Very Last uses the language of dreams and of fairy tales to deliver a keenly felt exploration of family, grief, regret, and belonging. Here everything stands for something else. But though the Freudian mother and father lurk behind every sequined costume, continue to strip away the masks, Boening suggests, and you’ll find an even more primal absence at the center—Nobody, No One, mortality, death. Beyond that, we find, lies only the truth of our relationships with each other.Shot through with mournfulness, gorgeously spangled in its language—“a squall of chrysanthemums / and the weird”—Not on the Last Day, but on the Very Last is an unforgettable collection about our human failings and the grace we each seek.

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<P>Favor of Crows is a collection of new and previously published original haiku poems over the past forty years. Gerald Vizenor has earned a wide and devoted audience for his poetry. In the introductory essay the author compares the imagistic poise of haiku with the early dream songs of the Anishinaabe, or Chippewa. Vizenor concentrates on these two artistic traditions, and by intuition he creates a union of vision, perception, and natural motion in concise poems; he creates a sense of presence and at the same time a naturalistic trace of impermanence. </P><P>The haiku scenes in Favor of Crows are presented in chapters of the four seasons, the natural metaphors of human experience in the tradition of haiku in Japan. Vizenor honors the traditional practice and clever tease of haiku, and conveys his appreciation of Matsuo Basho and Yosa Buson in these two haiku scenes, «calm in the storm / master basho soaks his feet /water striders,» and «cold rain / field mice rattle the dishes / buson's koto.»</P><P>Vizenor is inspired by the sway of concise poetic images, natural motion, and by the transient nature of the seasons in native dream songs and haiku. «The heart of haiku is a tease of nature, a concise, intuitive, and an original moment of perception,» he declares in the introduction to Favor of Crows. «Haiku is visionary, a timely meditation and an ironic manner of creation. That sense of natural motion in a haiku scene is a wonder, the catch of impermanence in the seasons.» Check for the online reader's companion at favorofcrows.site.wesleyan.edu.</P>

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Winner of the inaugural Max Ritvo Poetry Prize, <i>North American Stadiums</i> is an assured debut collection about grace—the places we search for it, and the disjunction between what we seek and where we arrive.<br><br>
"You were supposed to find God here / the signs said." In these poems, hinterlands demand our close attention; overlooked places of industry become sites for pilgrimage; and history large and small—of a city, of a family, of a shirt—is unearthed. Here is a factory emptying for the day, a snowy road just past border patrol, a baseball game at dusk. Mile signs point us toward Pittsburgh, Syracuse, Salt Lake City, Chicago. And god is not the God expected, but the still moment amid movement: a field «lit like the heart / of the night,» black stars stitched to the yellow sweatshirts of men in a crowd.<br><br> A map «bleached / pale by time and weather,» <i>North American Stadiums</i> is a collection at once resolutely unsentimental yet deeply tender, illuminating the historical forces that shape the places we inhabit and how those places, in turn, shape us.

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From National Book Award and National Book Critics Circle Award finalist Ada Limón comes <i>The Carrying</i>—her most powerful collection yet.<br><br>
Vulnerable, tender, acute, these are serious poems, brave poems, exploring with honesty the ambiguous moment between the rapture of youth and the grace of acceptance. A daughter tends to aging parents. A woman struggles with infertility—“What if, instead of carrying / a child, I am supposed to carry grief?”—and a body seized by pain and vertigo as well as ecstasy. A nation convulses: “Every song of this country / has an unsung third stanza, something brutal.” And still Limón shows us, as ever, the persistence of hunger, love, and joy, the dizzying fullness of our too-short lives. “Fine then, / I’ll take it,” she writes. “I’ll take it all.”<br><br>
In <i>Bright Dead Things</i>, Limón showed us a heart “giant with power, heavy with blood”—“the huge beating genius machine / that thinks, no, it knows, / it’s going to come in first.” In her follow-up collection, that heart is on full display—even as <i>The Carrying</i> continues further and deeper into the bloodstream, following the hard-won truth of what it means to live in an imperfect world.

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Winner of the 2018 Max Ritvo Poetry Prize, selected by Henri Cole Author’s poems have been widely published in Best American Poetry 2017, Boston Review, Poetry Northwest, Gulf Coast, and elsewhere Author’s work has been previously lauded by influential poets like Ada Limón, and we expect strong blurbs Book’s engagement with toxic masculinity, science, and the environment provide opportunities for wider coverage and crossover into larger markets The inaugural Max Ritvo Poetry Prize winning book, North American Stadiums by Grady Chambers, was praised by the Washington Post as “deserving a wide audience.”

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