Product Description

Product Description

Customer Reviews (3)

Drink it in!
My students participated in our local River of Words project for several years. What a fabulous time we had, learning about the power of our local river, its watershed, and our words! This book brought back many fond memories. Thank you!

An anthology of both full color art and poetry by poets and artists under the age of eighteen
Art and poetry are two things that go together like bread and butter. "River of Words: Young Poets and Artists on the Nature of Things" is exactly what its title says: an anthology of both full color art and poetry by poets and artists under the age of eighteen. Sure to bring readers face to face with the world as seen through the eyes of the young, "River of Words: Young Poets and Artists on the Nature of Things" is a must for community library poetry and art collections alike. "Water", by Helena Leech, Age 7: Water glistens on the rocks,/ flowing down to the sea,/ gurgling, splishing, splashing, crashing,/ never stopping/ for a cup of tea.

A BEAUTIFUL BOOK FOR EVERYONE!
This touching book is not just for children. I keep it on my coffee table for all to enjoy and they do! I bought it for my sister and her child but don't think I can give it up. I don't have kids but have greatly enjoyed the art and poems in this absolutely beautiful book with my morning coffee. It gives me hope for the future that talent such as this exists, is cultivated, and nutured by the wonderful people at River of Words! I can't say enough!! My favorite poem is by Jose Perez (age 7!) and is called "Rivers".

Rivers splatter,
hitting rocks below.
But don't be afraid,
there is poetry,
deep inside each crevice.

Can't you just feel the cool clean water and the worlds within!!! Really neat book. ... Read more

Customer Reviews (15)

Eat to Win
I had this book when it first came out in the early 1980's. I loved it then and we followed his plan for a long time and enjoyed the recipes. One recipe in particular was my families favorite, "Cheddar Stuffed Potatoes". Somewhere along the line, I lost the book and forgot some of the ingredients. I tried to find the recipe, but nothing came close. Now that I have the original book, I can once again make these, and my grown children want the recipe too.
To me, this book is a classic!

Should perhaps be called "Eat to Get Fat"
I switched my diet from the traditional bodybuilding diet (lowfat high protein) to the high carboyhdrate low animal protein diet in Eat to Win.Although I'd always been underweight, this book changed that.Unfortunately, even though I was doing heavy weight training, most of the weight I put on was fat.I still have the stretch marks it piled on so fast.I would give this 1 star for that debacle, however, the attention on blood profiles, cholestrol and triglycerides was ahead of the pack, and therefore give it 2.

Best Diet Book Ever Written
Dr. Robert Haas wrote this book when he was working with Martina Navratilova.It is a great diet book and a diet that everyone can follow easily and lose weight safely.I bought the original book back in the 80's but wore it out so I needed another copy.

Dangerous
I read this book and tried to practice what it preached back in the early nineties. I was running track (decathlon, then triplejump) and was looking for an edge. I followed it and have never had as many injuries in one season.

Essentially cutting out protein means the muscles have nothing to rebuild with, so they break down. I suppose this diet may work if you're a computer programmer who sits around, but NOT for an athlete of any kind! His star athlete was Martina Navratilova. How she survived despite his advice is beyond me.

I was amused however at his advice for bodybuilding. Something like: "Bodybuilders ingest too much protein. You only need a chicken breast or two a day when training heavily." HA!

Eat to Win works!
I am a big fan of Robert Haas!If you are looking for a diet where you can lose weight while watching tv and you don't care whether you are actually healthy, this is not for you.If you want a change of lifestyle that will make you fit and healthy, eat to win is a very effective.Although the book is not specifically geared for weight loss, but rather athletic performance, I lost 18 lbs. in the first month.Contrary to what a reviewer below said, you don't have to be an "endurance athlete".But you do have to exercise moderately.I run 3 miles, 4x a week.I agree with a reviewer that the food is not the tastiest at first, but once you have been on eat to win for a while, your tastebuds adjust, and the junk food you were eating becomes very unappetizing.Try sticking to it strictly for a month, while exercising moderately and you will be glad you did.After that, you can go on to level two and three where you are allowed things like a beer or glass of wine and olive oil, etc.Then it is no longer a diet but a lifestyle change. ... Read more

Product Description
“Between the high Sierras south from Yosemite—east and south over a very great assemblage of broken ranges beyond Death Valley, and on illimitably into the Mojave Desert” is the territory that Mary Austin calls the Land of Little Rain. In this classic collection of meditations on the wonders of this region, Austin generously shares “such news of the land, of its trails and what is astir in them, as one lover of it can give to another.” Her vivid writings capture the landscape—from burnt hills to sun-baked mesas—as well as the rich variety of plant and animal life, and the few human beings who inhabit the land, including cattlemen, miners, and Paiute Indians. This Modern Library Paperback Classic is set from the original 1903 edition. ... Read more

Customer Reviews (3)

Ars Oratoria
Let there be no mistaking that I believe that any undertaking to expose Jeffers's poetry to a larger audience, albeit mostly unappreciative, is a good thing. That said, I don't think Haas is/was the proper guide to lead this excursion. First off, he is an apologist for the mainstream critics (Vendler, Rexroth, Yvor Winters) who constantly harp on the fact that Jeffers was too steadfast, didactic and violent in his efforts. Unlike his contemporaries of the time, Pound and Eliot, Jeffers remained enmeshed in the natural (although politically charged) realm while they toiled away in the urban malaise. Jeffers is accused of everything from being a Fascist to a misanthropic beast living in savage recluse in his unhuman retreat. But nothing is ever taken to heart concerning Eliot or Pound's anti-semitism or their turning into obscure (The Cantos)and banal(That god-awful book about cats by Eliot) poetasters in their twilight periods. Jeffers remained powerful, humane and consistent with the healing values of his Inhumanist credo. Haas is no mirror to these effects and he states this fact by repudiating his middle period as blase for the whole canon and especially powerful first volumes(I'm negating "Californians" and "Flagons & Apples" as a general rule.). To measure Jeffers by "Roan Stallion" and "Tamar" and the early lyrics is to always place him at a disadvantage concerning his later works. Those afforementioned and immortal works are beyond the modern scope because they transcend modernism by being timeless (that which the critics would call relics) and untraceable to a time period. To me it is short-sightedness which accosts a writer for being thorough in representing his philosophy in meticulous and reasserting terms. You have to consider his entire body of work as a whole and in doing so any objective enthusiast of poetry cannot contest Jeffers's stature as a literary and poetic giant. In my estimation he has no contemporaries.

That said, I cannot contest the selection of the poetry, considering the fact that Haas as an editor is/was expected to showcase a variety of the short poems from all stages of the poet's career. There are obvious subjective tastes in choosing favorites so I won't criticize that aspect. That and the book is a beautiful collector's piece and will leave new readers of Jeffers wanting more and more of his work and that can never be a bad thing. A bit pricey due to its rarity and incomplete in that his short "lyrics" are numerous, but a must-have for enthusiasts.

An excellent collection of shorter works
This is an excellent way to begin reading Jeffers. Contains the poem "Self-Criticism in February", a great self-explication of his own struggles with poetry.

This is a satisfying introduction to the poetry of Jeffers.
The poem "Tor House" epitomizes Robinson Jeffers' poetry. The introduction of the book gives an idea of the personalities of Una and Robinson Jeffers. This book contains the poem "The Roan Stallion" that began Jeffers' fame ... Read more

Product Description
Gerhard Richter's abstractions are profound and beautiful, though perplexing. After all these years, they still present a curious challenge: what, exactly, are they? RICHTER 858 explores this question by focusing on one suite of extraordinary pictures painted in 1999, soon after his return to work after a silence caused by a stroke. Both investigation and celebration, this book brings together image, music and text in a uniquely compelling way: contributors include the great guitarist and composer Bill Frisell, two sharp-eyed critics, and a baker's dozen of prominent, award-winning poets. Housed in an aluminum slipcase, this lavish, oversized volume features the largest, most sumptuous, and most accurate reproductions of any Richter work. The eight paintings of the suite are shown at more than half-scale, and also, quite untraditionally, presented unbound on heavy paper in a pocket at the back of the book--allowing readers to mix, match, and re-present the work for themselves outside the confines of the printed volume. Forty details from the paintings are also reproduced in large-format, accompanied by the poems and texts. These brilliant passages--rich in incident and intervention, and ranging from the coolly sublime to the loudly riotous--make fascinating pictures in their own right. Additionally, a double gatefold opens to show all eight paintings in panoramic view. In essence, RICHTER 858 presents an elegant, if raucous, meeting ground for our most important contemporary artist and a diverse chorus of American music, poetry, and criticism.

Includes poetry by Richard Howard, Jorie Graham, Robert Hass, Ann Lauterbach, Dean Young, Brenda Hillman, James McManus, Michael Palmer, Connie Deanovich, David Breskin, Paul Hoover, Edward Hirsch andW.S. Di Piero.

Edited by David Breskin.
Essays by Dave Hickey and Klaus Kertess.
An Audio CD of music by Bill Frisell.

Aluminum slipcase with white, black and red corrugated box and music CD, 120 pages, 68 color

Publisher: The Shifting Foundation in association with SFMOMA ... Read more

Customer Reviews (4)

A plethora of pleasures
You don't have to be an afficionado of contemporary poetry, or an art lover, to appreciate the many delights housed within the aluminum slip case of this work. But if you happen to be either, or both, this book is a must.

The "book" has, in this case, evolved well beyond the concept of an art tome.The joiningof music, poetry and lovingly accurate reproductions under one cover makes the circumnavigation of this opus is a particularly rich eexperience.Which is not to say that listening to the music , or dipping into one poem, is not an entirely satisfying moment by itself.

Be prepared, however: this gesamtwerk is big, and will not fit into an ordinary bookcase! The paintings being reproduced to scale has dictated the extra large format, but the extraordinarily accurate pictorial results are worth the extra weight.

Just when you thought realism was dead
This is a gorgeous book by a man who in the future will be credited with debunking all the art critics who since the 1950s have been shouting to themselves that Realism is dead, or the ones that still shout "painting is dead." Gerhard Richter breaks all the rules of "being an artist." He has worked in a variety of styles, refusing to produce a "style" as often artists are supposed to do. In his ealy photorealistic -paintings Richter copied ordinary, found images onto canvas, but gave them an indistinct appearance. Again, by working directly from photographs, he manages to debunk all the criticism that such techniques often bring. This subversive realism is now more evident than ever, in these later, almost fuzzy works that still manage to knock the visual senses as if shouting: "Long Live Painting - Long Live Realism!"

A Feast for Eyes and Ears
I've only recently become acquainted with the range of Gerhard Richter's work, but the series of eight abstract paintings which are being celebrated here are enough to justify his reputation for me, and the sheer richness and resolution of their presentation in this book is of a standard I've never come across anywhere. Elegant, sensuous and gorgeous, this is more than a `typical' art book in manners large and small; includes insightful essays by writers like Dave Hickey, poetry, and a CD by Bill Frisell with a string trio that's a lot more quirky and edgy than his recent stuff, in a good way (no banjos).The book's editor, David Breskin, has done an amazing job - the aluminum slipcase is a pretty sharp touch, too.

Much more than another coffee table book
Unfortunately I haven't yet made it to SFMOMA to see the Gerhard Richter exhibit. However, my much anticipated copy of Richter 858 arrived in the mail today, and to say that it didn't disappoint is an understatement. I had initially been a little wary about getting it. It comes with an aluminum slipcase and poetry and an audio CD with music composed by the brilliant Bill Frisell, and while some might find this sort of presentation lush, I, being somewhat of a purist, was afraid these inclusions would be nothing more than bells and whistles-basically a lot of noise to give voice to a suite of paintings that, according to any good Kantian, should be able to stand on its own. Boy was I wrong. People who know me know that I don't like fuss, but even the worry about scratching the aluminum slipcase, or maneuvering the book's awkward size and bulk, or the guilt for not using gloves to turn these impeccably produced pages, couldn't dampen the sheer transport I felt as I drunk in art and text and Bill's passionate and daring compositions with equal abandon. I've been reluctant to embrace anything multimedia, but Richter 858 may have just pushed me into the 21st century. ... Read more

Product Description
From the explosion in creative writing programs and workshops to the poetry slams and open mikes in every city to the reading groups venturing beyond prose for the first time, poetry is suddenly everywhere. This vibrant anthology showcases unforgettable poems and photographic portraits of leading writers in the United States, together with a CD that features many of the poets reading from their work. From Aleida Rodriguez to Ishmael Reed to Maxine Hong Kingston to John Ashbery, the poets gathered here represent a cross section of poetic styles, geographic regions, and ethnic identities. Together they express the amazing exuberance and diversity of contemporary poetry.
Margaretta K. Mitchell conceived the volume after attending the celebrated Lunch Poems Reading Series at the University of California, Berkeley. Her desire to capture the faces of all of the poets who participated in the series led to the creation of this book. Her essay explores the importance of portraiture and describes her studio sessions with these poets. ... Read more

Customer Reviews (4)

The CD truly enhances this books
Hearing the poets read their poetry how it was meant to be read is truly great. I would recommend this to any poetry fan.

Excellant reading
I was in a local book store when I came across this facinating book.I began to read and noticed, I could not put the book down.Having a bio and picture of the poets really helps being in tune with the writer.The cd is an added plus.This is a must have item for any poetry lover.

Best Present Ever
A friend gave me "The Face of Poetry" for my birthday. I keep it out in my living room so my friends can enjoy the wonderful photographs and text. Last week the book was such a hit it wandered around my house. Later I found it sitting in the library, a comfortable place for a group of poets.

The photographs are stunning. I feel as if I am able to see a rare glimpse of their soul through MKM's lens.

A wonderful gift!

Fascinating!
THE FACE OF POETRY is a diverse gallery of fascinating faces and incredible poetry!Margaretta Mitchell's photographs are stunning portraits that capture the spirit of each poet in this amazing collection. Zack Rogow, as the book's editor, has selected poems that serve as invitations to go on incredible journeys through the minds of some of America's greatest contemporary poets. By combining the poetry with photographs, biographies and a CD of poets reading their own work...this book encourages exploration! In my opinion, it would be a great contemporary poetry textbook, since it would allow students to hear some fresh voices. ... Read more

Product Description

Product Description
1 Video Tape. Voices & Visions Series, 60 Minutes. The life and career of American poet Robert Lowell, related through photographs, film clips, readings of his poetry and commentary by critics, writers and other poets. ... Read more

Product Description
High Quality Content by WIKIPEDIA articles! Robert L. Hass (born March 1, 1941 San Francisco) is a Pulitzer Prize winning American poet. He served as Poet Laureate of the United States from 1995 to 1997. He was awarded the 2007 National Book Award and the 2008 Pulitzer Prize for Time and Materials. Hass is a California poet whose works are well-known for their West Coast subject and attitude. He was born in San Francisco and grew up in San Rafael.[3] He grew up with an alcoholic mother, a major topic in the 1996 poem collection, Sun Under Wood. It was his older brother who encouraged him to dedicate himself to his writing. Awe-struck by Gary Snyder and Allen Ginsberg, among others in the 1950s Bay Area poetry scene, Hass entertained the idea of becoming a beatnik. ... Read more

Product Description
This digital document, covering the life and work of Robert Hass, is an entry from Contemporary Authors, a reference volume published by Thompson Gale. The length of the entry is 3340 words. The page length listed above is based on a typical 300-word page. Although the exact content of each entry from this volume can vary, typical entries include the following information:

• Place and date of birth and death (if deceased)
• Family members
• Education
• Professional associations and honors
• Employment
• Writings, including books and periodicals
• A description of the author's work
• References to further readings about the author

Product Description
This digital document is an article from World Literature Today, published by University of Oklahoma on March 22, 1999. The length of the article is 588 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Czeslaw Milosz. Road-side Dog. The author and Robert Hass, trs. NewYork. Farrar, Straus & Giroux. 1998. xi + 208 pages. $22. ISBN 0-374- 25129-0.(Review)(Brief Article)
Author: Jerzy J. Maciuszko
Publication: World Literature Today (Refereed)
Date: March 22, 1999
Publisher: University of Oklahoma
Volume: 73Issue: 2Page: 357

Article Type: Book Review, Brief Article

Distributed by Thomson Gale ... Read more

Product Description
Chapters: Don Perata, Everett Case, Icehouse Wilson, Joseph Alioto, Robert Hass, John F. Henning, Harry Mattos, Eddie Erdelatz, Harry Hooper, Don Ferrarese, David Wilder, John M. Gearin, Juan Bautista Rael, Duffy Lewis, John Henry Johnson, Mahershalalhashbaz Ali, George Paul Miller, Guy S. Houston, Joe Corbett, Jim Fogarty, Donald H. Clausen, Jack Mcarthur, Nicholas G. Moore, Bob Greenwood, Ed Ryan, Dick Callahan, Ed Fitz Gerald, Dick Mesak, Bob Sneddon, Frank Mcnally, Willie Wilkin, Tom Fitzsimmons, Tuffy Maul, Ike Frankian, Susan Ursitti, Michael Quinn, Emmett O'neill, Bill Doran. Source: Wikipedia. Pages: 117. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Don Richard Perata (born April 30, 1945) is a California Democratic politician, who was President pro tempore of the California State Senate from 2004 to 2008. Perata worked with Governor Arnold Schwarzenegger to gain passage of five infrastructure related bond measures in 2006. Prior to serving in the State Senate, Perata served in the California State Assembly and as a member of the Board of Supervisors of Alameda County. Born in Alameda, California, Perata is the son of Italian immigrants. During his childhood, he helped his father deliver milk door-to-door. Perata graduated from Saint Joseph High School and earned his degree from Saint Mary's College of California. He taught English, History, and Civics from 1966 to 1981 in Alameda County schools. Perata has a daughter and a son. Perata began his political career when he ran for Mayor of Alameda in 1975 but was narrowly defeated. In 1986 he was elected to the Alameda County Board of Supervisors and was re-elected to a second term. As Supervisor, Perata worked to shut down problematic liquor stores, worked to make his community safer, and lobbied the state legislature for an assa...More: http://booksllc.net/?id=1258149 ... Read more

Amazon.com Review
If the first three decades of the 20th century mark the real birth ofAmerican poetry, then the following three might be considered a long andsometimes contentious adolescence. Not that there's anything juvenile aboutthe work of Hart Crane, Elizabeth Bishop, Langston Hughes, or TheodoreRoethke--quite the opposite. But after the fireworks of early modernism,there's a sense of American poetry finally coming into its own,multifarious identity. And the editors of American Poetry: The TwentiethCentury, Volume Two: E.E. Cummings to May Swenson--i.e., the same Gangof Five that compiled the stellar first volume--have done veryhandsomely by the era.

Again there are generous servings of the indisputable giants, from Hughesto Roethke to the underrated Louise Bogan. Perhaps the editors have beentoo generous with Cummings's lowercase frolics, but there is ahistorical argument to be made in his favor: who else gave modernism such ahuman (not to say antic) face? Hart Crane certainly gets his due, withnearly 40 pages devoted to the linguistic spans of "The Bridge," andElizabeth Bishop's section alone is worth the price of admission--indeed,I'd push cash on the barrelhead simply to read the exquisite conclusion to"Over 2000 Illustrations and a Complete Concordance":

…Why couldn't we have seen
this old Nativity while we were at it?
--the dark ajar, the rocks breaking with light,
an undisturbed, unbreathing flame,
colorless, sparkless, freely fed on straw,
and, lulled within, a family with pets,
--and looked and looked our infant sight away.

Customer Reviews (9)

Big, But Not Big Enough
I think the two volumes published thus far are only half of what's expected, but I'm not sure, as these were put into print five years ago, as far as I can tell. There is plenty to enjoy here, and some to rightfully forget. There's also plenty missing. (Attempts at political correctness can be so tedious and obvious.) For instance, on the enjoyment side, Marianne Moore's The Steeple-Jack is a wonder of construction, as is Robert Frost's obsessively worked out "Familiar with the Night." But such anthologies as this are always questioned as to the method of selection, the poets disregarded, and the poems picked. Why, for instance, was Marianne Moore's Octopus overlooked? Where are W. H. Auden, Robert Lowell, Adrienne Rich, Sylvia Plath, Ted Hughes, Allen Ginsburg, and James Merrill, among so many others? Are they still to come? I hope so. And I just don't care for Gertrude Stein. Her work is unreadable and does nothing at all for me. I don't know why so much space is always allotted to her in so many anthologies. Yes, I get the point. No, I don't need 37 pages of this point. It seems her importance only lies in who she knew and how she lived, not in any actual talent she had.

If the Library of America is coming out with any more volumes to round out the twentieth century, they are taking their sweet time about it. I really can't wait that long. In the meantime, a new American anthology is due out from Oxford in 2006, edited by David Lehman. I've had a sneak peek, and it's inclusive and won't disappoint.

"My hand in yours, Walt Whitman --so--"
This volume is the second of a projected four volume anthology of Twentieth Century American Poetry in the Library of America series.American poetry richly deserves this extensive treatment, and this series may serve to introduce America's poets to a growing number of readers.

This volume begins with E.E.Cummings (born 1894) and concludes with May Swenson (born 1913) The volume has almost an embarrassment of riches.By my count there are 122 separate poets included.The book includes a brief biography of each writer included which is invaluable for reading the book.

As with any anthology of this nature,the selection is a compromise between inclusiveness and quality.Readers may quarrel with the relative weight given to various poets in terms of number of pages, and with the inclusion or exclusion of writers. (I was disappointed that a poet I admire, Horace Gregory, gets only two pages, for example).Overall, it is a wonderful volume and includes some greatpoetry.

There are favorites and familiar names here and names that will be familiar to few.A joy of a book such as this is to see favorites and to learn about poets one hasn't read before.

A major feature of this volume is its emphasis on diversity -- much more so than in volume 1 or in the Library of America's 19th century poetry anthologies.There are many Jewish poets (including Reznikoff, a favorite ofmine, Zukofsky, Alter Brody, Rose Drachler, George Oppen, Karl Shapiro, and others) and even more African-American Poets (Lanston Hughes, Countee Cullen, Richard Wright, Waring Cuney, Sterling Brown, Arna Bontemps, Robert Hayden and many more.)There are also selections from blues and popular songs which to me is overdone.

Of the poets unknown to me, I enjoyed particularly Lorine Niedecker, Laura Riding, and Janet Lewis-- women are well represented in this volume.

I have taken the title of this review from the Cape Hatteras section of "The Bridge" by Hart Crane.(page 229)Crane has more pages devoted to him than any other writer in the volume and deservedly so."The Bridge" and "Voyages" are presented complete together with some of the shorter poems.This tragic, tormented and gifted writer tried in The Bridge to present a vision of America mystical in character, celebratory of the merican experience, and inclusive in its diversity.The poem is a worthy successor to the poetry of Whitman who is celebrated in it.The title of the review,I think, captures both Crane's poem as well as the goal of the volume as a whole in capturing something of the diversity of experience reflected in 20th Century American Verse.

"What thou lovest well is thy true heritage"
Although not widely read and appreciated, American poetry underwent a renaissance in the Twentieth Century. At some point, readers will look back at our Twentieth Century poetry as a benchmark of literature and a guide to the thoughts, feelings, and events of our difficult century.

In this, the first of four projected volumes covering the Twentieth Century, the Library of America gives access to a treausre of reading, moving, elevating, and disturbing.The book consists of readings from 85 (by my count) poets.The poets, are arranged chronologically by the poet's birthday.The earliest writer in the volume is Henry Adams (born 1838) and the concluding writer is Dorothy Parker (born 1893).Some writers that flourished later in life, such as Wallace Stevens, thus appear in the volume before works of their peers, such as Pound and Elliot, who became famous earlier.

For me, the major poets in the volume are (not surprising choices here), Robert Frost, Wallace Stevens, W.C. Williams, Ezra Pound, T.S. Elliot, Marianne Moore.They are represented by generous selections,including Elliot's Waste Land, Steven's Notes Towards a Supreme Fiction, and several Pound Canto's given in their entirety.

It is the mark of a great literary period that there are many writers almost equally meriting attention together with the great names. There are many outstanding writers here, some known, some unknown.To name only a few, I would includeE.A Robinson, James Weldon Johnson, Adelaide Crapsey, Vachel Lindsay, Sara Teasdale, H.D. Robinson Jeffers, John Crowe Ransom, Conrad Aiken, Samuel Greenberg.It would be easy to go on.

There are different ways to read an anthology such as this.One way is to browse reading poems as they catch the reader's eye.Another way is to read favorite poems the reader already knows.

I would suggest making the effort to read the volume through from cover to cover.Before beginning the paricular poet, I would suggest reading the biographical summary at the end of the volume.These are short but excellent and illuminate the authors and the poetry.The notes are sparse, but foreign terms in Pound and Elliot's poetry are translated, and we have selections from Elliot's and Marianne Moore's own notes.

By reading the volume through,one gets a sense of continuity and context.Then, the reader can devote attention to individual poems.Some twentieth century works, such as those by Pound, Elliott,Moore Stevens are notoriously difficult.Read the works through,if you are coming to them for the first time, and return to them later.

I was familiar with many of the poems in the book before reading the anthology but much was new to me.I learned a great deal.My favorite poet remains Wallace Stevens, partly because he comibined the life of a man of affairs, as an attorney and insurance executive, with deep art.This remains an ideal for me. It is true as well for W.C. Williams, although I am less fond of his poetry.

The title to this review is taken from "Libretto" by Ezra Pound,
(page 371).It is the best single sentence summation I can think of for the contents of this volume.

Is everybody happy?
The real job of the anthologist is not, of course, to assemble anthologies but to anger and annoy readers. Only census takers have more doors slammed in their innocent faces. That said, a few words in defense of thisexcellent volume. Yes, there's plenty of second-tier or third-tier versehere, and those in search of pure poetry (no rocks, no soda, shaken notstirred) should probably save their pennies and buy the LOA volumes devotedto Frost, Stevens, etc etc. But a book like this one does give a splendidsense of cultural context. Sometimes the giants loom only larger whenthey're stuck in a line-up with their diminutive peers. And some of thoselesser lights are actually quite talented, too. So unless you're trulyfixated on iambic quality control, you should find much to love, and evenmore to like, in the capacious and paper-thin pages of APTTCV1.

Great Familiar Faces, But You May Find New ONes To Love!
Charles Erskine Scott Wood's "The Poet in theDesert"---"I have come to the lean and stricken land//Whichfears not God, that I may meet my soul..." Wow, now there's a place to start a survey of a century's poetry (or almost, since Volume 2 doesn't go all the way through to 1999 in poetic samplings.)Only this isn't a desert. It's a feast. : )

A new poet for me was Frances Desmond (excerpts from "Chippewa Music") and I wish there were more than 2 pages of her brief, subtle, lovely poems that made me think of Japanese haiku. A poet worth seeking out for lovely moments of reading like "it will resound finely//the sky//when I come making a noise".

Who is generously represented? Frost, WAllace Stevens, W.C. Williams, Pound, H.D, Marianne Moore, Millay. T.S.Eliot!-- 14 poems and 50+ pages for his works.

There were other new names for me (I guess I"m not as widely read poetically as I would like. As someone who appreciates spirituality in poetry, finding Anna H. Branch was a treat--"Ye stolid, homely, visible things//Above you all brood glorious wings" and "It took me ten days//To read the Bible through--//Then I saw what I saw,//And I knew what I knew."

The unfortunately named Adelaide Crapsey nevertheless has poems of sober beauty and lyrical melancholy---"Keep thou//Thy tearless watch//All night but when the blue dawn//Breathes on the silver moon, then weep!//Then weep!" Glad to meet her at last.

For those who enjoy odd little pleasures, there are forty pages of poetry by that singular personage: Gertrude Stein."I have tried earnestly to express//Just what I guess will not distress//Nor even oppress or yet caress" --or how about?-- "What do you think of watches.//Collect lobsters//And sweetbreads//and a melon,//and salad,"

I'd rather collect poetry....to read while I eat that lobster and melon.

An enjoyable and varied collection for any American reader. It was rather more fun than Volume 2, but then, when you have Ezra and Gertrude and Wallace S. and VachelL. and T.S. and H.D., you are bound to have a ripping time.

*Mir* END ... Read more