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Product Description
Purchase includes free access to book updates online and a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Béla H. Bánáthy, Leonard Jeffries, Sandra Gilbert, Frank Ebersole, Rudy Rucker, Carolyn Kizer, Yosh Uchida, Joseph Conrad Chamberlin, Bob Foster, Edward Stringham, Elbert Dysart Botts, Ed Allen, Daniel Goldston, Fletcher Benton, Richard O. Duda, James M. Freeman, Michael Conniff, Peter Englert, Scott Myers-Lipton, Celia Correas de Zapata. Excerpt:Bob Foster Robert "Bob" Foster (born on January 1, 1947 in Brooklyn, New York ) is the mayor of Long Beach, California . He was elected after a runoff election in 2006. Prior to serving as mayor, Foster climbed the ranks of Southern California Edison , becoming president in 2002. Though not an elected office-holder prior to becoming mayor, Foster was appointed to the California State University Board of Trustees in 1998 and worked for the California State Senate as a consultant on state energy policy. Early life Foster was born and raised in Brooklyn, New York. He attended San Jose State University for his undergraduate studies, majoring in public administration. During his college years, he operated a carpet-laying business. After graduating, he began working for the California State Senate while he began Ph.D coursework in political science at the University of California, Davis . Later, Foster worked for the Senate Energy Committee, where he helped develop legislation that created statewide energy efficiency standards. He also taught for one semester as the "Leader-in-Residence" in the Department of Political Science at San Jose State University . Election Noting his experience working in the private and public sectors, Foster campaigned on a platform that called for an end to the city's mounting deficit. He also advocated adding 100 new police officers to the streets of Long Beach and reducing traffic and pollution permeating from... ... 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