Alongside Baudelaire, Mallarmé, and Rimbaud, with whom he had a stormy relationship, Paul Verlaine is one of the most influential poets of the fin de siècle. He was one of the greatest representatives of the Decadent movement that began in the 1870s, and a leader of the Symbolists. His stylistic innovations brought a new musicality to French poetry; it was he who paved the way for modern poetry with its experiments in free verse and new techniques. Verlaine produced exquisitely crafted verse, conveying the strongest emotions and appetites. This translation by Gertrude Hall, herself a recognized poet, is one of the best rendering of Verlaine's work in English language.

John B. Lee’s first collection of poetry. Illustrated by Judith Klein Stenn. In 2005, John B. Lee was inducted as Poet Laureate of Brantford in perpetuity and in 2011 he was appointed Poet Laureate of Norfolk County.

"A rich, thoughtful anthology exploring centuries of Black poetry." - Kirkus Reviews (starred review) "This deep and complex assemblage of Black poetry culminates in a joyful, painful, and emotionally rich experience." - Publishers Weekly (starred review) "An eclectic mix of Black experiences fills this unmatched anthology that features both modern poets, such as Nikki Giovanni and Ibi Zoboi, and 'the brilliant Black poets who are now ancestors'... A fresh canon for poetry studies." - ALA Booklist (starred review) Starring thirty-seven poets, with contributions from acclaimed authors, including Kwame Alexander, Ibi Zoboi, and Nikki Giovanni, this breathtaking Black YA poetry anthology edited by National Book Award finalist Amber McBride, Taylor Byas, and Erica Martin celebrates Black poetry, folklore, and culture. Come, claim your wings. Lift your life above the earth, return to the land of your father's birth. What exactly is it to be Black in America? Well, for some, it's learning how to morph the hatred placed by others into love for oneself; for others, it's unearthing the strength it takes to continue to hold one's swagger when multitudinous factors work to make Black lives crumble. For some, it's gathering around the kitchen table as Grandma tells the story of Anansi the spider, while for others it's grinning from ear to ear while eating auntie's spectacular 7Up cake. Black experiences and traditions are complex, striking, and vast - they stretch longer than the Nile and are four times as deep - and carry more than just unimaginable pain - there is also joy. Featuring an all-star group of thirty-seven powerful poetic voices, including such luminaries as Kwame Alexander, James Baldwin, Ibi Zoboi, Audre Lorde, Nikki Giovanni, and Gwendolyn Brooks, this riveting anthology depicts the diversity of the Black experience by fostering a conversation about race, faith, heritage, and resilience between fresh poets and the literary ancestors that came before them. Edited by Taylor Byas, Erica Martin, and Coretta Scott King New Talent Award winner Amber McBride, Poemhood will simultaneously highlight the duality and nuance at the crux of so many Black experiences with poetry being the psalm constantly playing. A Junior Library Guild Gold Standard Selection pick!

Poetry can lift our spirits and inspire our daily lives. William Blake's "The Tyger," Emily Dickinson's "Hope Is the Thing with Feathers," William Wordsworth's "The World Is Too Much with Us," and John Keats's "A Thing of Beauty" (from Endymion) are among the classic poems collected in this pocket-sized edition. Now you can readily spend a few moments each day with these timeless verses because Pocket Posh 100 Classic Poems fits easily into any size bag, tote or briefcase. William Wordsworth, Emily Dickinson, Walt Whitman, John Keats, Alfred Tennyson, Henry Wadsworth Longfellow, William Butler Yeats, Emily Bronte, Amy Lowell, Christina Rossetti, Ralph Waldo Emerson, Elizabeth Barrett Browning, Edgar Allan Poe, Sara Teasdale, Lord Byron and other gifted poets are all here in this portable edition of 100 classic verses.

Pluviophile veers through various poetic visions and traditions in search of the sacred within and beyond language. Its poems continually revitalize form, imagery and sonancy to reconsider the ways we value language, beauty and body. The collection houses sonnets and other shorter poems between larger, more meditative runes.

Disintegration, gaps in the historical record, and unaccounted-for absences hold these magically makeshift lyric poems together.

Provisional, roaming, obsessed with remnants and deferrals, the poems in Charmaine Cadeau’s second collection navigate flexible and shifting terrains where the speaker’s emotional directness tethers us as we dare to read on. Though Cadeau is capable of some stunning acrobatics—somersaulting mid-line, the imagery defying gravity, the language a series of wows—she isn’t in the business of showing off; instead, she goes subtly beyond the quotidian in search of that which saves the day or ruins the soufflé or makes us all squirm in self-recognition. She dares the extraordinary to become a part of everyday. To read Placeholder is to enter a mesmerizing stream of consciousness response to a world that is rarely in the same spot in the morning as we left it the night before.

…As if anything could be safely
sealed away…

As if everything helps itself,
helplessly. Guided by breadcrumbs, the
flannel of porch light.

—from “Side Effects”

“The poetry in Placeholder is intriguing in the materiality and intensity of its language. But one wants a slow read to relish the lush assemblage and careful juxtapositions … These poems/placeholders invite us to dawdle the ‘whole while’ and ponder the ordered melange of this poetic curiosity shop.”  —Fred Wah, Canada’s Parliamentary Poet Laureate

“I praise these poems for their assured & complex music, but also for offering a rich logopoeïa, combining into a dance of thought, a meditative passacaglia joyfully crossing the street in a mirror dance of comparisons where the seams/seems of the poem’s ‘as if’ redouble in another ‘as if’ revealing the real behind the mirror.”  —Pierre Joris, poet and winner of the 2005 PEN Poetry Translation Award

Pin Pricks is a collection of deceptively simple poems and aphorisms, each of which expresses an understanding of what it means to be human in this high-tech, global age. The poems leap from urban first world concerns to third world struggles, from the solidly grounded to the surreal, from sombre to witty to frighteningly harsh. They constantly remind us that we are all intimately connected, struggling and fortunate to be alive. Like the pricks of a pin, they are short, sharp and memorable.

These poems reach through time to tell the remarkable story of Phillis Wheatley, the first African-American woman to publish a book of poetry, and who did so while she was enslaved. Phillis Wheatley was the first African American to publish a book of poetry. In 1773, her book, Poems on Various Subjects, Religious and Moral, was published to international acclaim. Wheatley was presented In London as "the African genius," and her writing was published in New England and England alike. Phillis Wheatley's name was known in households throughout literate North America. Yet Phillis Wheatley was a slave. In Phillis, Alison Clarke reaches through time to tell the story of this remarkable woman. Through a series of poems and prose-poems, Clarke presents Wheatley's world with depth and liveliness, reimagining the past for a modern audience while bringing sensibility and passion to the story of Wheatley's life. Wheatley's story is told in first-person poetry that illuminates significant chapters of her life, capturing the brilliant heights of her writing career along with the inevitable, brutal injustices she faced as an enslaved Black person in North America. Interspersed with poems written from the viewpoint of others who were themselves inspired by Wheatley, this is a collection of poetry that celebrates the resilience and accomplishments of Black History in general and one remarkable woman in particular.

Half-Mohawk, half-English author Pauline Johnson astounded Canada with her unique poetry, prose, and presentations. Pauline Johnson was an unusual and unique presence on the literary scene during the late 19th and early 20th centuries. Part Mohawk and part European, she was a compelling female voice in the midst of an almost entirely male writing community. Having discovered her talent for public recitation of poetry, Johnson relied on her ancestry and gender to establish an international reputation for her stage performances, during which she appeared in European and native costume. These poems were later collected under the title of Flint and Feather (1912) and form the source of the selections appearing in this volume.Later, suffering from ill health, Pauline Johnson retired from the stage and devoted herself to the writing of prose, collected in Legends of Vancouver, The Moccasin Maker (1913), and The Shagganappi (1913), gleanings from which form part of this collection.