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This collection gathers together the Nobel Prize-winning writer Samuel Beckett's English poems (including Whoroscope, his first published verse), English translations of poems by Eluard, Rimbaud, Apollinaire, and Chamfort, and poems in French, several of which are presented in translation.
This volume contains all of Owen's best known work, only four of which were published in his lifetime. His war poems were based on his acute observations of the soldiers with whom he served on the Western front, and reflect the horror and waste of World War One.
Kingsley Amis’s poetry tackles all the grimly humorous subjects he tackled in his novels—lust, lost love, booze, money and the lack of it, old age, death—and does so with immense formal poise. A master of both traditional and unconventional meters with a perfect ear for parody, Amis wrote satires, epigrams, and rueful and scornful songs that are remarkable not only for their virtuosity and humor but for their scabrous realism. It all adds up to a small, entirely individual, and memorably bracing body of work. As Amis writes: “Beauty, they tell me, is a dangerous thing, / Whose touch will burn, but I’m asbestos, see?”
Arun Kolatkar (1931-2004) was one of India's greatest modern poets. He wrote prolifically, in both Marathi and English, publishing in magazines and anthologies from 1955, but did not bring out a book of poems until he was 44. Jejuri (1976) won him the Commonwealth Poetry Prize, and was later published in the US in the NYRB Classics series (2005). His third Marathi publication, Bhijki Vahi, won a Sahitya Akademi Award in 2004. Always hesitant about publishing his work, Kolatkar waited until 2004, when he knew he was dying from cancer, before bringing out two further books, Kala Ghoda Poems and Sarpa Satra. A posthumous selection, The Boatride and Other Poems (2008), edited by Arvind Krishna Mehrotra, contained his previous uncollected English poems as well as translations of his Marathi poems; among the book's surprises were his translations of bhakti poetry, song lyrics, and a long love poem, the only one he wrote, cleverly disguised as light verse. This first Collected Poems in English brings together work from all those volumes. Jejuri offers a rich description of India while at the same time performing a complex act of devotion, discovering the divine trace in a degenerate world. Salman Rushdie called it 'sprightly, clear-sighted, deeply felt...;a modern classic'. For Arvind Krishna Mehrotra, it was 'among the finest single poems written in India in the last forty years...;it surprises by revealing the familiar, the hidden that is always before us'. Jeet Thayil attributed its popularity in India to 'the Kolatkarean voice: unhurried, lit with whimsy, unpretentious even when making learned literary or mythological allusions. And whatever the poet's eye alights on - particularly the odd, the misshapen, and the famished - receives the gift of close attention.'
No poet has been more wilfully contradictory than John Donne, whose works forge unforgettable connections between extremes of passion and mental energy. From satire to tender elegy, from sacred devotion to lust, he conveys an astonishing range of emotions and poetic moods. Constant in his work, however, is an intensity of feeling and expression and complexity of argument that is as evident in religious meditations such as 'Good Friday 1613. Riding Westward' as it is in secular love poems such as 'The Sun Rising' or 'The Flea'. 'The intricacy and subtlety of his imagination are the length and depth of the furrow made by his passion,' wrote Yeats, pinpointing the unique genius of a poet who combined ardour and intellect in equal measure.
Collected Poems brings together nearly four decades of C. K.Williams's work: more than four hundred poems that, though remarkable in their variety, have in common Williams's distinctive outlook—restless, passionate, dogged, and uncompromising in the drive to find words for the truth about life as we know it today. Williams's rangy, elastic lines are measures of thought, and in these pages we watch them unfold from his confrontational early poems through the open, expansive Tar and With Ignorance. His voice is both cerebral and muscular, capable of both the eightline poems of Flesh and Blood and the inward soundings of A Dream of Mind—and of both together in the award-winning recent books Repair and The Singing. These poems feel spontaneous, individual, and directly representative of the experience of which they sing; open to life, they chafe against summary and conclusion. Few poets leave behind them a body of work that is global in its ambition and achievement. C. K. Williams is one of them.