Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs And towards our distant rest began to trudge. Men marched asleep. Many had lost their boots But limped on, blood-shod. All went lame; all blind
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for James Wright
The poet will seek to clothe herself in sparrows.
A motor in each leaf
distills autumn’s engines and we’re off.
Upstart cartoon morning;
these various roosters scratch inside the eyelids
and declare beneath the
In April 2014 A Poet’s Glossary by Academy Chancellor Edward Hirsch was published. As Hirsch writes in the preface, “This book—one person’s work, a poet’s glossary—has grown, as if naturally, out of my lifelong interest in poetry, my curiosity about its vocabulary, its forms and genres, its histories and traditions, its classical, romantic, and modern movements, its various outlying groups, its small devices and large mysteries—how it works.” Each week we will feature a term and its definition from Hirsch’s new book.
nocturne A night scene. John Donne was the first English poet to employ the term nocturnal to designate a genre in “A Nocturnal upon S. Lucy’s Day, being the shortest day” (1633). Donne sets his poem at midnight (“’Tis the year’s midnight, and it is the day’s”) and creates an elegy on the shortest day of the year, the winter solstice, by borrowing from the night offices of the Roman Catholic canonical hours. In early church writings, the term nocturnes (
Manifestos are an unruly lot. In opposition to a reigning ideology, they create vibrancy. But in support of dominant power? They stultify. This is true of William Wordsworth’s Preface to Lyrical Ballads. Written when he was just 28 years old, it had a tremendously generative run of at least 150 years. But Wordsworth wasn’t shooting merely for a good run; he wanted "to interest mankind permanently." I don’t know about eternity, but I know that two centuries after it was written, the Preface is certainly considered "definitive." Only, how much does it matter?
When Charles Bernstein praises Ron Silliman’s poems, he positions the work precisely against the type of poem championed by Wordsworth’s Preface: Silliman’s poems "may discomfort those who want a poetry primarily of personal communication, flowing freely from the inside with the words of a natural rhythm of life, lived daily" (Content’s Dream). Admiring how Silliman’s poems work against "official verse culture," Bernstein
The Dark Room Collective was founded in Boston in 1988 by a group of African American poets led by Thomas Sayers Ellis and Sharan Strange. The mission of the Collective was to form a community of established and emerging African American writers. Major Jackson, Natasha Trethewey, and Kevin Young were also members of this group.
Originally conceived as a reading series, the Collective became a small community of poets. Strange wrote, "It was the sustaining practice of writing in community just as much as the activism of building a community-based reading series for writers of color that kept us engaged in collectivity" (Painted Bride Quarterly 60).
read about poets from the dark room collective