Product Description
The Art of the Possible: Comics Mainly without Pictures is a collection of poetry comics written, illustrated, and lettered by Kenneth Koch, the Bollingen-Prize winning poet. Carrying the wit and tenderness of his poems into a genre which, if he did not invent, he certainly made new, The Art of the Possible includes puzzle pages, guides to different kinds of guys, gals, onions, and Easter, not to mention observations on eating snails in Wales or looking for a locker in Cuernavaca. Anton Chekov, Willem de Kooning, a Russian Socrates, Gabonese leader Omar Bongo, and the Dead White Man all make appearances. Both fulfillment of a childhood wish and the product of fifty years’ experience in the worlds of literature and art, The Art of the Possible is a unique book by one of America’s best-loved poets. ... Read more

Product Description

Since its inception in 1988, The Best American Poetry series has achieved brand-name status in the literary world as the preeminent showcase of each year's most important contributions to American poetry. This year's exceptional volume, edited by Robert Creeley, a figure revered across teh wide spectrum of American poetry, features a diverse mix of established masters, rising stars and the leading lights of a younger generation. The pleasure of the poems selected here,Creeley explains in his introduction, is "that they caught my fancy, some almost outrageously, some by their quiet, nearly diffident manner, some by unexpected turns of thought or insight, others by a confident authority and intent." With comments from the poets elucidating their work, a thought-provoking introduction from Creeley, and Lehman's always popular foreword assessing the current state of poetry, The Best American Poetry 2002 will prove as irresistible to new readers as it is indispensable for poetry fans everywhere. ... Read more

Customer Reviews (21)

The Best Anthology Ever
For a great many years now, I have been buying and reading cover to cover the annual issues of "Great American Poetry."This is by far the best example the anthology has had to offer. Every poem is unique, powerful with a vast command of language and nuance, and they each invite rereading after rereading.These gems are diverse and yet extraordinary in their methods. The poets are seen at their finest. 2001-2002 must have been a highly creative year.

Never mind the bollocks, buy this book!
For many years, I have been taking the Best American Poetry books down from the shelf at the local bookstore for a peek, but I never felt compelled to buy one until I read the 2002 version selected by Robert Creeley. I've always had more respect than affection for Creeley, finding it hard to get into his stuff, but I loved the synergy (Marketing stole this word from the Greeks--I'm stealing it back) produced by the juxtaposition of devil-may-care experimentation with the best of more traditional,"mainstream" offerings in this volume.My favorite examples of these divergent impulses here are Jenny Boully's "The Body," a poem in the form of footnotes to blank pages (this poem has been ridiculed in other reviews found here, but I find it daring and exhilirating--in fact, I wish I had thought of it first) and Donald Hall's "Affirmation," an astonishingly straightforward and devastating poem that is one of my favorites from his body of work and one that should warm (freeze?) the heart of the most esthetically conservative reader.

Even though I received a B.A. in English with a focus on creative writing ten years ago, I have only recently begun to understand the struggle between those who would keep poetry at a place it never was (the "School of Quietude" in Ron Silliman's terms--you MUST read his blog, it's good whether you agree or not, just as long as you care about poetry) and those who want poetry to continue to evolve (not "improve"), no matter what unexpected and scary turns it may take (what Mr Silliman calls, in our time, the "post-avant").This book seems to have frightened most of the reviewers who felt compelled to contribute their opinions here, which frightened state they express as distaste. Just know that the most innovative and forward poetry that has lasted was seen in its time as "eccentric" or "inaccessible" or "repugnant" or "unreadable" or "incomprehensible," ad nauseam, from Euripides to T.S. Eliot, who, despite of his conversion to stultifying artistic conservatism and his weird adoption by "the Establishment" (and weirder disinheritance by "the anti-Establishment"), told us, if I remember correctly, that meaning should not be sought when first reading poetry that is new to us, but rather an understanding of the qualities of language the poet is presenting to us.

[This may be a complete misrepresentation of Eliot; I'm sorry I don't remember where I read his statement about reading for meaning.Anyway, people who hate this book will respond that there is no quality to the language here, the good old days were the best, blah blah blah etc etc, but this is as good a place as any to end this review.]

Unfortunately
Few of the poems in this collection struck fire in me, a smaller percentage than earlier volumes in the series.

By far the worst of the series
I have never been a fan of Creeley's work ("For Love" is honestly one of the worst poetry books I ever wasted a yard sale dollar on), but I still expected better from his BAP selections, which are totally lacking in flavor.Creeley tries to convert readers to his surrealist style, rife with inaccessible, abstract dream-language, most of which here is narcissistic, utterly incoherent, and reads like the journal ramblings of a Goth teenager. Someone who does not like poetry would not change his/her mind after reading BAP 2002, and that is exactly why I find this collection repugnant. As a poet myself, I have an open mind, experiment with nontraditional modes of writing, and enjoy the surrealist and renegade edge of many contemporary writers.But this edition was useless, both as enjoyable reading and as writing inspiration.90% of the poems are meaningless, flat, and unfulfilling.Additionally, they were culled almost exclusively from the internet and unheard-of publications. I strongly support small presses and am always eager to sample new publications, but to ignore more established journals which consistently produce quality work feels disrespectful somehow.To be fair, there are a few bright spots in this edition--the poems by Broughton, Burkard, Chapman, Cooley, di Prima, Equi, Friedlander, Gizzi, Goldbarth, Hall, Kumin, Merwin, Myles, Metres, Olds, Sadoff, Warsh, Wier and Wright are worth a second read.But an anthology such as this shouldn't be assessed on the quality of each individual poem, rather on the tone and texture of the whole.The "picture" that BAP 2002 paints is a painful, wasteful, headache-inducing one. Creeley himself says in the introduction, "These poems are better than the best, each and every one of them. If you don't agree, then go find your own." Please, please take his advice.

An Unsurprising Disappointment
Reader take note: if you are curious about contemporary poetry and are looking for an interesting place to start, this anthology is not for you.Try 2001 or 2003.Skip 2002. One of the interesting things about this series is discovering the guest editor, always a notable contemporary poet, as reader of contemporary poetry.What exactly was Robert Creeley thinking?Most of the poems in this volume are emminently forgettable; others unreadable.I enjoy reading this anthology every year, but in this case it was a real struggle. ... Read more

Product Description
The Best American Poetry series is a beloved mainstay of American poetry. This year's edition was edited by one of the most admired and acclaimed poets of his generation, Charles Wright. Known for his meditative and beautiful observations of landscape, change, and time,Wright brings his particular sensibility to this year's anthology, which contains an ecumenical slant that is unprecedented for the series. He has gathered an astonishing selection of work that includes new poems by Carolyn Forché, Jorie Graham, Louise Glück, Frank Bidart, Frederick Seidel, Patti Smith, and Kevin Young and showcases a dazzling array of rising stars like Joshua Beckman, Erica Dawson, and Alex Lemon.

With captivating and revelatory notes from the poets on their works and sage and erudite introductory essays by Wright and series editor David Lehman, The Best American Poetry 2008 will be read, discussed, debated, and prized for years to come. ... Read more

Customer Reviews (6)

Worth Your While
If your only experience with this series is the unfortunate Best American Poetry 2007, then Best American Poetry 2008 might not be enough to persuade you of the value of this series or the worth of contemporary poetry.But I would urge you at least to give it a chance.In his introduction, editor Charles Wright refreshingly forewarns us that he likes "things to make sense" and that we shouldn't look for "language games, intellectual rip-offs, or rhetorical sing-alongs," all ideas that made me optimistic about the book's contents (and made me wonder if he was referring to the noted weakness of the 07 version).For the most part Wright stays true to his word, as a good number of these poems both please the ear and excite the mind.The clash of styles among the poems can be jarring--an inevitable flaw in any series of this nature--but that does not take away from the individual successes you find inside.Oddly the poems seem to be weakest in the middle (purely an accident of its alphabetical structure), when the unnecessary obscurity of so much contemporary poetry supplants the heartfelt intensity Wright seemed to be seeking.Everyone will have their favorites, of course, which is why I would recommend you take a look at the book--it won't please everyone, but everyone should be able to find something pleasing somewhere inside.

An Anthology that Succeeds
I am not a great fan of anthologies, but I always make an exception for this series.Each annual collection is framed by the guest editor's sensibilities.Each includes provocative essays by series editor David Lehman as well as the guest editor.While one may argue both with poems included and excluded each year, over time the series provides a lively collection of contemporary American poetry.

Best American Poetry 2008
Since this is an anthology I didn't expect to like all the poems and I didn't; although several were outstanding. Some poems didn't seem to fall into any format regarding theme orstyle.Is this the best of new, new, modern poetry? Maybe the editor and I just don't like the same type of writing.

" 'they sound like sculptors sanding away at the monolith' "
The Best American Poetry 2008: Series Editor David Lehman, Guest Editor Charles Wright (Best American Poetry) collects works of over seventy poets, in alphabetical order from Tom Andrews to Kevin Young. Tim Ross'a phrase about "sculptors sanding away at the monolith" is a pretty good way to characterize the verse, mostly free, in these pages. The volume is nearly all solemnity and heft. To suggest that Erica Dawson's "Go on, and gag on your own gravity--" sums up the selection nicely would be very wrong however. The prevailing gravitas feels right in our sober, unsettled and even eerie post-9/11 world.

Some of my favorties in this collection are: "Evening Song," by Tom Andrews, "Wanting Sumptuous Heavens," by Robert Bly, "Rock Polisher," by Chris Forhan, "Threshing," by Louise Glueck, "Snoring," by Mark Jarman, "Resignation," by J. D. McClatchy, "World News," by Sharod Santos, "Hexagon: On Truth," by Dave Snyder, "Thomas Hardy," by Lee Upton, and "No Forgiveness Ode," by Dean Young.

David Young's "The Dead from Iraq," begins, "They come back and stand in our midst." He calls them "vague sentinals, stiff at attention." These poems also stand in the readers' midst and seem to form a more ragged phantom line in the mind, challenging and chastisizing.

Poor format
It's hard to format poetry
for the Kindle
isn't it?
This book shows you
what that looks like ... Read more

Customer Reviews (1)

Buy this book, you'll be glad you did!
This book, plus the three others in this series, are a super find for anyone doing bird or animal carving. It includes background info on each bird, instructions and most importantly, a pattern showing the side view, the top view and front view. Tips on making feet, how to texture and burn your bird are covered and suggestions for mounting are included. I am in a weekly woodcarving club and I have seen many of projects from this book (like the lynx, the coyote and the tiger) completed and they looked really good. A few years back I took a very expensive class in carving a quail and ended up with a real mess. If only I had known about the quail pattern and information in this book it would have been a different story. My only complaint, and it is just a minor one, is that I wish that information on painting the completed projects had been included. ... Read more

Product Description
Billy Collins, one of our most beloved poets, has chosen poems of wit, humor, imagination, and surprise, in a range of styles and forms, for The Best American Poetry 2006. The result is a celebration of the pleasures of poetry.

In his charming and candid introduction Collins explains how he chose seventy-five poems from among the thousands he considered. With insightful comments from the poets illuminating their work, and series editor David Lehman's thought-provoking foreword, The Best American Poetry 2006 is a brilliant addition to a series that links the most noteworthy verse and prose poems of our time to a readership as discerning as it is devoted to the art of poetry. ... Read more

Customer Reviews (13)

a friendly introduction to what the best means
Collins' poetry is one of "accessibility"--a term he expands upon greatly in his introductory remarks, and there, his voice is firm and assured about the kind of poetry he favors versus drivel passing for verse in contemporary American poetry.Sure, Collins' poetics might not gel very well with the crap being published today, but that is his singular stance and vision of what American poetry is like in 2006, one filled with "Laughter in the Dark" (to borrow a scintillating title by Nabokov).

the best I've read in the series
There is no doubt in my mind that 06's collection is the best I've read (and I've been reading them for some time now), though to be fair, somehow I missed 2005--though I'm not much for Hejimen's taste. I'm not surprised how good this one is though, after all, Billy Collins selected them, and he is a phenomenal poet with great taste. He picked poems that covered all schools but were told in language and images that we can all appreciate and understand. Keep picking poets like this (hey, consider Gioia, Dave Mason and R.S. Gwynn--they'll give you collections as good or better than even this one.).

A wonderful sampling of contemporary poetry
Since a great many contemporary poems leave me confused or disappointed, I was delighted to connect positively with so many of the seventy-five poems selected by guest editor, Billy Collins.The editor's Introduction brought insights that contributed to my enjoyment, as well as providing guidance to would-be poets.Of course, the guest editor makes a huge contribution to the success of this annual series, and Billy Collins has ferreted out some treasures for 2006.

Good to keep up with current poetry
It is good for those who are not inclined to keep up with currently published poets to see the choices of a poet laureate.

Ok
The only favorite poem of mine is by Kay Ryan. The rest of the stuff is mediocre.. ... Read more

Product Description
Meditative, comic, emotionally wrenching, steeped in both the natural world and the life of the mind, the poetry of A. R. Ammons is at once cosmic in scope and intimate in its moment-to-moment transformations. With his mastery of description and cadence, his roiling wit and fearless gaze, Ammons was a philosopher of the everyday who found surprise everywhere he looked. "He is often witty, sometimes bawdy," writes editor David Lehman, "on a perpetual quest to find forms capacious enough for an imagination intent on finding a place for everything."

A compound, in editor David Lehman's words, of "wisdom, pathos, humor, mortal longing, and intimations of immortality," the work of A. R. Ammons is like nothing else in modern American poetry. Ammons's tireless formal invention and restless curiosity about every aspect of nature and of the mind are embodied in poetry that is effortlessly accessible and generous in its impulses. Whether spreading out in the long forms of Tape for the Turn of the Year or Garbage, or honing his perceptions down to the extreme brevity of his shorter lyrics, he holds tight to his vision of the way "all day / life itself is bending, / weaving, changing, / adapting, failing, / succeeding."

This new selection covering the whole range of Ammons's career offers a superb introduction to the pleasures and surprises of his work. His uncanny ability to balance wide-ranging abstract speculation with meticulous observation of natural phenomena, in poetry that encompasses moods of tragic pathos, low comedy, and seemingly casual profundity marks him as one of the preeminent figures in our recent literature ... Read more

Product Description
Among the exquisite pieces of glass in Robert Lehman's collection are many that exhibit the consummate skill of Venetian glassmakers and explain why Venetian glass was so coveted in Europe in the sixteenth and seventeenth centuries. The factories in northern Europe that produced glass a la façon de Venise are represented as well. Robert Lehman also acquired perhaps the richest American collection of eighteenth-century lampworked glass figurines, which are usually attributed to Nevers, France. Smaller groups of reverse-painted panels and ancient Roman and early Islamic glass round out the 136 objects catalogued in this volume.

This is the sixth to be published in a projected series of fifteen volumes that will catalogue the Robert Lehman Collection at The Metropolitan Museum of Art. ... Read more

Product Description
Mark Van Doren was for many years a luminary in the English department at Columbia University. He was also a much-admired American poet. Like all great teachers, Van Doren was celebrated not only for his special insights, but also for the wonderful way he had of bringing them to life for his students, who over the years included the young Richard Howard, John Hollander, and Allen Ginsberg. Both those insights and the warm and generous intelligence with which it was conveyed are very much on display in Van Doren’s Shakespeare, which draws on this master teacher’s long years in the classroom to present a play-by-play account of the works of the Bard. Van Doren deftly guides the reader though the labyrinthine intricacies of Shakespeare’s language, the better to reveal the mysteries at the heart of his achievement, bringing out the astonishing beauties of Shakespeare’s protean creation. ... Read more

Customer Reviews (3)

The Frosting on the Cake, Not the Dough That Made It
Highly recommended for someone who has some familiarity with the plays and wants to see this terrain through sharper eyes.This is not "CliffsNotes."These are essays by a master critic who loves Shakespeare, written *for* readers who love Shakespeare.But be prepared when Van Doren plays the critic, not the worshipper.If your favorite is "Henry V," for example, keep an open mind and wince along.

A pleasant aspect of this book is that you can take the essays in any order.This means that if, like me, you know some of the more popular plays (Hamlet, Othello, Macbeth, Lear, Julius Ceasar), but not some of the seldom-performed ones (Titus Andronicus, Troilus and Cressida, King John, Pericles), you can see what Van Doren has to say about "your" plays and then come back when you have hunted up the others.

Van Doren's prose is familiar, easy, and full of love.It is almost a conversation, and hardly less a joy to read than Shakespeare himself.

A treasure...
How often have you encountered a book on Shakespeare or his works that attains a level of writing that is often heart-meltingly gorgeous, even at times comparable to the beauty of the Shakespeare quotations it contains?Probably only once, and this is the book.

A helpful introduction by David Lehman reminds us that Mark Van Doren was a celebrated professor of literature at Columbia University, and a poet of considerable accomplishment, who served as mentor to a long list of students who later achieved great things.In his courses he generally spoke without notes, and this 1939 book on Shakespeare's works was also written without notes or references, other than a well-thumbed one-volume edition of the works, printed in about 1906.

Any modest power of description which I might possess fails utterly for this exquisite book. Instead, let me give a sample of Van Doren's commentary:"It may well be that Shakespeare in 'The Tempest' is telling us for the last time, or consciously for the last time, about the world.But what he is telling us cannot be simple, or we could agree that it is this or that. Perhaps it is this: that the world is not simple.Or, mysteriously enough, that it is what we all take it to be.Any set of symbols, moved close to this play, lights up as if in an electric field.Its meaning, in other words, is precisely as rich as the human mind, and it says that the world is what it is.But what the world is cannot be said in a sentence.Or even in a poem as complete and beautiful as 'The Tempest.'"

Makes Shakespeare hum!!!
I have always loved Shakespeare but, even though I have studied it, sometimes, he is a little difficult to pin down on what exactly he is saying or meaning and it is often hard to get the feel or mood for certain scenes. After all, he was a playwright, not a journalist! And he wrote five centuries ago in the idiomatic English of that time. This critique is absolutely brilliant. Van Doren's feelings on Shakespeare are that he wrote his plays to be enacted on a mostly-bare stage in front of a noisy crowd of Joe Q. Publics, not enacted in an elaborate hushed stage setting in front of a group of phychologist, phychoanalists, etc. I have often felt that some critics see deep, mystical, dark meanings in Shakespeare that he never intended (I feel it is more a reflection of the critic's own phyche). Not to say that Shakespeare is shallow! I feel his "well-written" plays are awesome and unmatched by anyone, anywhere, anytime. Van Doren brings Shakepeare to the light of day in a clear, logical, yet so very elegant way. This book literally brings me to tears, it's so beautiful! ... Read more

Customer Reviews (1)

Get it! This is a book you will useagain and again.
This book, plus the three others in this series, are a super find for anyone doing bird or animal carving. It includes background info on each bird, instructions and most importantly, a pattern showing the side view, the top view and front view. Tips on making feet, how to texture and burn your bird are covered and suggestions for mounting are included. I am in a weekly woodcarving club and I have seen many of Lehman's projects completed and they looked really good. My husband won a blue ribbon at our county fair on the bald eagle made from patterns in this book. My only complaint, and it is trivial, is that I wish that information on painting the completed project had been included. ... Read more

Product Description

Every year since 1988 a major poet has selected seventy-five poems for publication in The Best American Poetry. The series has quickly grown in both sales and prestige, as poetry itself has seen a remarkable resurgence in popularity and vitality, fueled by established poets at the peak of their powers and a new generation of daring voices. As we approach the millennium, now is the opportune moment to take stock of american poetry and choose the work that will stand the test of time. Harold Bloom, a commanding presence on the American literary state, has read all 750 poems in the series and has picked the "best of the best." He precedes his selections with a compelling and highly provocative essay on the state of American letters, in which he fiercely champions the endangered realm of the aesthetic over the politically correct. Diverse in style, method, and metaphor, the seventy-five poems Bloom has chosen go a long way toward defining a contemporary canon of American poetry. This exciting volume reflects not only the taste of the current editor, but the predilections of the all-star list of poets who have contributed their time and intellect to make this series what is today: a "valuable, invaluable, supervaluable" (Beloit Poetry Journal) record of an ever-changing, always exciting art. ... Read more

Customer Reviews (9)

Can Monkeys Throw Darts?Did Bloom?
I'm pro-Bloom in the general political/aesthetic sense, and it was satisfying for me to see him crystalize some of my sentiments in his foreword. But I bought the book for the poetry, and (judging from the other Best... books I own) I'm of the opinion that Bloom did a mediocre job aseditor.His options were, thankfully, limited to a set comprised mostly ofstrong poems.This book could probably have survived the abuses of amonkey-throwing-darts-at-a-list-of-options editor.

Bloom is a bit of a grump.
Here in Australia, where I've been living for twenty years as a teacher, I'd lost contact with American poetry. I happened on the Poetry Daily web site and dived in. And found, I could order books through Amazon which I'dnever seen. I now have two shelves of much read poetry and more incontainers on slow ships on their way. I remember the pleasure I got fromreading the commentaries and the poems in the Best...of 1997. So when I sawthe Best of the Best (Harold Bloom's ed) I picked it up here, even thoughit was very expensive. While I enjoyed most of the poems, I found hisintroduction surprising. What a grump!

Esoteric & Ivory Tower
I could relate to about 1/10th of the poems.My instinct (late from the moldering glades of the academy) is that these poems were chosen to broaden (not deepen) the moat around the ivory tower -- poetry IS dead in thisvolume, mostly.

Should be called the worst of the best
Face it--Bloom is insulated, not in touch with the real issues and trends facing poetry today.His utter rejection of Adrienne Rich and her volume of 1996--one of the best in the series--only shows to his detriment, nothers, and to the detriment of this volume.While there are memorablemoments in Bloom's volume, it falls flat for its lack of relevance to thelives lived by poets and readers alike in this day and age.

Bloom's temper tantrum relegates this one to mediocrity.
How disappointing! Harold Bloom's diatribe against Adrienne Rich and her selections for the 1996 edition was not unexpected. However, to make inclusion in her volume the acid test of their unworthiness for inclusionin his own was nothing more than an act of shallow spitefulness on hispart. One must read only a few pages into the anthology to appreciate justhow unfair the decision is to the 1996 authors and to the readers whobought the decennial collection based on their trust for the series and theeditorial integrity Mr. Lehman has, until now, provided. A. R. Ammons, oneof Mr. Bloom's blessed, hits us right on with a poem titled"Garbage". "Garbage" rambles pointlessly--animprovisation so says the poet in his own note--and, while it may reflect adegree of instrumental virtuosity, it made me very sad to think as Islogged through it that Wang Ping's lovely "Song of CallingSouls" had been left out in order to accomplish Bloom's little tempertantrum. While I appreciate Bloom's perspective and criticism, I think hisdecisions in relation to this volume escalates a situation that desperatelyneeds to be de-escalated and focused on real issues of aesthetics andartistic integrity. Such an experienced writer, scholar and critic asHarold Bloom should have known better than to act out this juvenilehyperbole. And Mr. Lehman should have insisted on some selection from eachyear of the series' offerings. Like form in poetry, a few simple, arbitraryrules have helped keep this series interesting. In this case it would havesaved Bloom this embarrassment. It is his reputation, not Rich's, that willsuffer. ... Read more

Product Description
AMY GERSTLER’S COMMITMENT TO INNOVATIVE POETRY that conveys meaning, feeling, wit, and humor informs the cross section of poems in the 2010 edition of The Best American Poetry. The works collected here represent the wealth, the breadth, and the tremendous energy of poetry in the United States today. Featuring poems from some of our country’s top bards, including John Ashbery, Anne Carson, Louise Glück, Sharon Olds, and Charles Simic, The Best American Poetry 2010 also presents poems that poignantly capture the current moment, such as the sonnets John Updike wrote to chronicle his dying weeks. And there are exciting poems from a constellation of rising stars: Bob Hicok, Terrance Hayes, Denise Duhamel, Dean Young, and Elaine Equi, to name a very few.

The anthology’s mainstays are in place: It opens with series editor David Lehman’s incisive foreword about the state of American poetry and has a marvelous introduction by Amy Gerstler. Notes from the poets, illuminating their poems and their writing processes, conclude this delightful addition to a classic series.Dick Allen * John Ashbery * Sandra Beasley * Mark Bibbins * Todd Boss * Fleda Brown * Anne Carson * Tom Clark * David Clewell * Michael Collier * Billy Collins * Dennis Cooper * Kate Daniels * Peter Davis * Tim Dlugos * Denise Duhamel * Thomas Sayers Ellis * Lynn Emanuel * Elaine Equi * Jill Alexander Essbaum * B. H. Fairchild * Vievee Francis * Louise Glück * Albert Goldbarth * Amy Glynn Greacen * Sonia Greenfield * Kelle Groom * Gabriel Gudding * Kimiko Hahn * Barbara Hamby * Terrance Hayes * Bob Hicok * Rodney Jones * Michaela Kahn * Brigit Pegeen Kelly * Corinne Lee * Hailey Leithauser * Dolly Lemke * Maurice Manning * Adrian Matejka * Shane McCrae * Jeffrey McDaniel * W. S. Merwin * Sarah Murphy * Eileen Myles * Camille Norton * Alice Notley * Sharon Olds * Gregory Pardlo * Lucia Perillo * Carl Phillips * Adrienne Rich * James Richardson * J. Allyn Rosser * James Schuyler * Tim Seibles * David Shapiro * Charles Simic * Frank Stanford * Gerald Stern * Stephen Campbell Sutherland * James Tate * David Trinidad * Chase Twichell * John Updike * Derek Walcott * G. C. Waldrep * J. E. Wei * Dara Wier * Terence Winch * Catherine Wing * Mark Wunderlich * Matthew Yeager * Dean Young * Kevin Young ... Read more

Customer Reviews (1)

A Classic by a Marsh Master
David Hagerbaumer's books are an act of faith; faith in his vision of a natural world where birds of his long memory roost and faith in his medium of watercolor to put wind under their wings. When he selected game birdsfor this book, you know very well that his history with each is intimate.David Hagenbaumer's work has truth that only a gentleman afield can reveal.Buy this book - this senior statesman is at the top of his form. ... Read more