Here are 100 books that The Complete Poems of A. R. Ammons fans have personally recommended if you like
The Complete Poems of A. R. Ammons.
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Poems irritated me as a child. They seemed parodies of counting, chants of rhythm, and repetition. I included them in my moratorium against reading fiction. On the other hand, I respected the alphabet, a kind of poem of pure form. It was orderly for no good reason and didn't mean anything. So I concluded that poems were meaningless forms that had their uses, but were not serious. I changed my mind, but it took a while—studying math and science, theology, and then philosophy and literature. I'm now a professor who studies and teaches modern literature and philosophy. I got my Ph.D. from Harvard, became a professor at Stanford, and teach at the University of Dallas.
Any marriage can fall apart. We can become lost to each other. But we can also re-find each other.
In many ways, a marriage is constantly a remarriage. The philosopher Stanley Cavell, my Ph.D. advisor at Harvard, wrote a brilliant book about what he calls the remarriage comedies of the late 30s and early 40s.
The films are great on their own—The Philadelphia Story, The Awful Truth, etc—, but their power and wisdom becomes part of a profound philosophical conversation through Cavell’s inquiry and voice. My own book explores love and marriage in resonant, but different ways.
During the '30s and '40s, Hollywood produced a genre of madcap comedies that emphasized reuniting the central couple after divorce or separation. Their female protagonists were strong, independent, and sophisticated. Here, Stanley Cavell names this new genre of American film-"the comedy of remarriage"-and examines seven classic movies for their cinematic techniques and for such varied themes as feminism, liberty, and interdependence.
Included are Adam's Rib, The Awful Truth, Bringing Up Baby, His Girl Friday, It Happened One Night, The Lady Eve, and The Philadelphia Story.
Poems irritated me as a child. They seemed parodies of counting, chants of rhythm, and repetition. I included them in my moratorium against reading fiction. On the other hand, I respected the alphabet, a kind of poem of pure form. It was orderly for no good reason and didn't mean anything. So I concluded that poems were meaningless forms that had their uses, but were not serious. I changed my mind, but it took a while—studying math and science, theology, and then philosophy and literature. I'm now a professor who studies and teaches modern literature and philosophy. I got my Ph.D. from Harvard, became a professor at Stanford, and teach at the University of Dallas.
A photograph gives me the form of the bird, but it remains up to me to see the bird as a bird. And that can be difficult. What do we see when we see a bird?
The Peregrine, J. A. Baker’s masterpiece of descriptive prose, provides an answer, an answer that is as much about how we see as it is about what we see when we see birds. Sometimes we pull ourselves into the sight of others and the world emerges as more than its light. We see by being seen.
Baker achieves this kind of seeing both in his efforts to see a pair of peregrines and in his description of this achievement.
David Attenborough reads J. A. Baker's extraordinary classic of British nature writing.
The nation's greatest voice, David Attenborough, reads J. A. Baker's extraordinary classic of British nature writing, The Peregrine.
J. A. Baker's classic of British nature writing was first published in 1967. Greeted with acclaim, it went on to win the Duff Cooper Prize, the pre-eminent literary prize of the time. Luminaries such as Ted Hughes, Barry Lopez and Andrew Motion have cited it as one of the most important books in twentieth-century nature writing.
Despite the association of peregrines with the wild, outer reaches of the British Isles,…
Poems irritated me as a child. They seemed parodies of counting, chants of rhythm, and repetition. I included them in my moratorium against reading fiction. On the other hand, I respected the alphabet, a kind of poem of pure form. It was orderly for no good reason and didn't mean anything. So I concluded that poems were meaningless forms that had their uses, but were not serious. I changed my mind, but it took a while—studying math and science, theology, and then philosophy and literature. I'm now a professor who studies and teaches modern literature and philosophy. I got my Ph.D. from Harvard, became a professor at Stanford, and teach at the University of Dallas.
T.J. Clark’s diary explorations of two Poussin paintings in The Sight of Death integrates an acuity of seeing with a searching intelligence that is simultaneously content, historical, personal, and linguistic.
He puzzles through a visceral sense of revelatory permanence in Poussin, a discovery of form in the details of painting: “Aren’t there plenty of moments in life that, whether they last or not, have enough of permanence about them to stand for things as they are, things as the mind conceives them –and not just to stand for them notionally, but have them be visible on their face?” He reveals this face.
A renowned art historian confronts the specific powers of painting, and the hold of the visual image on the viewer's imagination
Why do we find ourselves returning to certain pictures time and again? What is it we are looking for? How does our understanding of an image change over time? In his latest book T. J. Clark addresses these questions-and many more-in ways that steer art writing into new territory.
In early 2000 two extraordinary paintings by Poussin hung in the Getty Museum in a single room, Landscape with a Man Killed by a Snake (National Gallery, London) and the…
Poems irritated me as a child. They seemed parodies of counting, chants of rhythm, and repetition. I included them in my moratorium against reading fiction. On the other hand, I respected the alphabet, a kind of poem of pure form. It was orderly for no good reason and didn't mean anything. So I concluded that poems were meaningless forms that had their uses, but were not serious. I changed my mind, but it took a while—studying math and science, theology, and then philosophy and literature. I'm now a professor who studies and teaches modern literature and philosophy. I got my Ph.D. from Harvard, became a professor at Stanford, and teach at the University of Dallas.
Events that happen to us can damn us or liberate us. We will not always know which.
Stories can help show these events and their consequences, even if they might not give them any real or acceptable meaning. But our descriptions of these events can help us see our life amidst the powers of the events. Heda Margolius Kovaly offers an admirable and brilliant example in her memoir Under a Cruel Star.
The memoir is a remarkable achievement of clarity, focus, and wisdom. Her life is more than that.
Heda Margolius Kovaly's memoir of the crisis of modern Czech history recounts the tragedies and terrors in the life of a young Jewish woman, beginning with the Nazi invasion and her deportation to Auschwitz. She eventually returned to Prague, where she took part in the May 1945 uprising.
The postwar years brought hardship and fears of a new kind under Stalinism. She poignantly recounts the arrest of her husband, his conviction in the infamous 1952 Slansky trial, and his execution. Kovaly proceeds to fill in the colorless years that marked Czechoslovakia until 1968, ending on the bittersweet note that was…
I started writing poetry when I was eight or nine, inspired by the way song lyrics stirred my soul. The poetry of songs like Bowie’s Space Oddity or Dylan’s Johanna made me want to write. I read Allen Ginsburg’s Howl as a young man and found a new language, rhythm, and way of seeing the beauty and sadness of the world. Over the years, I’ve written many songs and more than many poems. My first collection, OWL, is out now. Poetry feeds my heart and soul and entices my senses. I love the books on this list and hope you enjoy them as much as I do!
Hirshfield’s craft of language in this book knocks me off my feet. My head rings in the resonance of her poignant and pointed images.
The way she fuses intimate, personal experience with the immensity of nature and the fearless way she takes on the loss and peril of climate change makes me want to be a better writer and a better human. When I read the poems in this masterful collection, I am at once moved to sadness and awe and inspired to take action.
Jane Hirshfield's urgent new collection is a book of personal, ecological and political reckoning. Her poems inscribe a ledger personal and communal, a registry of our time's and lives' dilemmas as well as a call to action on climate change, social justice and the plight of refugees. The poems of Ledger record riches, both abiding and squandered, and mourn our failures. They confirm, too, the continually renewing gift of the present moment, summoning our responsibility as moral beings to sustain one another and the earth's continuance. Finally, it is the human spirit and the language of poetry - loyal instruments…
As a published author with an MFA in Writing, I know how hard writing can be in terms of how to find a muse, employ an elusive craft, and deal with the soul-shaking consequences of digging deep. But as a survivor of life, including multiple moves, broken relationships, alcoholism, illness, and debilitating grief, I've also experienced the transformative power of writing. I took that belief into the community, and developed writing workshops for cancer survivors, women facing domestic violence, and many other people wrestling with trauma and illness, often recommending some of these books in my workshops. And along the way, I’ve witnessed time and again what the written word can do.
This is one of those gems that can easily get lost in the literary shuffle. Poet-teacher John Fox gets into the craft of writing poetry in Finding What You Didn’t Lose, but it’s not one of those dry books that will get you all tangled up worrying about your iambic pentameters. Instead, he takes you on a beautiful journey, showing how such useful tools as imagery, sound, metaphor, and rhythm can help you express yourself. Quotes and poetry excerpts round out the rich content of this book.
I love to write about the places, folklore, nature, and above all the magic of Cornwall. I have lived in Cornwall most of my life, I learned to crawl along the rockpools of Cornish beaches and I went to school in a moorland village. Now, I live on the edge of Bodmin Moor and write in the Cornish wilds, I live close to both the moors and the sea. I began writing for Cornish folklore project Mazed in 2013 and I have been retelling Cornish Folk Tales and writing poetry and stories inspired by Cornish folklore ever since.
Charles Causley’s poems celebrate every turn of Cornwall’s stride. He writes of the sea, towns, moors, and people with incredible imagery humor, and tragedy.
The poems ask questions of love and nature. "And careless, like tide-marks, the hedges / Are bursting with Almond and May." Causley sings the magic of Cornwall, ‘Its anchor is glittering granite," "His smile was sharp as tin."
My favorites are the ballads, I was inspired to write the Caradoc ballads by reading Causley’s ballads over and over. Folklore underpins many of his poems, there are mermaids, giants, saints, and even a baby devil.
I have been a dance teacher all of my adult life, and a poetry and word-lover even longer. I love the economy of language, immediacy, and the promise of surprise in poetry.
In middle age, I returned to writing just as my body began its slow rebellion, with the added shifts of remarriage and step-parenting a severely disabled son. I went back to grad school and wrote my first book, drawing on the experience of confronting change, just as these recommended poets have done.
Each of these poets has a very different story, but what they have in common outweighs their differences, and because of that we are able to see ourselves in their writing.
This collection teaches me as well, by taking me into the experience of growing up in the Black, rural Appalachian South.
The poems are part memoir, as in writing about the experience of her mother visiting her where she lived with her grandparents, “(We) held hands like we thought/mothers & daughters should/but neither of us knew for sure.”
They are also part love song to home-cooking, “Every morning of my childhood, my grandmother, who stood a little/ under five feet tall, donned an apron and cooked breakfast. Slow. Precise./ Deliberate. She equated food with love, and she cooked with both a fury/ and a quiet joy.”
And finally, they are part Black feminist manifesto, “My black body is a boulder, a stop sign. Sometimes i think my body is/ graceful, a song of freedom. Sometimes i think it is something that every/ eye casts away. I must concentrate if i…
"In Perfect Black, Crystal Wilkinson walks us back down the road she first walked as a girl, wanders us through the trees that lined the road where she grew up, where her sensibilities as a woman and a writer were first laid bare. In one of the first poems that opens the collection she is a woman looking back on her life, on the soil and mountains that first stamped the particular sound of her voice and she is deeply inquisitive about how it all fell into place: "The map of me can't be all hills& mountains…
I'm an Emmy Award-winning writer, wife, and adoptive mother with an unapologetic passion for Black queer stories. I'm also an artist-activist who takes great pride in producing content that sparks honest dialogue and positive change. Life's complexities energize me, and, as a queer artist of color, I'm committed to reflecting these intricacies in my work. I write, produce video, and host allyship seminars as well as art as activism workshops for LGBTQ+ youth. If you're both inspired and entertained by layered depictions of BIPOC queer culture then please check out the recs in my Queer-tastic reading list. Enjoy!
I love pretty packaging, so it's no surprise that Mans' Black Girl, Call Home stopped me in my tracks. The cover art, an over-the-shoulder shot of a young Black girl, her head bedazzled in a rainbow assortment of brightly colored barrettes. For me and Black women across the globe, the image evokes instant nostalgia. Luther on the radio. Me between my mama's legs. And the smell of Blue Magic hair grease slathered on the back of her hand.
Both painful and empowering, Mans' candid approach to feminism, race, and LGBTQ+ identity is wrapped in undeniable realness. Whether readers identify as Black and queer or simply as women on the path to healing, Mans' rhythmic collection of truths inspires self-acceptance and sisterhood. Do yourself a favor — order the audiobook and be blown away by Mans' heartfelt spoken word!
A Most Anticipated Book of 2021 by Oprah Magazine • Time • Vogue • Vulture • Essence • Elle • Cosmopolitan • Real Simple • Marie Claire • Refinery 29 • Shondaland • Pop Sugar • Bustle • Reader's Digest
“Nothing short of sublime, and the territory [Mans'] explores...couldn’t be more necessary.”—Vogue
From spoken word poet Jasmine Mans comes an unforgettable poetry collection about race, feminism, and queer identity.
With echoes of Gwendolyn Brooks and Sonia Sanchez, Mans writes to call herself—and us—home. Each poem explores what it means to be a daughter of Newark, and America—and the painful, joyous…
Now, I’m a journalist who covers prisons—but a decade ago I was in prison myself. I’d landed there on a heroin charge after years of struggling with addiction as I bumbled my way through college. Behind bars, I read voraciously, almost as if making up for all the assignments I’d left half-done during my drug years. As I slowly learned to rebuild and reinvent myself, I also learned about recovery and hope, and the reality of our nation’s carceral system really is. Hopefully, these books might help you learn those things, too.
I read so much poetry in prison—words about survival, and loss, and absence. But one thing I did not read was poetry about people who’d been in prison like me, and wish I had. This poetry collection wasn’t out then, but I think I would have loved it if it were.
In fierce, agile poems, Felon tells the story of the effects of incarceration-canvassing a wide range of emotions and experiences through homelessness, underemployment, love, drug abuse, domestic violence, fatherhood and grace-and, in doing so, creates a travelogue for an imagined life. Reginald Dwayne Betts confronts the funk of post-incarceration existence in traditional and newfound forms, from revolutionary found poems created by redacting court documents to the astonishing crown of sonnets that serves as the volume's radiant conclusion.
