Poetry Books

Anna Carson is brilliant, the arguments set forth in her book are incredibly valid and reinforced with brilliant examples from ancient Greek poets one of which is Sappho. Very enlightening read, will change the way you view love, desire and want, it will change the way you view Eros forever. If you havent read it yet i suggest you do NOW.

This book applied to life. No only did the book put into words what can only be thought but it speaks to you. It starts out over most heads but then comes down to relate to all those in love.

This is a delightful book that analyzes love [desire] through classical literature. It is an academic treatise, poetical prose, and philosophy all at the same time. Carson's close reading and her wit make Eros the Bittersweet a must read.

The Greeks did not cover everything but they made a pretty good start. Anne Carson has always been the queen of fitting classical allusions to the evident. The book could be described as an extended exploration of `Odi et amo: quare id faciam, fortase requiris/ nescio, sed fieri sentio et excrucior.'- Catullus. (I hate and I love/ Why do I, you ask ?/ I don't know, but it's happening/ and it hurts.)A splendid place to mine for obscure quotes: `We aren't shutting you out of the revel, but we aren't inviting you either/ For you're a pain when you're present, and beloved when you are away'- Theognis

Carson is an inspired guide through the tangled and fragmentary corpus of Greek lyric love poetry. She has a whirlwind mind and a gift for pithy expression, though once in a while she slips into a kind of gauzy equivocating that weakens her arguments. Still, this idiosyncratic take on ancient eros has moments of great insight and deserves the attention of classical scholars and non-specialists who are interested in the topic.

The book is broken up into three sections, the second a section entitled "Double Exposures," a novel form of poetry in which each poem may be read three different ways to get three different meanings. Besides the second section, most of the poems are not intertwined by plot or theme-characters change from poem to poem, however, Greg Williamson seems to be the running thread that connects each poem. In "Origami," he even throws in his name, `"No really, Mr. Greg!"' Others appear to be his opinions and observations on life, for example "Bodies of Water," where he responds to a quote by Seamus Heaney that says, "Glimmerings are what the soul's composed of," with "Yes, but the body is made of water...." "The Dark Days" represents another form of his poems which leans toward reflection, "We should have seen it coming back In June: seeds of unrest..." One of my personal favorites was "Riddles," where Williamson pokes fun at this form of literature, coming up with twelve riddles and twelve sets of five answers that are all probable solutions. But by far the best part of this book was section two, the "Double Exposures." Williamson writes these with such grace and agility-two separate poems that somehow when the lines are alternately linked, fit together and make sense. The endings are especially ingenious-he turns "Swept by the tide, while the sun's filigree Embellishes an opalescent sea." into "...while the sun's filigree Catching the hostess's eye in this tableau Embellishes an opalescent sea Of carefree faces, taken years ago." Reading the second version, one would never assume the "sea" is an actual body of water, yet that is exactly what it is in the first version. It is these ingenious twists Williamson throws at us that makes the middle section of the book so fun to read. However, even if you are not interested in this type of double-poem, the first and last sections provide an ample amount of poems that appear more `normal' in shape and form. Williamson's tone throughout the book varies, but I found myself laughing out loud to many of his poems, for example, "The Life and Times of Wile E. Coyote, Super Genius," alluding to the television cartoon, where he toasts the coyote for his intellect and quirky inventions, and "The Top Priority," where he questions the English language, "If grocery stores supply a pre-sliced roll, And sliced is sliced, pre-sliced is what? Well, whole." I recommend this book to anyone with a sense of humor or as a gift to anyone who would enjoy a fun twist on poetry.

Greg Williamson's book, "Errors in the Script," is evidence that legendary poets can come at all points in history, even now. Williamson's poems are destined to be classics in the years to come.
Williason's use of puns is quite extensive. His poems are both humorous and serious and somehow reflect the life of a poet. "Errors in the Script" was highly enjoyable because of it's evasive style. The poetry in all three sections of the book can never be pinned down with one description of it's style.
Williamson is, by trade, a true poet. He is a poetry machine capable of producing and reproducing ideas and stories in different fashions. Whether in free verse, riddles, or a strict rhyme scheme, the poetry is exquisite. Sometimes Titles in the book can be misleading, but upon deeper reading one can find serious meaning to all of Williamson's poetry. He is a poetry craftsman,writing in forms that have never been written in before. The Creative style of the book always seem to have multiple meanings and/or answers to all questions raised.
In the section of the book titled Double Exposures, the author skillfully writes 26 frames of poetry that can be read in three differnet ways. The playfulness of one of the three ways may turn in to a much more serious expression as in "Billboard with Woman in Mirror." Williamson uses puns like the word fag to describe both a cigarette butt and a drag queen. He gets personal in the end of that poem and tells the reader two lies or two truths or maybe one of each. If you like that sort of mysterious poetry meaning "Errors in the Script" is definitely a must read book.
Lastly, these poems are excellent reads because they prompt the reader to think. Williamson not only tells the stories, he asks readers what the stories he writes about mean to them by asking and answering what poetry and life is to him. Genius, pure Genius.

i hate to be the voice of dissension, but i wasn't quite as taken by williamson's work as others are. it's nice to see humor used in poetry, but williamson has a tendency to beat the joke to death. half the time i wished he had cut the poem in half. take "origami" for example. he went on with a list for about 30 lines. by the time i got to the end, all i could think about was how glad i was it was over. it's stopped being amusing long ago. and he does this in several other poems. and many times i got the feeling he was being clever for the sake of being clever. i say kudos. you're clever. but that's the first and third section. the middle section, double exposures, is brilliant. it's what makes this book worthwhile. it's the reason i gave him such a high rating. this form that, if i'm not mistaken, he created is one that has to be pretty difficult. writing two poems that mesh together well enough to create a third poem is a level of skill that few poets will ever reach. and most of the double exposures are phenomenal. there are a few that don't work quite as well, but they still work. this is a book to get because of the double exposures. they are a delight to read.

This collection of poems is united under the theme of "Errors" which comes through in very interesting, and often very amusing ways. Williamson says in one of his poems, "They ask what I can make. `I make mistakes.'"
Found in the second section of the book, Williamson's "Double Exposures" was fascinating for its completely new dualistic style. I applaud his creativity and skill for the idea of describing a double exposed photograph image through a poem made out of two parts; where each part composes half of a whole poem, or image, and yet where each may stand alone and be read separately without appearing nonsensical. These double exposures fit into the theme of "Errors" in that they were made "accidentally." The poem "Origami" also supports the theme of Errors well; it explores the multiple representations a sheet of paper may take on, from a bed sheet to the mainsail of the Pequod, to a snowball when crumpled at the end of the poem.
Williamson continues to play on words and meanings in his poem entitled "Riddles" which consists of twelve three-lined poems which each represent a riddle with multiple answers, all of which are provided on an "Answer sheet." The entire collection possesses this similar playful tone to it, and contains an infectious sense of amazement and excitement in the hidden meanings of the written word. Readers that enjoy riddles and puns will be enthralled with Willamson's manipulation of words throughout his poems.
In the other sections of the book, ambiguities in language and meaning are further explored in "Top Priority" and in the more serious, darkly humorous, "The Muse Addresses the Poet (and getteth alle up in hys face)" which explores the troubles encountered in modern day poetry writing. We are even taken into the life of a man with astigmatism, the disease of seeing double, in the poem "Binocular Diplopia."
Most of the poems also contain allusions to classic works such as Milton's "Paradise Lost" or Chaucer's "Canterbury Tales." There are multiple implications to Hardy's "Darkling Thrush" in Williamson's "The Mockingbird Is Imitating Life." So, for prolific readers, these allusions make the poetry rich through deeper layers of meaning. However, the reader need not have any knowledge or background in poetry or the classics to enjoy this collection since the style used is one that appeals to the general public with its modern themes and new poetic forms. The humor, wit, and innovative writing techniques found in this book are what make it my favorite collection of contemporary poetry to date.

Williamson may well be the most prodigiously gifted young poet to come along since Wilbur, Hecht and Justice appeared around 1950. All these masters have eloquently praised his work; and if we fifty-somethings haven't said much, maybe we're too flumoxed by how damn good he is. Errors in the Script is a substantially better book than The Silent Partner, which was superb. The first third is comprised of big, solid poems which are advances on his earlier triumphs. My two favorites are Origami and Kites at the Washington Monument. The second third is a tour de force, twenty-six Double Exposures. Each poem is three poems, two in heroic couplets, and the third in quatrains. The left and right-hand poems interleave like fingers in hands folded in prayer to form the third, and the third is far greater than the sum of the parts. The same is true of the entire work, an extended meditation on life, on consciousness and perception. The final section of the book is perhaps a little too hip, too flip, for my codgerly taste, though mall-crawlers half my age may prize it above the rest. Anyone seriously interested in the present and future of poetry owes it to her or himself to acquire this terrific collection.

This book is not just poetry! This book is a journey from a child to a women. The gentle heart that grows with us. The tender part of a child transformed into an adult. This book reveals how precious those moments of childhood are and how they affect the rest of our lives. It takes humor to a whole new level. It also inspires each woman to hold on to hope.

It is for the younger adult woman, the middle aged, the old. And for the men who need a way of seeing inside a woman's most precious place, her heart.

I highly recommend this book, as a gift, as a spiritual awakening or simply therapy at a really great price!

What a great journey through life. This poetry is wrought with emotion and grit!

Highly recommend Estrogen power for those who need a renewal of life. Especially those who are battling depression, self-esteem and other issues! This book is INSPIRING!!

Nancy Keeling's book, Estrogen Power, is the most powerful women's book I've read in a long time. Every poem and drawing reflects our journey and causes the reader to think about where they've been and where their going, and to know that wherever their headed, it is okay. A must read!

After reading the first poem in Estrogen Power, one wants to keep reading more and more until the entire book is finished. The poems are poignant and thought-provoking. The end of 'Acid Rain' is inspired: "Now, she lives next to an amputee under the freeway, in a cardboard house that dissolves when there's acid rain. In the end, all a person has is her house. Used to be, the rain was a blessing."

This is your twin. I'm so proud of you and Nicole .I've this book over and over I love you guy's and miss you so much I can't wait to see you guy's this X-Mas.I hope you are getting alot of rest and still coming up with more great poetry for another book. I love your work. Will you send me my poem you made for me twin I love you very much, xxxxxxooooooo

"Eternal not Immortal" is a lovely collection of poetry written by two talented poets, Karen M Miner and Robert B Moreland. In this collection they share their love in tributes to those that they loved. There were some poems that touched me deeply as they had such beauty within them both in imagery and content. I enjoyed all but especially loved "Honeysuckle", "Michael", "Abundant Life," Eye of the Beholder", Grave Words," and "Time for Bedtime Prayers." This book I would highly recommend as a treasured book for your poetic library. Christina R Jussaume--- Author/Poet of "My Walk with Jesus" by PublishAmerica available on line and in fine book stores

I am not a big poetry kinda of dude. I think most poetry is too snooty and most folks like to talk about it but not really understand it. Not this book. Very earthy and down home writing that really appealed to me. I like tech journals and general geek type books, so I bulked at this book first. However, I was gave this book to read on Saturday and I just could not put it down. Excellent read, very deep stuff that had me saying, "Yeah that is what I mean when I feel like this or that..." From the book:
"Our treasure in jars of clay, so very mortal! For in a moment A lifetime gone" Heavy Duty stuff... Pick this one up and just enjoy the ride.

As a writer and poet I am acquainted with both Bob and Karen and hold them in very high reguard as the very capable poets that they are. Karen is amazing in her ability to write in any style of poetry in a penetrating and heartfelt way. I would compare Karen's writing skills favorably with any poet I have every read.

Eternal not Immortal is an inspirational book written through personal experiences of the two co-authors, Karen M. Miner and Robert B. Moreland. Within these pages is poetry in the finest forms, bringing emotional and spiritual inspiration to all who may identify. Luminosity forthwith comforts, those especially within viewed hopeless situations, so one may believe in God who sees us through all the challenges and strife we may endure in our lives before we are called to our eternal home.
This book relays a message to all people in every aspect in their lives. Our mortality may hinder our constant struggle for control in this world of uncertainty. Yet, knowing that it is part of a greater plan to experience life either in happiness or sorrow, we keep looking toward the world after. We should be patient and find comfort in knowing the healing power of faith, hope and love is always with us either from above or from those who we journey with.

I am very anxious to receive this book by two very talented and wonderful authors in the compilations of artistic expression. I have read many more pieces of their work as well and owning this published piece of work will be a gift to have whenever I choose to pick it up and read its inspiring wisdom.

Well, it'd be a happy world then.

I've been following Mark's career since I was 12, almost twenty years ago! He's not old, he just started young. I listened to a college radio station that was offering a petition to sign so that his artwork wouldn't be painted over on the side of a building on a popular strip in Buffalo. I was so proud of myself for walking a couple of miles there and back, alone, at 12, to sign that petition. I've been a fan ever since because Mark's work is fun, colorful, honest, completely out there, and he is LIKE NO ONE ELSE. I can't help but to admire his work, as it is shown in this great book, because Mark Freeland is truly an original artist worth supporting.

I've already given two of these away as gifts and there are more lucky people
that will be getting them soon!
This is a great book! Freeland has captured moments and emotions
that we have all experienced and turned them into a heartwarming,
funny and fabulous book that you will want to look at over and over!
Great paintings, great poetry and really funny observations of life.
I was laughing with every turn of the page...except for when i was saying...
(...)
Be the first in your circle to discover Mark Freeland...
everyone will think you are so cool! :)

Fantastic- it takes true talent to be able to successfully convey memories of youthful goofiness, lost and found loves, the desire to be 'cool', and the need to just be understood, in such a short format. That kind of talent is definitely in these pages. I found myself smiling throughout the entire book and trying to weasel my way into Freeland's psyche more than once. His artwork and words are insightful without ever giving away too much, and you'll wanna look at it again and again to make the 'connection'. Recommended!!

Mark Freeland is the most multi-talented, artistically prolific human being I've ever had the privilege to know. His book is an Absolute Joy - a beautiful, profoundly whimsical and whimsically profound work of art. The drawings, photographs and text are akin to Zen in their sharp observations of life on earth and complex simplicity. Freeland is uniquely gifted with a highly unusual and acutely developed sensibility and sensitivity to the world and the ability to capture and communicate his creativity in every mode - visual, verbal, theatrical and musical. Highly recommended. A completely original work.

EVERY NIGHT IS DIFFERENT Is What's Happening In The New Millennium....Some People Say Paris Hilton Is Cool...I'd Say Mark Freeland...

Mr.Smith's writing has put into words emotions I have been unable to define.The subtlety of his writing style quietly brings you to a deeper understanding of yourself and others. I very much enjoyed his ability to make a point without smacking you in the face to get your attention.

This is a recueil that breathes and grieves. It brims with striking apercu and exudes a palpable presence that you can taste, touch, hear and feel . Mr. Smith celebrates this flawed existence with language so beautiful it steals your breath.

Robert Smith has an enviable collection of poetry-making tools-- a clear and well-lit mind, a deep pool of honest, self-questioning emotion, a lover's intimacy with the physical world, and an absolutely pure delight in the sounds of words. And yet, he resists what must be a fearsome temptation to show off this tool-kit, one item at a time. Instead, responsible craftsman that he is, he simply applies each of these tools to every page, in precisely the right combination, with precisely the right touch, to achieve whole poems that satisfy the whole reader -- mind and heart, soul and senses. He would like it, I think, if his poems reminded us of Geoff Hill's (and they do, in the grandeur of their feeling), but this book reminds me much more often of Philip Larkin, the Larkin who refused poses of any kind, who could be counted on never, ever, to tell us more than he was absolutely certain of. Lies come easier than truths; poses are more convenient than mindfulness. The coming of the millenium, referred to several times in Bob Smith's book, was a great occasion for poses and hyperboles, but in these poems the most mundane details of weather -- "a few strands of cloud dyed pink by the last of the sunset," or rain that "falls as it must on the oblivious hills," regardless of what century we decide we're in -- are much more astonishing and meaningful, precisely because they are real. This poetry returns us, time and again, to what is real. In an age where even intelligence can be artificial, such insistence is called for.

Mr. Smith's, "Everything Moves With A Disfigured Grace," is an inspiring collection of poems providing reflections on life through penetrating visual imagery. In the poem, "At your Bedside," Smith writes, "the dreams of your illness lie gathered like embers - a low, white heat unstirred by morning's hand."
This and other selections leave the reader with a tangible sense of what the poet is attempting to communicate.

"Everything Moves With A Disfigured Grace" is simply one of the best books of poetry published in America in the last 40 years, and, to paraphrase Steve Earle speaking about Townes Van Zandt, "I'll stand in my cowboy boots on coffee tables at Billy Collins' house, at Ted Kooser's house, at Charles Simic's house, and at Robert Hass' house, and repeat that for anyone who cares to listen!"

Well, I will say im a little biased...Cause Jeff is my uncle..when I found out he wrote a book I immediately bought it..I love the poems he has in this book...I often go back and read them over and over..Great job... Cant wait for more..

Amy Metz (Echevarria)

Jeff has a way of grabbing your attention and taking you on a journey through descriptions beyond compare and he bombards your emotions with each piece you read. I would recommend this book to anyone and I will tell you... you won't be disappointed!!!

Jeff Metz is an outstanding poet. I have had opportunity to read hundreds of poems by this talented and gifted writer. His poetry is full of awesome imagery that will propel your mind to the unexpected, yet thrilling climax in each writing. The fabric of each word draws you to the finish and delightful conclusion. What a great writer with deep emotions and flowing with great meter and rhyme. His work is authentic. If you enjoy good rich and unique poetry, you will enjoy Jeff Metz. He is a natural. [...]

I've written poetry for over 55-years, and not since Rod McKuen, has there emerged a more prolifically-gifted poet of the free-verse than Jeff Metz.
Jeff's work is straight, open-minded, open-hearted, and relatable to all levels of mental, spititual, emotional, and intellectual levels.
There, literally, is not a soul that will fail to find and recognize themselves upon the pages in Mr. Metz's brilliant poems.
He is so uniquelly-different and captivating that you'll be absolutely amazed at each and every page you turn,
because no one can take words and turn them into the enthralling and memorable images that Jeff Metz can.
You'll be proudly and excitedly reading his poems to your family and friends, and if you're a poet, you'll be incorporating his style into your own work.
A wonderful experience and enlightenment awaits you inside this book. If you don't buy Evidence of You, then you will have lost out on the most simple
and brilliant work you'll have ever had the opportunity to be captivated by, so buy it, read it, and share the news with everyone.
This book costs less than $20, less than it costs to see a movie, and I cannot recommend Jeff Metz's work highly enough....
simply put, "He is the new wave of poetry personified!"
I am completely serious, and I have it on good accord from literally all of my hundreds of fellow-poets that they feel the same way.

Remember the name...."JEFF METZ"

Jeff Metz's "Evidence of You" will not disappoint! His romance and emotion in verse will delight your senses and carry you on a journey where sigh's are a frequent occurence. Curl up and prepare to enjoy an afternoon or evening of pure poetic pleasure! I sigh as I return to read Jeff's words once more . . . ah . . .

As an old Massachusetts man and a enthusiast of Mass. history, of course I am interested in Emerson, Holmes, Thoreau, Longfellow and company. Though, at first glance, Longfellow may seem a bit superficial and out-dated-in a stale New England way; he is actually quite heart-felt and poignant at times.

As for the New England way, that is all part of the charm-New England is like the "grandmother's attic" of America: full of quaint history.

Also see the "Song of Hiawatha", Emerson and Oliver Wendell Holmes.

"Tell me not in mournful numbers/ Life is but an empty dream.......Life is real/ Life is earnest/ and the Grave is not the goal/ Dust thou art, To Dust returnest/ Was not spoken of the soul."
This is from Longfellow's " Psalm to life" and has the kind of affirmative, willful strength that much English Victorian poetry( Henley's Invictus, Tennyson's 'Ulysses' ' Browning's "Rabbi Ibn Ben Ezra" )
Longfellow was the most highly esteemed poet of the nineteenth century . His long- poems were taught in American schools well into the middle of the twentieth century as American classics.I can remember going through 'Evangeline' and 'Hiawatha' and 'The Courtship of Miles Standish'( which is in this volume) in seventh and eighth grade.
Longellow's reputation declined drastically perhaps because of his quite conventional language, and style.
There is a solidity, and sobriety in his verse which did not win twentieth - century favor.
However I find many of his poems have insightful and telling. I think too he should be valued as one writes in a positive and dignified way about the country and culture of which he is a part.

"Working in these walls of time,
Some with massive deeds and great,
Some with Ornaments of Rhyme"

These are the lines of the first verse of a powerfully written poem "The Builders" which, to me, seems to be about living a moral, honorable life on which to build a future for all of society. Such powerfull and truthfull words to live by.

On a whim, I recently pulled this book from my bookshelf to read(I have a copy in 'The Classic collectors edition' which I like mostly because it's prety decoration for my bookshelves. As a child I learned "Paul Revere's Ride" in school, but never learned the full depth of Longfellow's works. So refreshing are the realistic moralism of yesteryear, from a time when a persons works and deeds counted for something.

I was captivated by the brutality of "The Saga of king Olaf" as it recounted the brutal nordic kings' religious conquest of Scandanavia. "Hiawatha's Song" swept me up into a tale of beauty of a time lost. The poetry of Henry Wadsworth Longfellow is writen with a beauty and elegance and even excitement which conveys thier meaning in stunning clarity. As I read "Paul Revere's Ride" for the first time in over a decade I found myself speaking in the rythm of the hoofbeats of that steed Paul Revere rode.

These historic poems are truly great, and should be read and cherished by all.

This slim paperback book from Dover Thrift Editions is an excellent starting place for those who are not familiar with the poetic works of Henry Wadsworth Longfellow. It's inexpensive, a quick read (at only 84 pages), and contains much of Longfellow's most popular poems, plus some selected prose as well as a few more obscure works. Longfellow (1807-1882) was an absolute master of rhyme, meter, and the the actual SOUND of words, and he wrote with a strong sense of morality and ethics (one reason that he is gererally disregarded by modern poetry snobs, but loved by his faithful readers!). All in all, if you want to explore the poetic mind of Henry Wadsworth Longfellow for the first time, you can't go wrong with this book! Check out his masterful choice of words and imagery in poems like "The Christmas Bells", "The Slave's Dream", "Hymn to the Night", "A Psalm of Life", "The Building of the Ship", "The Reaper and the Flowers", "Excelsior", etc., etc., etc. Longfellow enthusiasts looking for a more complete or scholarly volume should check into some of the other Longfellow books offered on Amazon, particularly "The Complete Poetical Works of Henry Wadsworth Longfellow", although I found "Complete's" small print, (in columns, like most modern Bibles) to be a bit rough on the eyes....Either way, explore this excellent master of rhyme!

Henry Wadsworth Longfellow (1807-1882) was one of the most noteworthy poets of the 19th century United States. "Favorite Poems" brings together selections from about 40 years' worth of his career. While some of the poems seem very dated -- due to their sentimentality and conventional structure -- the best of these poems remain rewarding and enjoyable.

The focus in this collection is on Longfellow's shorter poems. So his long poems "The Song of Hiawatha" and "Evangeline" are not included, and not even excerpted. But the volume does contain many of his most memorable pieces: "The Wreck of the Hesperus," "The Village Blacksmith," etc.

The longest poem in the collection is "The Courtship of Miles Standish," a mini-epic of more than 30 pages. "Courtship" is a fascinating poem about the colonial era Puritans, and offers a fascinating perspective on gender relations, race, religion, and other aspects of Puritan culture. "Courtship" makes for an interesting companion text for both actual Puritan era writings (like Mary Rowlandson's captivity narrative) and later literary works about that era (like Arthur Miller's play "The Crucible").

Another noteworthy poem is "The Slave's Dream," a somewhat romantic, but sympathetic view of an enslaved African-American. Also included is "Paul Revere's Ride," a wonderfully musical poem that, like "The Courtship of Miles Standish," looks back at American history. "Paul Revere's Ride" has a particularly impressive rhyme scheme to complement Longfellow's masterful use of meter. Yes, some of Longfellow's work may not seem very relevant to contemporary audiences. But "Favorite Poems" contains much that remains vital, and deserves a continuing readership both in and out of schools.

THE FEELINGS AND IMAGINATION OF A BAREFOOT BOY STILL INSIDE MY HEAD by Richard W. Carlson Jr. is just as the title suggests--feelings and imagination, as well as hopes, dreams, and just plain fun wrapped into one book!

His wonderful poems were a treat to read to my children, and the charming hand drawn illustrations caught and kept my children's attention as I read, bringing forth tons of questions about the picture.

Mentioning frogs, wishes, brothers, sisters, yelling, cheating, animals, first kisses, and black eyes, would only scratch the surface of all the comical poems and short stories within the books pages. All of Mr. Carlson's poems and short stories in THE FEELINGS AND IMAGINATION OF A BAREFOOT BOY STILL INSIDE MY HEAD will surely entertain and delight the children, as well as the parents. I know we loved it!

The author, Richard W. Carlson Jr. known to live in an imaginary world of his own as a boy, he now lives in the real world and successfully writes book and poems for children that teach valuable lessons. He lives in Tucson, Arizona.

Mr. Carlson's vivid imagination runs wild in each fascinating tale. The important lessons, both realistic and proper, are taught in a fun and attention-grabbing manner. They are exactly what the youth of today need, and what they will enjoy reading at the same time. His ability to tell it like a child is something that every child's book writer struggles for. The poems aren't too long, and drug out, nor are they preachy--perfect for the age of children it is intended for.

My favorite poem: I LOVED TO WALK ON MY BARE FEET is about a little boy who loves to look at his bare feet as he walks.

Find your favorite Richard W. Carlson Jr. poem today!

ASTORYWEAVER'S Book Reviews highly recommends THE FEELINGS AND IMAGINATION OF A BAREFOOT BOY STILL INSIDE MY HEAD by Richard W. Carlson Jr. for you and your children....

Richard Carlson's The Feelings And Imagination Of A Barefoot Boy Still Inside My Head! is a delightful, entertaining, and highly recommended collection of poems and short stories for children ages 9 to 12. The topics of these pieces range from family, falling in love, and imagination, to yelling, bicycles, and kissing. I Loved To Walk On My Bare Feet: When I was a young boy,/I loved life and felt great joy./I untied and my little shoes off I took./At my bare feet I wanted to look./It felt really neat,/Walking on the grass and soil in bare feet./I breathed in the spring air through my little nose,/And in the mud puddles, wiggled my little toes./I would play and daydream./Life was wonderful to me it did seem.

This was a book of poems and short stories. Mr. Carlson writes really good poems, I liked them all. Some of them were about Jeremy Grabowski's Crazy Summer In Stormville. I thought that was neat. Some were about life in Tucson Arizona. That was cool because I've never been there and it was fun to read about a different place. The short stories were all great. I liked all of them too. I think you will really like this book. Both boys and girls will.

Nathaniel

P.S. Kevin Carlson is Richard Carlson's brother. His pictures are terrific! People are really hard to draw, I know, I try to all the time! He does a really great job!

Many books written for youngsters have a problem. To get the skill to create the work, the author has had to practice . . . and that meant getting older and further away from feelings of the young readers. Richard W. Carlson, Jr. has overcome that problem here in a powerful way, and brought me back in touch with experiences I haven't had in over 45 years. The interesting poems and short stories carry important lessons for the practical and moral development of the reader. The youthful perspective is perfectly captured in the poetic style that successfully mimics what a talented 10 year old might produce while having extra smoothness most of the time. I especially liked the illustrations by Mr. Kevin Carlson. Mr. Carlson has an ability to capture stories, emotions, and situations in simple illustrations that make the point of the stories clearer.

The poems and stories are very short, well-suited for the attention span of youthful readers. One interesting element is that the book contains both poetry about Richard W. Carlson, Jr. as well as fictional versions of the same incidents describing Jeremy Grabowski's Crazy Summer in Stormville. You and your children can enjoy talking about which versions you like better, and what roles fiction and nonfiction play in helping readers.

I generally liked the poems about discovery best. When we are young, everything that happens (even setbacks) is absolutely fascinating. Junk and joy go together just as well as gold and joy.

I also liked the way the short stories took the potential for fright and turned it into potential for fun. Mr. Carlson has an unusually positive attitude that anyone can learn from. Children need more encouragement than criticism, and he carries that point forward rather well.

I suspect that most readers will take even more delight upon rereading the book than upon first reading it. I hope you will take the opportunity to do both. Although written for children, the book has much of the appeal of Who Moved My Cheese? for adults.

"Who lives in your world that's wonderful and so much fun?

You might be the only one!"

Those two lines may be the best encouragement for budding writers that I have ever seen. Be sure you children have the chance to read them.

After you finish this delightful book, I suggest you think about why you no longer find discovery as fascinating as a little boy picking up his first horny toad. How can you recapture that delight and its benefits? How can you be sure that your children and grandchildren delight in discovery even more than you did at their age?

Retain the mind of the three year old . . . and your mind will be always filled with riches.

Author Richard W. Carlson Jr. Brings echoes of maturity to freshly imaginative short stories and poetry in THE FEELINGS AND IMAGINATION OF BAREFOOT BOY STILL INSIDE MY HEAD. The sparkling ingenuous voice of remembered youth sparkles, recapturing the best of childhood and strongest of memories in a startling original record certain to please young readers. The rhythm and rhyme keep the tempo steadily on high, recreating runaway frogs, black eyes, broccoli and walking barefoot with equal vividness. Accompanied by simple, yet skillfully drawn illustrations (by the author's younger brother), this marvelous lark comes highly recommended.

I first read David Young's amazing translations of these great T'ang poets seventeen years ago, when I was one of his students at Oberlin College in Ohio, and they started me on a lifetime of reading and loving these astonishingly ancient and contemporary sounding poets. There is something vibrantly alive, immediate, and inspiring about these 8th century words and the personalities of their wise, striking authors. In reading many translations, you won't find many as clear and right.

My best friend in this world (outside of my wonderful family) is a guy that I only get to see every few years. He's like the wind. He blows in and out of my life. But he's always in my heart. We are poets.

Being a poet is not a choice. It is a life sentence.

My friend and I are dissimilar in so many ways that it is remarkable that we don't break out in a fight the instant we come into each other's presence. Yet...and yet...

Hearts touched by the flame always find warmth in good company.

Imagine my joy then, at finding a new brother (one from over a thousand years ago) when I picked up this book and met Li Po.

I won't bother you much longer with my words. Instead, let me introduce you to Li Po himself:

Drinking in Moonlight




I sit with my wine jar
among flowers
blossoming trees

no one to drink with

well, there's the moon

I raise my cup
and ask him to join me
bringing my shadow
making us three

but the moon doesn't seem to be drinking
and my shadow creeps around behind me

still, we're companions tonight
me, the moon, and the shadow
we're observing the rites of spring

I sing
and the moon rocks back and forth

I dance
and my shadow tumbles with me

We celebrate for awhile
then go our own ways, drunk

may we meet again someday
in the white river of stars
overhead!

This is THE book of translated Chinese poems which opened my eyes to the art of poetry. I've since searched for and read many others, but this remains the best. The translations are masterful - lucid, transparent, simple, and, in English, stand as wonderful poems in their own right.

"Verses, however masterly, cannot be translated literally from one language into another without losing much of their beauty and dignity." (Bede, English writer and historian, AD 673-735)

For the translator of poetry, and Chinese poetry in particular, the question is: shall I be true to the letter or to the spirit? Usually the answer lies somewhere in the middle. The best translations aim to be true to the spirit without violating the letter more than necessary.

David Young, a poet himself, hopes to be true to the spirit of the five poets from the Tang Dynasty (AD 618-906) while at the same time trying to create poetry in a different language and period. The impulse that lies behind his book is to rescue the poets "from the often wooden and dogged versions of the scholars" and to recreate the beauty and dignity of the poetry in a language used by an American poet at the end of the 20th century. The results are marvelously readable, beautiful translations that I enjoyed more than any other translations of Chinese poetry I have read before or since.

Preceding the translations, Young has written a short introduction to each of the poets. These include a discussion of the special qualities of the poets' works and a selection of recommended translations by other English authors.

The five poets represented in this book are (1) Wang Wei, a devout Buddhist and the Chinese poet of landscape par excellence who wrote poems of a deeply religious sensibility; (2) Li Po, the Chinese archetype of the "bohemian artist and puckish wanderer," a poet beloved for his Taoist unconventionality; (3) Tu Fu, China's greatest poet according to a widely held view because of his technical brilliance and "vigorous poetry that manages to transcend unhappiness and melancholy by its enormous range and immense humanity"; (4) Li Ho, a poet usually not ranked with the Big Three because he is too innovative and defies classification; and (5) Li Shang-yin, who has a reputation as a decadent versifier but, as Young shows, is a "human and humane artist who feels deeply and sees deeply into mysteries of our common existence."

One of my favorite poems in this collection is "Returning to my cottage." It is a good example of Wang Wei's ability to capture stillness and movement in a landscape, to balance observations of things distant and close by, and to create from these images an atmosphere of serenity tinged with sadness. It is a good example for David Young's style of translation, too:

A bell in the distance
the sound floats
down the valley

one by one
woodcutters and fishermen
stop work, start home

the mountains move off
into darkness

alone, I turn home
as great clouds beckon
from the horizon

the wind stirs delicate vines
and water chestnut shoots
catkin fluff sails past

in the marsh to the east
new growth
vibrates with color

it's sad
to walk in the house
and shut the door.

Bottom line: This is one of the few anthologies of classical Chinese poetry in which the English versions of the poems really sound like poetry. There is nothing of the stiff formality and awkwardness of most other translations that disable the lyric voice of the verses. These translations are full of the beauty and dignity of the Chinese originals.

The Five Tang Poets covered in this book are wonderful.

Wang Wei excellent landscape poems take you to places which are wonderous while not over iydllic. Tu Fu is sad and poinant, talking about the scenes of war. Li Po talks of drinking and intoxication in a way that seems that it is a way of life

Young translates in a free verse form using simple words and goes for the feeling of the poem. The poems are not 100 % literal translations but they are jems. I feel like I am having some of my chinese friends translating a poem for me and they say this is the best I can do you will have to read Chinese to fully understand the poem completely. Young takes us as far as one can go in our language. He took on a difficult task to bring these poems so simple in language and so complex in context and emotion to life, Young has done an excellent job with the tool of the English language