Robert Frosts New England

"A happy and unexpected coordination of images, linguistic and photographic." -- Jay Parini Inspired by the writings of Robert Frost and his view of man and the natural world, professional photographers Betsy and Tom Melvin present beautiful, and sometimes poignant, scenes of the New England landscape in some of its many moods and seasons. Each full-page color photograph is accompanied by a poem, verse, or phrase from Frost which, though often familiar, may provoke us to savor the New England environment anew. The imaginative pairing of photographs and text also conjures up some of the same ambiguity, profundity, and freshness continually offered in Frost's poems.

"A poem is best read in the light of all the other poems ever written." So said Robert Frost in instructing readers on how to achieve poetic literacy. George Monteiro's newest book follows that dictum to enhance our understanding of Frost's most valuable poems by demonstrating the ways in which they circulate among the constellations of great poems and essays of the New England Renaissance. Monteiro reads Frost's own poetry not against "all the other poems ever written" but in the light of poems and essays by his precursors, particularly Emerson, Thoreau, and Dickinson. Familiar poems such as "Mending Wall," "After Apple-Picking," "Birches," "Stopping by Woods on a Snowy Evening," "The Road Not Taken," and "Mowing," as well as lesser known poems such as "The Draft Horse," "The Ax-Helve," "The Bonfire," "Dust of Snow," "A Cabin in the Clearing," "The Cocoon," and "Pod of the Milkweed," are renewed by fresh and original readings that show why and how these poems pay tribute to their distinguished sources. Frost's insistence that Emerson and Thoreau were the giants of nineteenth-century American letters is confirmed by the many poems, variously influenced, that derive from them. His attitude toward Emily Dickinson, however, was more complex and sometimes less generous. In his twenties he molded his poetry after hers. But later, after he joined the faculty of Amherst College, he found her to be less a benefactor than a competitor. Monteiro tells a two-stranded tale of attraction, imitation, and homage countered by competition, denigration, and grudging acceptance of Dickinson's greatness as a woman poet. In a daring move, he composes -- out of Frost's own words and phrases -- the talk on Emily Dickinson that Frost was never invited to give. In showing how Frost's work converses with that of his predecessors, Monteiro gives us a new Frost whose poetry is seen as the culmination of an in¬tensely felt New England literary experience.

A collection of specially-commissioned essays, enabling readers to explore Frost's art and thought.

Robert Frost is one of the foremost writers of American poetry. This is a thorough compilation of his seminal works.

Though critics traditionally have paid homage to Robert Frost's New England identity by labeling him a regionalist, John Kemp is the first to investigate what was in fact a highly complex relationship between poet and region. Through a frankly revisionist interpretation, he not only demonstrates how Frost's relationship to New England and his attempt to portray himself as the "Yankee farmer poet" affected his poetry; he also shows that the regional identity became a problem both for Frost and for his readers. Originally published in 1979. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Newman, retired from teaching college English for many years, supplies brief, illuminating background for each of 36 poems by Frost. c. Book News Inc.

New Hampshire is Robert Frost’s poetic tour de force. It won the Pulitzer Prize for excellence in poetry. While Frost had been a respected poet before New Hampshire’s release New Hampshire forever cemented Frost’s standing as the greatest American Poet. If you’ve never read Frost, this is the book with which to start. It includes some of his most beloved poems such as "Stopping by Woods on a Snowy Evening," "Nothing Gold Can Stay" and "Fire and Ice.” Powerful and Evocative. Poems included are: 'New Hampshire' 'A Star in a Stone-Boat' 'The Census-Taker' 'The Star-Splitter' 'Maple' 'The Ax-Helve' 'The Grindstone' 'Paul’s Wife' 'Wild Grapes' 'Place for a Third' 'Two Witches' - 'The Witch of Coos' - 'The Pauper Witch of Grafton' 'An Empty Threat' 'A Fountain, a Bottle, a Donkey’s Ears, and Some Books' 'I Will Sing You One-O' 'Fragmentary Blue' 'Fire and Ice' 'In a Disused Graveyard' 'Dust of Snow' 'To E.T.' 'Nothing Gold Can Stay' 'The Runaway' 'The Aim Was Song' 'Stopping by Woods on a Snowy Evening' 'For Once, Then, Something' 'Blue-Butterfly Day' 'The Onset' 'To Earthward' 'Good-by and Keep Cold' 'Two Look at Two' 'Not to Keep' 'A Brook in the City' 'The Kitchen Chimney' 'Looking for a Sunset Bird in Winter' 'A Boundless Moment' 'Evening in a Sugar Orchard' 'Gathering Leaves' 'The Valley’s Singing Day' 'Misgiving' 'A Hillside Thaw' 'Plowmen' 'On a Tree Fallen Across the Road' 'Our Singing Strength' 'The Lockless Door' 'The Need of Being Versed in Country Things'

In this incisive and highly readable study, Rachel Buxton offers a much-needed assessment of Frost's significance for Northern Irish poetry of the past half-century. Drawing upon a diverse range of previously unpublished archival sources, including juvenilia, correspondence, and drafts of poems, Robert Frost and Northern Irish Poetry takes as its particular focus the triangular dynamic of Frost, Seamus Heaney, and Paul Muldoon. Buxton explores the differing strengths which eachIrish poet finds in Frost's work: while Heaney is drawn primarily to the Frost persona and to the "sound of sense", it is the studied slyness and wryness of the American's poetry, the complicating undertow, which Muldoon values. This appraisal of Frost in a non-American context not only enables a fullerappreciation of Heaney's and Muldoon's poetry but also provides valuable insight into the nature of trans-national and trans-generational poetic influence. Engaging with the politics of Irish-American literary connections, while providing a subtle analysis of the intertextual relationships between these three key twentieth-century poets, Robert Frost and Northern Irish Poetry is a pioneering work.