{"product_id":"good-poems-isbn-9780142003442","title":"Good Poems","description":"\u003cb\u003eA selection of meaningful and enjoyable poems to inspire and be enjoyed by everyone\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eHere is an anthology of poems, chosen by Garrison Keillor for their wit, their frankness, their passion, their \"utter clarity in the face of everything else a person has to deal with at 7 a.m.\" \u003cbr\u003e\u003cbr\u003e \u003ci\u003eGood Poems\u003c\/i\u003e includes verse organized by theme about lovers, children, failure, everyday life, death, and transcendance. It features the work of classic poets, such as Emily Dickinson, Walt Whitman, and Robert Frost, as well as the work of contemporary greats such as Howard Nemerov, Charles Bukowski, Donald Hall, Billy Collins, Robert Bly, and Sharon Olds. It's a book of poems for anybody who loves poetry whether they know it or not.Good Poems\u003cp\u003e\u003ci\u003eIntroduction\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1. O Lord\u003c\/b\u003e\u003cbr\u003ePoem in Thanks—\u003ci\u003eThomas Lux\u003c\/i\u003e\u003cbr\u003eHow Many Nights—\u003ci\u003eGalway Kinnel\u003c\/i\u003e\u003cbr\u003eWelcome Morning—\u003ci\u003eAnne Sexton\u003c\/i\u003e\u003cbr\u003ePsalm 23—\u003ci\u003efrom \u003ci\u003eThe Bay Psalm Book\u003c\/i\u003e\u003cbr\u003eAt Least—\u003ci\u003eRaymond Carver\u003c\/i\u003e\u003cbr\u003eAddress to the Lord—\u003ci\u003eJohn Berryman\u003c\/i\u003e\u003cbr\u003eO Karma, Dharma, pudding and pie—\u003ci\u003ePhilip Appleman\u003c\/i\u003e\u003cbr\u003ePsalm—\u003ci\u003eReed Whittemore\u003c\/i\u003e\u003cbr\u003ePsalm 121—\u003ci\u003eMichael Wigglesworth\u003c\/i\u003e\u003cbr\u003eWhen one has lived a long time alone—\u003ci\u003eGalway Kinnell\u003c\/i\u003e\u003cbr\u003eHome on the Range—\u003ci\u003eAnonymous\u003c\/i\u003e\u003cbr\u003eWhat I Want Is—\u003ci\u003eC. G. Hanzlicek\u003c\/i\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e2. A Day\u003c\/b\u003e\u003cbr\u003eSummer Morning—\u003ci\u003eCharles Simic\u003c\/i\u003e\u003cbr\u003eOtherwise—\u003ci\u003eJane Kenyon\u003c\/i\u003e\u003cbr\u003ePoem About Morning—\u003ci\u003eWilliam Meredith\u003c\/i\u003e\u003cbr\u003eLiving—\u003ci\u003eDenise Levertov\u003c\/i\u003e\u003cbr\u003eAnother Spring—\u003ci\u003eKenneth Rexroth\u003c\/i\u003e\u003cbr\u003eMorning Person—\u003ci\u003eVassar Miller\u003c\/i\u003e\u003cbr\u003eRoutine—\u003ci\u003eArthur Guiterman\u003c\/i\u003e\u003cbr\u003eThe Life of a Day—\u003ci\u003eTom Hennen\u003c\/i\u003e\u003cbr\u003eFor My Son, Noah, Ten Years Old—\u003ci\u003eRobert Bly\u003c\/i\u003e\u003cbr\u003eI've known a Heaven, like a Tent—\u003ci\u003eEmily Dickinson\u003c\/i\u003e\u003cbr\u003eLetter to N.Y.—\u003ci\u003eElizabeth Bishop\u003c\/i\u003e\u003cbr\u003eDilemna—\u003ci\u003eDavid Budbill\u003c\/i\u003e\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e Song of Myself—\u003ci\u003eWalt Whitman\u003c\/i\u003e\u003cbr\u003eNew Yorkers—\u003ci\u003eEdward Field\u003c\/i\u003e\u003cbr\u003eSoaking Up Sun—\u003ci\u003eTom Hennen\u003c\/i\u003e\u003cbr\u003eLate Hours—\u003ci\u003eLisel Mueller\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e3. Music\u003c\/b\u003e\u003cbr\u003eScrambled Eggs and Whiskey—\u003ci\u003eHayden Carruth\u003c\/i\u003e\u003cbr\u003eMehitabel's Song—\u003ci\u003eDon Marquis\u003c\/i\u003e\u003cbr\u003eNightclub—\u003ci\u003eBilly Collins\u003c\/i\u003e\u003cbr\u003eAlley Violinist—\u003ci\u003eRobert Lax\u003c\/i\u003e\u003cbr\u003eCradle Song—\u003ci\u003eJim Schley\u003c\/i\u003e\u003cbr\u003eHer Door—\u003ci\u003eMary Leader\u003c\/i\u003e\u003cbr\u003eThe Pupil—\u003ci\u003eDonald Justice\u003c\/i\u003e\u003cbr\u003ePiano—\u003ci\u003eD. H. Lawrence\u003c\/i\u003e\u003cbr\u003eInsrument of Choice—\u003ci\u003eRobert Phillips\u003c\/i\u003e\u003cbr\u003eHomage: Doo-Wop—\u003ci\u003eJoseph Stroud\u003c\/i\u003e\u003cbr\u003eThe Persistence of Song—\u003ci\u003eHoward Moss\u003c\/i\u003e\u003cbr\u003eOoly Pop a Cow—\u003ci\u003eDavid Huddle\u003c\/i\u003e\u003cbr\u003eElevator Music—\u003ci\u003eHenry Taylor\u003c\/i\u003e\u003cbr\u003eThe Grain of Sound—\u003ci\u003eRobert Morgan\u003c\/i\u003e\u003cbr\u003eI Will Make You Brooches—\u003ci\u003eRobert Louis Stevenson\u003c\/i\u003e\u003cbr\u003eThe Dance—\u003ci\u003eC. K. Williams\u003c\/i\u003e\u003cbr\u003eThe Investment—\u003ci\u003eRobert Frost\u003c\/i\u003e\u003cbr\u003eThe Dumka—\u003ci\u003eB. H. Fairchild\u003c\/i\u003e\u003cbr\u003eThe Green Street Mortuary Marching Band—\u003ci\u003eLawrence Ferlinghetti\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e4. Scenes\u003c\/b\u003e\u003cbr\u003ePoem to Be Read at 3 A.M.—\u003ci\u003eDonald Justice\u003c\/i\u003e\u003cbr\u003eThe Swimming Pool—\u003ci\u003eThomas Lux\u003c\/i\u003e\u003cbr\u003eDostoevsky—\u003ci\u003eCharles Bukowski\u003c\/i\u003e\u003cbr\u003eAfter a Movie—\u003ci\u003eHenry Taylor\u003c\/i\u003e\u003cbr\u003eSummer Storm—\u003ci\u003eDana Gioia\u003c\/i\u003e\u003cbr\u003eWoolworth's—\u003ci\u003eMark Irwin\u003c\/i\u003e\u003cbr\u003eWorked Late on a Tuesday Night—\u003ci\u003eDeborah Garrison\u003c\/i\u003e\u003cbr\u003eThe Farmhouse—\u003ci\u003eReed Whittemore\u003c\/i\u003e\u003cbr\u003ewrist-wrestling father—\u003ci\u003eOrval Lund\u003c\/i\u003e\u003cbr\u003eYorkshiremen in Pub Gardens—\u003ci\u003eGavin Ewart\u003c\/i\u003e\u003cbr\u003eNoah—\u003ci\u003eRoy Daniells\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e5. Lovers\u003c\/b\u003e\u003cbr\u003eA Red, Red Rose—\u003ci\u003eRobert Burns\u003c\/i\u003e\u003cbr\u003eWhen I Heard at the Close of Day—\u003ci\u003eWalt Whitman\u003c\/i\u003e\u003cbr\u003eFirst Love—\u003ci\u003eJohn Clare\u003c\/i\u003e\u003cbr\u003eHe Wishes for the Cloths of Heaven—\u003ci\u003eW. B. Yeats\u003c\/i\u003e\u003cbr\u003eSonnet—\u003ci\u003eC. B. Trail\u003c\/i\u003e\u003cbr\u003ePolitics—\u003ci\u003eW. B. Yeats\u003c\/i\u003e\u003cbr\u003eMagellan Street, 1974—\u003ci\u003eMaxine Kumin\u003c\/i\u003e\u003cbr\u003eAnimals—\u003ci\u003eFrank O'Hara\u003c\/i\u003e\u003cbr\u003eLending Out Books—\u003ci\u003eHal Sirowitz\u003c\/i\u003e\u003cbr\u003eThe Changed Man—\u003ci\u003eRobert Phillips\u003c\/i\u003e\u003cbr\u003eThe Constant North—\u003ci\u003eJ. F. Hendry\u003c\/i\u003e\u003cbr\u003eOn the Strength of All Conviction and the Stamina of Love—\u003ci\u003eJennifer Michael Hecht\u003c\/i\u003e\u003cbr\u003eThe Loft—\u003ci\u003eRichard Jones\u003c\/i\u003e\u003cbr\u003eThis Is Just to Say—\u003ci\u003eWilliam Carlos Williams\u003c\/i\u003e\u003cbr\u003eThis Is Just to Say—\u003ci\u003eErica-Lynn Gambino\u003c\/i\u003e\u003cbr\u003eVenetian Air—\u003ci\u003eThomas Moore\u003c\/i\u003e\u003cbr\u003eSummer Morning—\u003ci\u003eLouis Simpson\u003c\/i\u003e\u003cbr\u003eComin thro' the Rye—\u003ci\u003eRobert Burns\u003c\/i\u003e\u003cbr\u003eTopograhy—\u003ci\u003eSharon Olds\u003c\/i\u003e\u003cbr\u003eSaturday Morning—\u003ci\u003eHugo Williams\u003c\/i\u003e\u003cbr\u003eFlight—\u003ci\u003eLouis Jenkins\u003c\/i\u003e\u003cbr\u003eAt Twenty-Three Weeks She Can No Longer See Anything South of Her Belly—\u003ci\u003eThom Ward\u003c\/i\u003e\u003cbr\u003eFor the Life of Him and Her—\u003ci\u003eReed Whittemore\u003c\/i\u003e\u003cbr\u003eRomantics—\u003ci\u003eLisel Mueller\u003c\/i\u003e\u003cbr\u003eDown in the Valley—\u003ci\u003eAnonymous\u003c\/i\u003e\u003cbr\u003eThe Middle Years—\u003ci\u003eWalter McDonald\u003c\/i\u003e\u003cbr\u003eWinter Winds Cold and Blea...—\u003ci\u003eJohn Clare\u003c\/i\u003e\u003cbr\u003esince feeling is first—\u003ci\u003ee. e. cummings\u003c\/i\u003e\u003cbr\u003eVergissmeinnicht—\u003ci\u003eKeith Douglas\u003c\/i\u003e\u003cbr\u003eSonnet XLIII  What lips my lips have kissed—\u003ci\u003eEdna St. Vincent Millay\u003c\/i\u003e\u003cbr\u003eAfter the Argument—\u003ci\u003eStephen Dunn\u003c\/i\u003e\u003cbr\u003eThe Orange—\u003ci\u003eWendy Cope\u003c\/i\u003e\u003cbr\u003eSusquehanna—\u003ci\u003eLiz Rosenberg\u003c\/i\u003e\u003cbr\u003eFarm Wife—\u003ci\u003eR. S. Thomas\u003c\/i\u003e\u003cbr\u003eAfter Forty Years of Marriage, She Tries a New Recipe for Hamburger Hot Dish—\u003ci\u003eLeo Dangel\u003c\/i\u003e\u003cbr\u003eThose Who Love—\u003ci\u003eSara Teasdale\u003c\/i\u003e\u003cbr\u003eQuietly—\u003ci\u003eKenneth Rexroth\u003c\/i\u003e\u003cbr\u003eFor C.W.B.—\u003ci\u003eElizabeth Bishop\u003c\/i\u003e\u003cbr\u003eShorelines—\u003ci\u003eHoward Moss\u003c\/i\u003e\u003cbr\u003ePrayer for a Marriage—\u003ci\u003eSteve Scafidi\u003c\/i\u003e\u003cbr\u003eThe Master Speed—\u003ci\u003eRobert Frost\u003c\/i\u003e\u003cbr\u003eBonnard's Nudes—\u003ci\u003eRaymond Carver\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e6. Day's Work\u003c\/b\u003e\u003cbr\u003eHappiness—\u003ci\u003eRaymond Carver\u003c\/i\u003e\u003cbr\u003eHoeing—\u003ci\u003eJohn Updike\u003c\/i\u003e\u003cbr\u003eSome Details of Hebridean House Construction—\u003ci\u003eThomas A. Clark\u003c\/i\u003e\u003cbr\u003eRelations—\u003ci\u003ePhilip Booth\u003c\/i\u003e\u003cbr\u003eWhat I Learned from My Mother—\u003ci\u003eJulia Kasdorf\u003c\/i\u003e\u003cbr\u003eTo be of use—\u003ci\u003eMarge Piercy\u003c\/i\u003e\u003cbr\u003eNo Tool or Rope or Pail—\u003ci\u003eBob Arnold\u003c\/i\u003e\u003cbr\u003eOx Cart Man—\u003ci\u003eDonald Hall\u003c\/i\u003e\u003cbr\u003eGirl on a Tractor—\u003ci\u003eJoyce Sutphen\u003c\/i\u003e\u003cbr\u003eSoybeans—\u003ci\u003eThomas Alan Orr\u003c\/i\u003e\u003cbr\u003eLanding Pattern—\u003ci\u003ePhilip Appleman\u003c\/i\u003e\u003cbr\u003eMae West—\u003ci\u003eEdward Field\u003c\/i\u003e\u003cbr\u003eHay for the Horses—\u003ci\u003eGary Snyder\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e7. Sons and Daughters\u003c\/b\u003e\u003cbr\u003eMasterworks of Ming—\u003ci\u003eKay Ryan\u003c\/i\u003e\u003cbr\u003eBess—\u003ci\u003eLinda Pastan\u003c\/i\u003e\u003cbr\u003eA Little Tooth—\u003ci\u003eThomas Lux\u003c\/i\u003e\u003cbr\u003eSonnet XXXVII—\u003ci\u003eWilliam Shakespeare\u003c\/i\u003e\u003cbr\u003eEgg—\u003ci\u003eC. G. Hanzlicek\u003c\/i\u003e\u003cbr\u003eRolls-Royce Dreams—\u003ci\u003eGinger Andrews\u003c\/i\u003e\u003cbr\u003eMy Life Before I Knew It—\u003ci\u003eLawrence Raab\u003c\/i\u003e\u003cbr\u003eAfter Work—\u003ci\u003eRichard Jones\u003c\/i\u003e\u003cbr\u003eI Stop Writing the Poem—\u003ci\u003eTess Gallagher\u003c\/i\u003e\u003cbr\u003eFranklin Hyde—\u003ci\u003eHilaire Belloc\u003c\/i\u003e\u003cbr\u003eManners—\u003ci\u003eElizabeth Bishop\u003c\/i\u003e\u003cbr\u003eSeptember, the First Day of School—\u003ci\u003eHoward Nemerov\u003c\/i\u003e\u003cbr\u003eFirst Lesson—\u003ci\u003ePhilip Booth\u003c\/i\u003e\u003cbr\u003eChildhood—\u003ci\u003eBarbara Ras\u003c\/i\u003e\u003cbr\u003eWaving Good-Bye—\u003ci\u003eGerald Stern\u003c\/i\u003e\u003cbr\u003eFamily Reunion—\u003ci\u003eMaxine Kumin\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e8. Language\u003c\/b\u003e\u003cbr\u003eA Primer of the Daily Round—\u003ci\u003eHoward Nemerov\u003c\/i\u003e\u003cbr\u003eThe Possessive Case—\u003ci\u003eLisel Mueller\u003c\/i\u003e\u003cbr\u003eThe Icelandic Language—\u003ci\u003eBill Holm\u003c\/i\u003e\u003cbr\u003eThe Fantastic Names of Jazz—\u003ci\u003eHayden Carruth\u003c\/i\u003e\u003cbr\u003eOde to the Medieval Poets—\u003ci\u003eW. H. Auden\u003c\/i\u003e\u003cbr\u003eSweater Weather—\u003ci\u003eSharon Bryan\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e9. A Good Life\u003c\/b\u003e\u003cbr\u003eWe grow accustomed to the Dark—\u003ci\u003eEmily Dickinson\u003c\/i\u003e\u003cbr\u003eA Ritual to Read to Each Other—\u003ci\u003eWilliam Stafford\u003c\/i\u003e\u003cbr\u003eCourage—\u003ci\u003eAnne Sexton\u003c\/i\u003e\u003cbr\u003eSometimes—\u003ci\u003eSheenagh Pugh\u003c\/i\u003e\u003cbr\u003eLeisure—\u003ci\u003eW. H. Davies\u003c\/i\u003e\u003cbr\u003ethe way it is now—\u003ci\u003eCharles Bukowski\u003c\/i\u003e\u003cbr\u003eA Secret Life—\u003ci\u003eStephen Dunn\u003c\/i\u003e\u003cbr\u003eLost—\u003ci\u003eDavid Wagoner\u003c\/i\u003e\u003cbr\u003eSonnet XXV—\u003ci\u003eWilliam Shakespeare\u003c\/i\u003e\u003cbr\u003eThe Eel in the Cave—\u003ci\u003eRobert Bly\u003c\/i\u003e\u003cbr\u003eWild Geese—\u003ci\u003eMary Oliver\u003c\/i\u003e\u003cbr\u003eFrom the Manifesto of the Selfish—\u003ci\u003eStephen Dunn\u003c\/i\u003e\u003cbr\u003eHope—\u003ci\u003eLisel Mueller\u003c\/i\u003e\u003cbr\u003eThe Three Goals—\u003ci\u003eDavid Budbill\u003c\/i\u003e\u003cbr\u003eVermeer—\u003ci\u003eHoward Nemerov\u003c\/i\u003e\u003cbr\u003eRepression—\u003ci\u003eC. K. Williams\u003c\/i\u003e\u003cbr\u003eWeather—\u003ci\u003eLinda Pastan\u003c\/i\u003e\u003cbr\u003eModeration Is Not a Negation of Intensity, But Helps Avoid Monotony—\u003ci\u003eJohn Tagliabue\u003c\/i\u003e\u003cbr\u003eTell all the Truth but tell it slant—\u003ci\u003eEmily Dickinson\u003c\/i\u003e\u003cbr\u003eThe Props assist the House...—\u003ci\u003eEmily Dickinson\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e10. Beasts\u003c\/b\u003e\u003cbr\u003eLittle Citizen, Little Survivor—\u003ci\u003eHayden Carruth\u003c\/i\u003e\u003cbr\u003eHer First Calf—\u003ci\u003eWendell Berry\u003c\/i\u003e\u003cbr\u003eBats—\u003ci\u003eRandall Jarrell\u003c\/i\u003e\u003cbr\u003eRiding Lesson—\u003ci\u003eHenry Taylor\u003c\/i\u003e\u003cbr\u003eWalking the Dog—\u003ci\u003eHoward Nemerov\u003c\/i\u003e\u003cbr\u003eThe Excrement Poem—\u003ci\u003eMaxine Kumin\u003c\/i\u003e\u003cbr\u003eStanza IV \u003ci\u003efrom\u003c\/i\u003e Coming of Age—\u003ci\u003eUrsula Leguin\u003c\/i\u003e\u003cbr\u003eDestruction—\u003ci\u003eJoanne Kyger\u003c\/i\u003e\u003cbr\u003eHow to See Deer—\u003ci\u003ePhilip Booth\u003c\/i\u003e\u003cbr\u003eDog's Death—\u003ci\u003eJohn Updike\u003c\/i\u003e\u003cbr\u003eNames of Horses—\u003ci\u003eDonald Hall\u003c\/i\u003e\u003cbr\u003eBison Crossing Near Mt. Rushmore—\u003ci\u003eMay Swenson\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e11. Failure\u003c\/b\u003e\u003cbr\u003eSuccess is counted sweetest...—\u003ci\u003eEmily Dickinson\u003c\/i\u003e\u003cbr\u003eSolitude—\u003ci\u003eElla Wheeler Wilcox\u003c\/i\u003e\u003cbr\u003eThe first time I remember—\u003ci\u003eWendell Berry\u003c\/i\u003e\u003cbr\u003eOur Lady of the Snows—\u003ci\u003eRobert Hass\u003c\/i\u003e\u003cbr\u003eThe British Museum Reading Room—\u003ci\u003eLouis MacNeice\u003c\/i\u003e\u003cbr\u003eThe Bare Arms of Trees—\u003ci\u003eJohn Tagliabue\u003c\/i\u003e\u003cbr\u003eThe Sailor—\u003ci\u003eGeof Hewitt\u003c\/i\u003e\u003cbr\u003eA Place for Everything—\u003ci\u003eLouis Jenkins\u003c\/i\u003e\u003cbr\u003eThe Feast—\u003ci\u003eRobert Hass\u003c\/i\u003e\u003cbr\u003eNobody Knows You—\u003ci\u003eJimmie Cox\u003c\/i\u003e\u003cbr\u003ethe last song—\u003ci\u003eCharles Bukowski\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e12. Complaint\u003c\/b\u003e\u003cbr\u003eThe Forsaken Wife—\u003ci\u003eElizabeth Thomas\u003c\/i\u003e\u003cbr\u003eConfession—\u003ci\u003eStephen Dobyns\u003c\/i\u003e\u003cbr\u003eLiving in the Body—\u003ci\u003eJoyce Sutphen\u003c\/i\u003e\u003cbr\u003eTired As I Can Be—\u003ci\u003eBessie Jackson\u003c\/i\u003e\u003cbr\u003eThe Iceberg Theory—\u003ci\u003eGerald Locklin\u003c\/i\u003e\u003cbr\u003eManifesto: The Mad Farmer Liberation Front—\u003ci\u003eWendell Berry\u003c\/i\u003e\u003cbr\u003eA Bookmark—\u003ci\u003eTom Disch\u003c\/i\u003e\u003cbr\u003epoetry readings—\u003ci\u003eCharles Bukowski\u003c\/i\u003e\u003cbr\u003ePublication—is the Auction...—\u003ci\u003eEmily Dickinson\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e13. Trips\u003c\/b\u003e\u003cbr\u003eOnce in the 40s—\u003ci\u003eWilliam Stafford\u003c\/i\u003e\u003cbr\u003e\u003ci\u003elines from\u003c\/i\u003e Moby Dick—\u003ci\u003eHerman Melville\u003c\/i\u003e\u003cbr\u003eRain Travel—\u003ci\u003eW. S. Merwin\u003c\/i\u003e\u003cbr\u003ewhere we are—\u003ci\u003eGerald Locklin\u003c\/i\u003e\u003cbr\u003eExcelsior—\u003ci\u003eHenry Wadsworth Longfellow\u003c\/i\u003e\u003cbr\u003eOn a Tree Fallen Across the Road—\u003ci\u003eRobert Frost\u003c\/i\u003e\u003cbr\u003eA Walk Along the Old Tracks—\u003ci\u003eRobert Kinsley\u003c\/i\u003e\u003cbr\u003ePassengers—\u003ci\u003eBilly Collins\u003c\/i\u003e\u003cbr\u003eThe Walloping Window-Blind—\u003ci\u003eCharles Edward Carryl\u003c\/i\u003e\u003cbr\u003eThe Vacation—\u003ci\u003eWendell Berry\u003c\/i\u003e\u003cbr\u003eDirections—\u003ci\u003eJoseph Stroud\u003c\/i\u003e\u003cbr\u003ePostscript—\u003ci\u003eSeamus Heaney\u003c\/i\u003e\u003cbr\u003eNight Journey—\u003ci\u003eTheodore Roethke\u003c\/i\u003e\u003cbr\u003eWaiting—\u003ci\u003eRaymond Carver\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e14. Snow\u003c\/b\u003e\u003cbr\u003eNew Hampshire—\u003ci\u003eHoward Moss\u003c\/i\u003e\u003cbr\u003eTo fight aloud...—\u003ci\u003eEmily Dickinson\u003c\/i\u003e\u003cbr\u003eDecember Moon—\u003ci\u003eMay Sarton\u003c\/i\u003e\u003cbr\u003eYear's End— \u003ci\u003eRichard Wilbur\u003c\/i\u003e\u003cbr\u003eThe Snow Man—\u003ci\u003eWallace Stevens\u003c\/i\u003e\u003cbr\u003eJanuary—\u003ci\u003eBaron Wormser\u003c\/i\u003e\u003cbr\u003ein celebration of surviving—\u003ci\u003eChuck Miller\u003c\/i\u003e\u003cbr\u003eHer Long Illness—\u003ci\u003eDonal Hall\u003c\/i\u003e\u003cbr\u003eRequiescat—\u003ci\u003eOscar Wilde\u003c\/i\u003e\u003cbr\u003eThe Sixth of January—\u003ci\u003eDavid Budbill\u003c\/i\u003e\u003cbr\u003eNot Only the Eskimos—\u003ci\u003eLisel Mueller\u003c\/i\u003e\u003cbr\u003eBoy at the Window—\u003ci\u003eRichard Wilbur\u003c\/i\u003e\u003cbr\u003eWinter Poem\u003cbr\u003e—\u003ci\u003eFrederick Morgan\u003c\/i\u003e\u003cbr\u003eLester Tells of Wanda and the Big Snow—\u003ci\u003ePaul Zimmer\u003c\/i\u003e\u003cbr\u003eOld Boards—\u003ci\u003eRobert Bly\u003c\/i\u003e\u003cbr\u003eMarch Blizzard—\u003ci\u003eJohn Tagliabue\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e15. Yellow\u003c\/b\u003e\u003cbr\u003eElvis Kissed Me—\u003ci\u003eT. S. Kerrigan\u003c\/i\u003e\u003cbr\u003eStepping Out of Poetry—\u003ci\u003eGerald Stern\u003c\/i\u003e\u003cbr\u003eI shall keep singing!—\u003ci\u003eEmily Dickinson\u003c\/i\u003e\u003cbr\u003eSong to Onions—\u003ci\u003eRoy Blount, Jr.\u003c\/i\u003e\u003cbr\u003eO Luxury—\u003ci\u003eGuy W. Longchamps\u003c\/i\u003e\u003cbr\u003eComing—\u003ci\u003eKenneth Rexroth\u003c\/i\u003e\u003cbr\u003eA Light Left On—\u003ci\u003eMay Sarton\u003c\/i\u003e\u003cbr\u003eThe Yellow Slicker—\u003ci\u003eStuart Dischell\u003c\/i\u003e\u003cbr\u003eFirst Kiss—\u003ci\u003eApril Lindner\u003c\/i\u003e\u003cbr\u003eThe Music One Looks Back On—\u003ci\u003eStephen Dobyns\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e16. Lives\u003c\/b\u003e\u003cbr\u003eIn a Prominent Bar in Secaucus One Day—\u003ci\u003eX. J. Kennedy\u003c\/i\u003e\u003cbr\u003eWho's Who—\u003ci\u003eW. H. Auden\u003c\/i\u003e\u003cbr\u003eThe Portrait—\u003ci\u003eStanley Kunitz\u003c\/i\u003e\u003cbr\u003eParable of the Four-Poster—\u003ci\u003eErica Jong\u003c\/i\u003e\u003cbr\u003eEd—\u003ci\u003eLouis Simpson\u003c\/i\u003e\u003cbr\u003eMemory—\u003ci\u003eHayden Carruth\u003c\/i\u003e\u003cbr\u003eLazy—\u003ci\u003eDavid Lee\u003c\/i\u003e\u003cbr\u003eTestimonial—\u003ci\u003eHarry Newman, Jr.\u003c\/i\u003e\u003cbr\u003eCathedral Builders—\u003ci\u003eJohn Ormond\u003c\/i\u003e\u003cbr\u003eThe Village Burglar—\u003ci\u003eAnonymous\u003c\/i\u003e\u003cbr\u003eThe Scandal—\u003ci\u003eRobert Bly\u003c\/i\u003e\u003cbr\u003eAt Last the Secret Is Out—\u003ci\u003eW. H. Auden\u003c\/i\u003e\u003cbr\u003eNight Light—\u003ci\u003eKate Barnes\u003c\/i\u003e\u003cbr\u003eSir Patrick Spens—\u003ci\u003eAnonymous\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e17. Elders\u003c\/b\u003e\u003cbr\u003eI Go Back to May 1937—\u003ci\u003eSharon Olds\u003c\/i\u003e\u003cbr\u003eThose Winter Sundays—\u003ci\u003eRobert Hayden\u003c\/i\u003e\u003cbr\u003eThe Old Liberators—\u003ci\u003eRobert Hedin\u003c\/i\u003e\u003cbr\u003eTo My Mother—\u003ci\u003eWendell Berry\u003c\/i\u003e\u003cbr\u003eWorking in the Rain—\u003ci\u003eRobert Morgan\u003c\/i\u003e\u003cbr\u003eBirthday Card to My Mother—\u003ci\u003ePhilip Appleman\u003c\/i\u003e\u003cbr\u003eYesterday—\u003ci\u003eW. S. Merwin\u003c\/i\u003e\u003cbr\u003eNo Map—\u003ci\u003eStephen Dobyns\u003c\/i\u003e\u003cbr\u003eMy Mother—\u003ci\u003eRobert Mezey\u003c\/i\u003e\u003cbr\u003eWhen My Dead Father Called—\u003ci\u003eRobert Bly\u003c\/i\u003e\u003cbr\u003eAugust Third—\u003ci\u003eMay Sarton\u003c\/i\u003e\u003cbr\u003eTerminus—\u003ci\u003eRalph Waldo Emerson\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e18. The End\u003c\/b\u003e\u003cbr\u003eAuthorship—\u003ci\u003eJames B(al) Naylor\u003c\/i\u003e\u003cbr\u003eYoung and Old—\u003ci\u003eCharles Kingsley\u003c\/i\u003e\u003cbr\u003eShifting the Sun—\u003ci\u003eDiana Der-Hovanessian\u003c\/i\u003e\u003cbr\u003eMy Dad's Wallet—\u003ci\u003eRaymond Carver\u003c\/i\u003e\u003cbr\u003eWhen I Am Asked—\u003ci\u003eLisel Mueller\u003c\/i\u003e\u003cbr\u003eDirge Without Music—\u003ci\u003eEdna St. Vicent Millay\u003c\/i\u003e\u003cbr\u003eMy mother said...—\u003ci\u003eDonald Hall\u003c\/i\u003e\u003cbr\u003eDepartures—\u003ci\u003eLinda Pastan\u003c\/i\u003e\u003cbr\u003eAs Befits a Man—\u003ci\u003eLangston Hughes\u003c\/i\u003e\u003cbr\u003eSunt Leones—\u003ci\u003eStevie Smith\u003c\/i\u003e\u003cbr\u003ePerfection Wasted—\u003ci\u003eJohn Updike\u003c\/i\u003e\u003cbr\u003eEleanor's Letters—\u003ci\u003eDonald Hall\u003c\/i\u003e\u003cbr\u003eDeath and the Turtle—\u003ci\u003eMay Sarton\u003c\/i\u003e\u003cbr\u003eFour Poems in One—\u003ci\u003eAnne Porter\u003c\/i\u003e\u003cbr\u003eTitanic—\u003ci\u003eDavid R. Slavitt\u003c\/i\u003e\u003cbr\u003eThe Burial of Sir John Moore after Corunna—\u003ci\u003eCharles Wolfe\u003c\/i\u003e\u003cbr\u003eKaddish—\u003ci\u003eDavid Ignatow\u003c\/i\u003e\u003cbr\u003eTwilight: After Haying—\u003ci\u003eJane Kenyon\u003c\/i\u003e\u003cbr\u003eFor the Anniversary of My Death—\u003ci\u003eW. S. Merwin\u003c\/i\u003e\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e The Old Italians Dying—\u003ci\u003eLawrence Ferlinghetti\u003c\/i\u003e\u003cbr\u003eStreet Ballad—\u003ci\u003eGeorge Barker\u003c\/i\u003e\u003cbr\u003eLet Evening Come—\u003ci\u003eJane Kenyon\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e19. The Resurrection\u003c\/b\u003e\u003cbr\u003eForty-Five—\u003ci\u003eHayden Carruth\u003c\/i\u003e\u003cbr\u003eA Blessing—\u003ci\u003eJames Wright\u003c\/i\u003e\u003cbr\u003eHoly Thursday—\u003ci\u003eWilliam Blake\u003c\/i\u003e\u003cbr\u003e\u003ci\u003elines from\u003c\/i\u003e Walden—\u003ci\u003eHenry David Thoreau\u003c\/i\u003e\u003cbr\u003eThe Peace of Wild Things—\u003ci\u003eWendell Berry\u003c\/i\u003e\u003cbr\u003eFrom Blossoms—\u003ci\u003eLi-Young Lee\u003c\/i\u003e\u003cbr\u003eThe First Green of Spring—\u003ci\u003eDavid Budhill\u003c\/i\u003e\u003cbr\u003eHere—\u003ci\u003eGrace Paley\u003c\/i\u003e\u003cbr\u003eThe Lives of the Heart—\u003ci\u003eJane Hirshfield\u003c\/i\u003e\u003cbr\u003eSpring—\u003ci\u003eGerard Manley Hopkins\u003c\/i\u003e\u003cbr\u003eFishing in the Keep of Silence—\u003ci\u003eLinda Gregg\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eBiographies\u003cbr\u003eName Index\u003cbr\u003eTitle Index\u003cbr\u003e\u003c\/i\u003e\u003c\/p\u003e\"A pretty dandy candy jar. The range of poets is wide, the tone is unpretentious, and the poems are all . . . good.\" (\u003ci\u003eSan Francisco Chronicle\u003c\/i\u003e)\u003cbr\u003e\u003cbr\u003e\"These are poems to live in comfort with all one's life.\" (\u003ci\u003eBooklist\u003c\/i\u003e)\u003cbr\u003e\u003cbr\u003e\"[Keillor is] Will Rogers with grammar lessons, Aesop with no ax to grind, the common man's MoliFre.\" (\u003ci\u003eThe Houston Chronicle\u003c\/i\u003e)Garrison Keillor, author of nearly a dozen books, is founder and host of the acclaimed radio show \u003cb\u003eA Prairie Home Companion\u003c\/b\u003e and the daily program \u003cb\u003eThe Writer's Almanac\u003c\/b\u003e. He is also a regular contributor to \u003cb\u003eTime\u003c\/b\u003e magazine.\u003cb\u003ePoem in Thanks\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThomas Lux\u003c\/i\u003e\u003cbr\u003e\u003cp\u003e\u003cbr\u003eLord Whoever, thank you for this air\u003cbr\u003e\u003cbr\u003eI'm about to in- and exhale, this hutch\u003cbr\u003e\u003cbr\u003ein the woods, the wood for fire,\u003cbr\u003e\u003cbr\u003ethe light-both lamp and the natural stuff\u003cbr\u003e\u003cbr\u003eof leaf-back, fern, and wing.\u003cbr\u003e\u003cbr\u003eFor the piano, the shovel\u003cbr\u003e\u003cbr\u003efor ashes, the moth-gnawed\u003cbr\u003e\u003cbr\u003eblankets, the stone-cold water\u003cbr\u003e\u003cbr\u003estone-cold: thank you.\u003cbr\u003e\u003cbr\u003eThank you, Lord, coming for\u003cbr\u003e\u003cbr\u003eto carry me here-where I'll gnash\u003cbr\u003e\u003cbr\u003eit out, Lord, where I'll calm\u003cbr\u003e\u003cbr\u003eand work, Lord, thank you\u003cbr\u003e\u003cbr\u003efor the goddamn birds singing!\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eHow Many Nights\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003eGalway Kinnell\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eHow many nights\u003cbr\u003e\u003cbr\u003ehave I lain in terror,\u003cbr\u003e\u003cbr\u003eO Creator Spirit, Maker of night and day,\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eonly to walk out\u003cbr\u003e\u003cbr\u003ethe next morning over the frozen world\u003cbr\u003e\u003cbr\u003ehearing under the creaking of snow\u003cbr\u003e\u003cbr\u003efaint, peaceful breaths...\u003cbr\u003e\u003cbr\u003esnake,\u003cbr\u003e\u003cbr\u003ebear, earthworm, ant...\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eand above me\u003cbr\u003e\u003cbr\u003ea wild crow crying 'yaw yaw yaw'\u003cbr\u003e\u003cbr\u003efrom a branch nothing cried from ever in my life.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eWelcome Morning\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003eAnne Sexton\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eThere is joy\u003cbr\u003e\u003cbr\u003ein all:\u003cbr\u003e\u003cbr\u003ein the hair I brush each morning,\u003cbr\u003e\u003cbr\u003ein the Cannon towel, newly washed,\u003cbr\u003e\u003cbr\u003ethat I rub my body with each morning,\u003cbr\u003e\u003cbr\u003ein the chapel of eggs I cook\u003cbr\u003e\u003cbr\u003eeach morning,\u003cbr\u003e\u003cbr\u003ein the outcry from the kettle\u003cbr\u003e\u003cbr\u003ethat heats my coffee\u003cbr\u003e\u003cbr\u003eeach morning,\u003cbr\u003e\u003cbr\u003ein the spoon and the chair\u003cbr\u003e\u003cbr\u003ethat cry \"hello there, Anne\"\u003cbr\u003e\u003cbr\u003eeach morning,\u003cbr\u003e\u003cbr\u003ein the godhead of the table\u003cbr\u003e\u003cbr\u003ethat I set my silver, plate, cup upon\u003cbr\u003e\u003cbr\u003eeach morning.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eAll this is God,\u003cbr\u003e\u003cbr\u003eright here in my pea-green house\u003cbr\u003e\u003cbr\u003eeach morning\u003cbr\u003e\u003cbr\u003eand I mean,\u003cbr\u003e\u003cbr\u003ethough often forget,\u003cbr\u003e\u003cbr\u003eto give thanks,\u003cbr\u003e\u003cbr\u003eto faint down by the kitchen table\u003cbr\u003e\u003cbr\u003ein a prayer of rejoicing\u003cbr\u003e\u003cbr\u003eas the holy birds at the kitchen window\u003cbr\u003e\u003cbr\u003epeck into their marriage of seeds.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eSo while I think of it,\u003cbr\u003e\u003cbr\u003elet me paint a thank-you on my palm\u003cbr\u003e\u003cbr\u003efor this God, this laughter of the morning,\u003cbr\u003e\u003cbr\u003elest it go unspoken.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eThe Joy that isn't shared, I've heard,\u003cbr\u003e\u003cbr\u003edies young.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003ePsalm 23\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003efrom \u003ci\u003eThe Bay Psalm Book\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eThe Lord to me a shepherd is,\u003cbr\u003e\u003cbr\u003ewant therefore shall not I:\u003cbr\u003e\u003cbr\u003eHe in the folds of tender grass,\u003cbr\u003e\u003cbr\u003edoth cause me down to lie:\u003cbr\u003e\u003cbr\u003eTo waters calm me gently leads\u003cbr\u003e\u003cbr\u003erestore my soul doth he:\u003cbr\u003e\u003cbr\u003eHe doth in paths of righteousness\u003cbr\u003e\u003cbr\u003efor his name's sake lead me.\u003cbr\u003e\u003cbr\u003eYea, though in valley of death's shade\u003cbr\u003e\u003cbr\u003eI walk, none ill I'll fear:\u003cbr\u003e\u003cbr\u003eBecause thou art with me, thy rod,\u003cbr\u003e\u003cbr\u003eand staff my comfort are.\u003cbr\u003e\u003cbr\u003eFor me a table thou hast spread,\u003cbr\u003e\u003cbr\u003ein presence of my foes:\u003cbr\u003e\u003cbr\u003eThou dost anoint my head with oil;\u003cbr\u003e\u003cbr\u003emy cup it overflows.\u003cbr\u003e\u003cbr\u003eGoodness and mercy surely shall\u003cbr\u003e\u003cbr\u003eall my days follow me:\u003cbr\u003e\u003cbr\u003eAnd in the Lord's house I shall dwell\u003cbr\u003e\u003cbr\u003eso long as days shall be.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eAt Least\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003eRaymond Carver\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eI want to get up early one more morning,\u003cbr\u003e\u003cbr\u003ebefore sunrise. Before the birds, even.\u003cbr\u003e\u003cbr\u003eI want to throw cold water on my face\u003cbr\u003e\u003cbr\u003eand be at my work table\u003cbr\u003e\u003cbr\u003ewhen the sky lightens and smoke\u003cbr\u003e\u003cbr\u003ebegins to rise from the chimneys\u003cbr\u003e\u003cbr\u003eof the other houses.\u003cbr\u003e\u003cbr\u003eI want to see the waves break\u003cbr\u003e\u003cbr\u003eon this rocky beach, not just hear them\u003cbr\u003e\u003cbr\u003ebreak as I did all night in my sleep.\u003cbr\u003e\u003cbr\u003eI want to see again the ships\u003cbr\u003e\u003cbr\u003ethat pass through the Strait from every\u003cbr\u003e\u003cbr\u003eseafaring country in the world-\u003cbr\u003e\u003cbr\u003eold, dirty freighters just barely moving along,\u003cbr\u003e\u003cbr\u003eand the swift new cargo vessels\u003cbr\u003e\u003cbr\u003epainted every color under the sun\u003cbr\u003e\u003cbr\u003ethat cut the water as they pass.\u003cbr\u003e\u003cbr\u003eI want to keep an eye out for them.\u003cbr\u003e\u003cbr\u003eAnd for the little boat that plies\u003cbr\u003e\u003cbr\u003ethe water between the ships\u003cbr\u003e\u003cbr\u003eand the pilot station near the lighthouse.\u003cbr\u003e\u003cbr\u003eI want to see them take a man off the ship\u003cbr\u003e\u003cbr\u003eand put another up on board.\u003cbr\u003e\u003cbr\u003eI want to spend the day watching this happen\u003cbr\u003e\u003cbr\u003eand reach my own conclusions.\u003cbr\u003e\u003cbr\u003eI hate to seem greedy-I have so much\u003cbr\u003e\u003cbr\u003eto be thankful for already.\u003cbr\u003e\u003cbr\u003eBut I want to get up early one more morning, at least.\u003cbr\u003e\u003cbr\u003eAnd go to my place with some coffee and wait.\u003cbr\u003e\u003cbr\u003eJust wait, to see what's going to happen.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eAddress to the Lord\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003eJohn Berryman\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e1\u003cbr\u003e\u003cbr\u003eMaster of beauty, craftsman of the snowflake,\u003cbr\u003e\u003cbr\u003einimitable contriver,\u003cbr\u003e\u003cbr\u003eendower of Earth so gorgeous \u0026amp; different from the boring Moon,\u003cbr\u003e\u003cbr\u003ethank you for such as it is my gift.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eI have made up a morning prayer to you\u003cbr\u003e\u003cbr\u003econtaining with precision everything that most matters.\u003cbr\u003e\u003cbr\u003e'According to Thy will' the thing begins.\u003cbr\u003e\u003cbr\u003eIt took me off \u0026amp; on two days. It does not aim at eloquence.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eYou have come to my rescue again \u0026amp; again\u003cbr\u003e\u003cbr\u003ein my impassable, sometimes despairing years.\u003cbr\u003e\u003cbr\u003eYou have allowed my brilliant friends to destroy themselves\u003cbr\u003e\u003cbr\u003eand I am still here, severely damaged, but functioning.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eUnknowable, as I am unknown to my guinea pigs:\u003cbr\u003e\u003cbr\u003eHow can I 'love' you?\u003cbr\u003e\u003cbr\u003eI only as far as gratitude \u0026amp; awe\u003cbr\u003e\u003cbr\u003econfidently \u0026amp; absolutely go.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eI have no idea whether we live again.\u003cbr\u003e\u003cbr\u003eIt doesn't seem likely\u003cbr\u003e\u003cbr\u003efrom either the scientific or the philosophical point of view\u003cbr\u003e\u003cbr\u003ebut certainly all things are possible to you,\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eand I believe as fixedly in the Resurrection-appearances to Peter and\u003cbr\u003e\u003cbr\u003eto Paul\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eas I believe I sit in this blue chair.\u003cbr\u003e\u003cbr\u003eOnly that may have been a special case\u003cbr\u003e\u003cbr\u003eto establish their initiatory faith.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eWhatever your end may be, accept my amazement.\u003cbr\u003e\u003cbr\u003eMay I stand until death forever at attention\u003cbr\u003e\u003cbr\u003efor any your least instruction or enlightenment.\u003cbr\u003e\u003cbr\u003eI even feel sure you will assist me again, Master of insight \u0026amp; beauty.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003ci\u003ePhilip Appleman\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eO Karma, Dharma, pudding and pie,\u003cbr\u003e\u003cbr\u003egimme a break before I die:\u003cbr\u003e\u003cbr\u003egrant me wisdom, will, \u0026amp; wit,\u003cbr\u003e\u003cbr\u003epurity, probity, pluck, \u0026amp; grit.\u003cbr\u003e\u003cbr\u003eTrustworthy, loyal, helpful, kind,\u003cbr\u003e\u003cbr\u003egimme great abs \u0026amp; a steel-trap mind,\u003cbr\u003e\u003cbr\u003eand forgive, Ye Gods, some humble advice-\u003cbr\u003e\u003cbr\u003ethese little blessings would suffice\u003cbr\u003e\u003cbr\u003eto beget an earthly paradise:\u003cbr\u003e\u003cbr\u003emake the bad people good-\u003cbr\u003e\u003cbr\u003eand the good people nice;\u003cbr\u003e\u003cbr\u003eand before our world goes over the brink,\u003cbr\u003e\u003cbr\u003eteach the believers how to think.\u003c\/p\u003e","brand":"Penguin Books","offers":[{"title":"Default Title","offer_id":46302064115941,"sku":"NP9780142003442","price":26.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780142003442.jpg?v=1767728371","url":"https:\/\/k12savings.com\/es\/products\/good-poems-isbn-9780142003442","provider":"K12savings","version":"1.0","type":"link"}