A haunting new book by a poet whose voice speaks of all our lifetimes
The 2020 Nobel Prize winner Louise Glück’s thirteenth book is among her most haunting. Here as in the Wild Iris there is a chorus, but the speakers are entirely human, simultaneously spectral and ancient.
Winter Recipes from the Collective is chamber music, an invitation into that privileged realm small enough for the individual instrument to make itself heard, dolente, its line sustained, carried, and then taken up by the next instrument, spirited, animoso, while at the same time being large enough to contain a whole lifetime, the inconceivable gifts and losses of old age, the little princesses rattling in the back of a car, an abandoned passport, the ingredients of an invigorating winter sandwich, a sister’s death, the joyful presence of the sun, its brightness measured by the darkness it casts.
“Some of you will know what I mean,” the poet says, by which she means, some of you will follow me. Hers is the sustaining presence, the voice containing all our lifetimes, “all the worlds, each more beautiful than the last.” This magnificent book couldn’t have been written by anyone else, nor could it have been written by the poet at any other time in her life. （那颗晴空 摘自 亚马逊美国）

Described by Robert Hass as "unquestionably one of the great living European poets" and by Charles Simic as "one of the finest poets living today," Szymborska mesmerizes her readers with poetry that captivates their minds and captures their hearts. This is the book that her many fans have been anxiously awaiting-the definitive, complete collection of poetry by the Nobel Prize-winning poet, including 164 poems in all, as well as the full text of her Nobel acceptance speech of December 7, 1996, in Stockholm. Beautifully translated by Stanislaw Baranczak and Clare Cavanagh, who won a 1996 PEN Translation Prize for their work, this volume is a must-have for all readers of poetry.

《采果集》内容简介：你是什么人，读者，百年后读着我的诗？我不能从春天的财富里送你一朵花，从天边的云彩里送你一片金影。开起门来四望吧。从你的群花盛开的园子里，采取百年前消逝了的花儿的芬芳记忆。
在你心的欢乐里，愿你感到一个春晨吟唱的活的欢乐，把它快乐的声音，传过一百年的时间。

“《奇迹集》对我而言是奇迹。毫无准备，毫无来由，毫无预兆。”
“如果说，早期诗是‘看山是山’，中期诗是‘看山不是山’，那么《奇迹集》便是‘看山又是山’……仿佛眼帘上一片梦幻的薄膜脱下，世界呈现其真面目。”
“我处于无情绪的状态，也可以说是处于‘全诗’的状态，如同一湖静水 ，任何风吹草动或叶子飘落或阳光的温暖或没有阳光的阴凉，都使它起反应，都是诗。”
“以前是我在写诗，现在是诗在写我。”
“《奇迹集》不应只放在一般意义上的诗歌范畴里去理解。我希望它也能打动不读诗的人。他们对世界对生命都有与我相同的体验，也与宗教的洞见一致，而我希望他们在这本诗集中感受到这种同源性的东西。”
——黄灿然
《奇迹集》最初由作者以复印形式装订十来册送给朋友，很快悄悄传阅开来，其中有数十首诗发表于报刊杂志。后来以民刊《新诗》专辑形式出版，虽然流通极不方便，主要是在淘宝出售，但半年后即重印，深受读者喜爱。现在是这本传奇性诗集第四次印刷，也是第一次正式出版，与广大读者见面。

书名很直接，叫做《请你种下这本诗集》（Please Plant This Book），来自美国“垮掉派”诗人理查德·布劳提根（Richard Brautigan）。
1968年，布劳提根融合了诗歌创作和设计理念的《请你种下这本诗集》在美国出版。整个诗集一共九首诗，八首植物诗，包括加利福尼亚原生花、夏斯塔雏菊、金盏花、香雪球皇家毯四种花卉种子和欧香芹、小南瓜、胡萝卜、生菜四种蔬菜种子，以及一首写成诗歌的种植方案。八首植物诗被印在八个信封正面，背面是种植方法，里面则藏有相应的植物种子。
封面的图案则是布劳提根的蜡笔手绘，红、黄、绿的胡萝卜和鲜花围绕着一匹黑色的马。封底手写有“这本书是免费的。”
这是布劳提根的第四本诗集，也是他最后一次独立出版，融合了他在诗歌创作和设计理念上的尝试。
《请你种下这本诗集》初版只在美国本土发行了不超过5000册，随后的几十年里，曾以英语、法语、德语、波斯语、俄语再次出版过。他的诗作持续影响着菲利普·迪昂、村上春树、W.P.金赛拉等知名作家。但包括这本诗集在内，布劳提根的作品几乎从未在中国正式出版，尽管不少中国诗人早已对他的作品着迷不已。
这次由联邦走马重制的中文版，不仅完全依照原版的内涵再现了诗集的形态，而且也依照布劳提根的要求依然是免费赠阅。目前首印3000册已经全部赠送，预计最多加印到5万册。线下可以在方所、先锋书店、单向街书店等实体空间获得，线上可以在附录文艺App上领取。

Langdon Hammer has given us the first biography of the poet James Merrill (1926–95), whose life is surely one of the most fascinating in American literature. Merrill was born to high privilege and high expectations as the son of Charles Merrill, the charismatic cofounder of the brokerage firm Merrill Lynch, and Hellen Ingram, a muse, ally, and antagonist throughout her son’s life. Wounded by his parents’ bitter divorce, he was the child of a broken home, looking for repair in poetry and love. This is the story of a young man escaping, yet also reenacting, the energies and obsessions of those powerful parents. It is the story of a gay man inventing his identity against the grain of American society during the eras of the closet, gay liberation, and AIDS. Above all, it is the story of a brilliantly gifted, fiercely dedicated poet working every day to turn his life into art.
After college at Amherst and a period of adventure in Europe, Merrill returned to the New York art world of the 1950s (he was friendly with W. H. Auden, Maya Deren, Truman Capote, Larry Rivers, Elizabeth Bishop, and other midcentury luminaries) and began publishing poems, plays, and novels. In 1953, he fell in love with an aspiring writer, David Jackson. They explored “boys and bars” as they made their life together in Connecticut and later in Greece and Key West. At the same time, improbably, they carried on a forty-year conversation with spirits of the Other World by means of a Ouija board. The board became a source of poetic inspiration for Merrill, culminating in his prizewinning, uncanny, one-of-a-kind work The Changing Light at Sandover. In his virtuosic poetry and in the candid letters and diaries that enrich every page of this deliciously readable life, Merrill created a prismatic art of multiple perspectives and comic self-knowledge, expressing hope for a world threatened by nuclear war and environmental catastrophe. Holding this life and art together in a complex, evolving whole, Hammer illuminates Merrill's “chronicles of love & loss” and the poignant personal journey they record.