This book combines largely unpublished short poems of the early 1950s with the mock-epic "When the sun tries to go on," published in the late 1960s but pretty much unavailable now. This early Koch is particularly refreshing. Koch died in July of 2002 and has published many volumes of poetry, and this work brings us back to his literary origins.

This is one book I can't do without. I was introduced to Kenneth Koch's work when I was at the University of Wisconsin-Madison taking a workshop from an author who had taught with Koch. It has been my "writing Bible" ever since. I have used almost every exercise at one time or another with elementary school children, with fantastic results. Along with Koch's "Rose, Where Did You Get That Red?", this is a classic.

This is excellent for beginning readers and writers of poetry. In the essays at the beginning, Koch is successful at convincing the reader that poetry is not as hard as we make it out to be. If we relax and don't allow ourselves to be intimidated, we can enjoy poetry. The rest of the book is devoted to groups of poems, each by one poet, thereby allowing the reader to get to know writers' styles. At the end of each section is a poetry writing exercise asking the reader to write a poem in the style they have just read. These are excellent exercises for broadening anyone's writing; they have certainly broadend my own writing. The only criticism that I have of the book is that the poets included are mostly men. I would think that it could have been more inclusive of women, especially the confessional poets such as Plath whose style new poets may grasp. Overall, this is a great book for teachers, writers, and readers.

This is an excellent book for beginning readers and writers of poetry. Koch introduces the reader to poetry as an art form that can be accessible if one does not make it too hard; he makes poetry less intimidating, more comfortable. He tries to explain how we can understand it without feeling stupid. Then, he groups poems by poet so that the reader can get to know each poet's style. Finally, each section is followed by an exercise directing the reader to write in a given poet's style. I have found the exercises thought provoking; they have broadened my own writing. My only criticism is that most of the great poets represented are men. The same could certainly be done and very successfully with more women poets, especially the confessional poets such as Plath. Overall, a great book for teachers, for writers, and for those who would like to know more about poetry but who need some convincing.

Am daunted, in the task of writing a review, by the fact that the previous reviewers all got it exactly right! The late Kenneth Koch (1925-2002), whimsical poet, teacher, and enthusiast for the evangel of poetry here gives us a book ideally suited for any poet or reader from high-schooler to nonagenarian.

The first 135 pages of the book are something of an instruction manual, or an explanation of why poetry seems so strange at first. He patiently explains the obvious : sound matters as much as sense; words have musical value; there is a "poetry language" -- or perhaps several poetry languages? -- that we discover through reading anything & everything in sight. He comes up with the happy comparison of poetry as language being put through a synthesizer!

He speaks of the need to build up a "poetry base" through much exposure to the poems of the past and present; he "opens up" the Wallace Stevens poem "Anecdote of the Jar" and makes enchanting a poem that irritated me on previous readings; he makes apposite remarks on revision and inspiration ...

The latter half of the book is a neat -- but not quite comprehensive, as Koch himself admits -- anthology of poetry from across the globe, & encompassing three millennia. From Li Po (Li Bai) to Lorca, from Sappho to Snyder, from Ovid to O'Hara. Senghor and Cesaire are alongside Ashbery and Wallace Stevens. Marvell and Shakespeare, Whitman and Hopkins and several in between, before and after. Most of the poems are suffixed by a comment by Koch of less than a page (except for Keats's "Bright Star" which he allows to shine by itself!). Especially good, I thought, his brief note on the sonnet by George Herbert, "Prayer," which I have been trying of late to memorize.

Excellent reading for the train, the waiting room, the bed, or whatever region of the house you call your workshop or study!!

This is a book of poetry quite unlike anything available these days. Drawing from a vast range of history, locations and experiences (both literary and physical) Kenneth Koch achieves a brilliant and thorough description of love that remains timeless

As I see that there has been only one review of this book, I feel compelled to add another voice. I will be brief: reading any of Kenneth Koch's extended poems requires patience, humor, and a willingness to suspend judgement until all the stanzas have been read, and read again, since Koch often purposefully allows the casual reader to be misled. Koch often seems to be deliberately offensive in his poems (the first sections of "The Art of Love" is one example), though it is through this device t he culls the serious reader from those who might get the over-arching compassion and wonder that is present in all of Kenneth Koch's work.

P.S. -- Kenneth Koch passed away earlier this month; an interview with him is preserved in the National Public Radio Archive.

The simplist, profoundest stories are laid out in a delicate and spare way by Koch's nursing home students. Don't shy away because it might be sad- rejoice that Koch got these stories before they were lost. These aren't the poems people might write to impress others or even themselves- they explore the things that matter most.

If you teach anything creative- think about why you teach it. To give job skills? To meet state goals? Those are both fine reasons. But Koch is teaching in a nursing home to profoundly affect how people look at their inner landscape. Do you teach to empower and to change lives? Would you like to think that's what you do? I would read this not as a how-to but a why-to.

This book is a must for anyone working/playing with poetry and involved in introducing others to poetry. What is most astounding is Kenneth Koch's humility and honesty, and his willingness to admit mistakes made in teaching poetry to a group of old people at a nursing home. He divides the book very usefully as well. First he introduces the process from start to finish of the workshops, including some of the seniors' works. In the second half of the book, he prints the poems done by participants for each exercise first, then discusses what occurred during the session. One participant in particular is very much a poet, although he'd never written poetry before, and I fell quite in love with him. However, as the book went to press, Kenneth says, this man passed on. You will thouroughly enjoy this book. Aside from the poetry, it has alot to say about the assumptions we make about old and/or infirm people.

Raymond Roussel was an eccentric French writer who was born in 1877 and apparently committed suicide in 1933. His best known works of those translated into English are his novels Locus Solus and Impressions of Africa. Roussel wrote novels, tried to adapt them to the stage, and then tried to write a play for the stage. The audience responded to the play by throwing things and yelling at each other. Roussel, who never experienced anything like widespread acclaim, has nonetheless influenced French literature. Eventually, he was to gain the support of the surrealists. Decades after his death, he is remembered fondly by the OuLiPo - a group of Paris-based writers devoted to exploring new experimental literary forms. Two American poets - John Ashbery and Harry Mathews (also a member of the OuLiPo) - hold him in high esteem and here the two of them offer new translations of some of Roussel's works. How I Wrote Certain of my Books is the title of this collection and also the title of an essay by Roussel to explain how he wrote the two novels I mentioned. The rest of the collection includes an excellent introduction and biography of Roussel by John Ashbery, the first chapter of each of the two novels, the fifth act of one of Roussel's plays, the third canto of his poem "New Impressions of Africa," and the notes to serve as an outline for another novel Roussel apparently never wrote. Roussel's novels are among what I consider the great untranslatable works of the twentieth century. Much of the imagery and plot detail are bizarre flowerings of imaginative detail rooted in French puns. When this is translated, one gets only the strange details, but none of the phonetic basis underlying them. Like a joke that isn't funny, or a sonnet which has been paraphrased so that it no longer rhymes. The canto of the poem "New Impressions of Africa" was my favorite part of the collection. I've never read a poem with nested parentheses and lengthy footnotes before. The translation preserves aspects of the rhyme and meter, even throughout the footnotes. Although this volume doesn't contain the entire poem, it does contain all of the 59 drawings that originally accompanied it. But these drawings are not only not by Roussel, they aren't even interesting. In an introduction, which explains how Roussel had sent 59 captions to a hack artist to make mundane sketches to compliment his bizarre poem, Salvador Dali is quoted as saying that, seen in the context of the poem, the drawings "shed their banality and become metaphysical." Fine, but here the drawings are not only not shown in the context of the poem, the entire poem isn't even presented. I can save you some time by telling you right now that the drawings numbered 40-48 accompany the poem on pages 97-103. Read How I Wrote Certain of my Books as an introduction to one of France's literary madmen, and for an exceedingly clear description of how Raymond Roussel wrote certain of his books. To anyone who is curious for a taste, but not a full course, of Roussel's writing, this volume will serve well. Should you be utterly taken by the writing, however, you may be dismayed that few of the works are represented in their entirety. You will never get to find out how the novels end or how the play begins. At its best, How I Wrote Certain of My Books will send to your library looking for more.

It's a tragedy of Rousselian proportions that this is the only easily-acquired text of the Master in print... Roussel was, after all, the subject of Michel Foucault's very first (& to me his only readable!) book DEATH & THE LABYRINTH (a perfect companion to this collection/introduction). The present volume is essential to complete one's appreciation of the 'novels' LOCUS SOLUS & IMPRESSIONS OF AFRICA, should they drop into your lucky lap...you see, I too find myself thoroughly intrigued/mesmerized/in awe of the strange achievement of this genius-nut, inspirer as well of Breton, Cocteau, Dali, Leiris, Duchamp especially, Robbe-Grillet coitainly, Perec indubitably; but these dudes don't hold a candle to the lucid lunacy, fertile-beyond-belief imagination, and quaint language perfectly suited to express the convoluted twisted-mythic enigmatic obsessions of RR... who felt the Star on his forehead while but a teen, which Star had begun to glow on high when he was found...

Koch, when at his best, is simply too large and various to be adequately accounted for in this space. In the wasteland of contemporary poetry, those unfamiliar with Koch's genius may think he is exactly the kind of poet he so brilliantly parodies. For serious readers saddened by the predominant makeup of contemporary poetic demeanor, Koch is the perfect remedy.