Here are 100 books that The Bell and the Blackbird fans have personally recommended if you like
The Bell and the Blackbird.
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My childhood diary entries often turned into poems. Writing and art have been in my life a long while. After earning a BA in Advertising and Design, I became an art director for Prentice Hall, a large educational publisher. My reading tastes are eclectic. Reading the work of poets came to me later in life when poetry began oozing out my pores. I’ve maintained an art & writing blog since 2014. I self-published an illustrated collection of poetry in 2016. My work has been published in a variety of journals. Do check out the books on my list, they are unique, just like you.
I’ve never been one to read a writer because of their accomplishments. But there are confessional voices (with stellar accolades), I can’t avoid. Louise Glück’s poetic voice evaluates experiences in ways that remind me that we’re all a bit messed up, but beauty sometimes lingers under rocks if you’re willing to dig. And dig I must to improve my work.
My poetry sometimes hides behind soft language, while my word-wolf remains hidden. Poems like Ms. Glück’s “Purple Bathing Suit” force me to evaluate if I’m artfully deceiving or striving to rise to her level of genuine gut-wrenching prose.
“I like watching you garden / with your back to me in your purple bathing suit: your back is my favorite part of you, the part furthest away from your mouth”
The collected works of the inimitable Pulitzer Prize–winning poet
It is the astonishment of Louise Glück's poetry that it resists collection. With each successive book her drive to leave behind what came before has grown more fierce, the force of her gaze fixed on what has yet to be imagined. She invented a form to accommodate this need, the book-length sequence of poems, like a landscape seen from above, a novel with lacunae opening onto the unspeakable. The reiterated yet endlessly transfigured elements in this landscape―Persephone, a copper beech, a mother and father…
The Forever is a tender illustrated keepsake about love, time, and memory. Told with lyrical simplicity and emotionally rich imagery, it reflects on the kind of bond that stays with us long after a season has passed. It is a quiet book for anyone who has loved deeply, missed someone,…
I'm a storyteller whose daydreams begin with “once upon a time”. I worked as a corporate paralegal and always thought that legal pads could be put to better use by writing a novel. Someone said that women learn best by observing the lives of women. I'm inspired by women who have stepped off the path as well as by those who have maintained it. My learning began by observing the women in my family, African American women who walked their paths, chosen and unchosen, with grace, style, and courage, sometimes, in heels. The stories of women, fictional narratives as well as biographies, poetry, and historical accounts, illuminate these strong souls.
The current United States Poet Laureate. She is an artist and not just of words. Harjo plays a mean saxophone. And writes poetry to send the soul soaring. Reminding me of the sky, the soil, the roots. My roots. “Do you know how to make a peaceful road through human memory?” Harjo’s Muscogee roots have their beginnings in the soil that nurtured some of my Georgia-born ancestors. What can I say? I feel the words.
In the early 1800s, the Mvskoke people were forcibly removed from their original lands east of the Mississippi to Indian Territory, which is now part of Oklahoma. Two hundred years later, Joy Harjo returns to her family's lands and opens a dialogue with history. In An American Sunrise, Harjo finds blessings in the abundance of her homeland and confronts the site where her people, and other indigenous families, essentially disappeared. From her memory of her mother's death, to her beginnings in the native rights movement, to the fresh road with her beloved, Harjo's personal life intertwines with tribal histories to…
When I was eighteen, I had an experience I call religious: I was sitting outside of an ivy-covered building at my undergraduate school and reading the opening words of Vergil’s Roman epic, The Aeneid (in Latin, but I didn’t know Latin yet). The sky became clearer; it shone with different light. It became clear to me at that moment that I was supposed to be a poet. So, yeah, I went on to learn lots of stuff, including languages, so that I could read poetry in them. I did all that to serve the greater goal of being a poet.
This book is perfect. Every single poem in it is a home run.
It taught me that meter and rhyme are just as effective at portraying our contemporary experiences as they were for experiences of yore. And so much of the poems’ charge comes from living idiom—the English spoken right “now” at an actual point in time.
Philip Larkin (1922-1985) remains England's best-loved poet - a writer matchlessly capable of evoking his native land and of touching all readers from the most sophisticated intellectual to the proverbial common reader. The late John Betjeman observed that 'this tenderly observant poet writes clearly, rhythmically, and thoughtfully about what all of us can understand'. Behind this modest description lies a poet who made greatness look, in Milton's prescription, 'simple, sensuous and passionate'.
The Forever is a tender illustrated keepsake about love, time, and memory. Told with lyrical simplicity and emotionally rich imagery, it reflects on the kind of bond that stays with us long after a season has passed. It is a quiet book for anyone who has loved deeply, missed someone,…
Ever since I was a child and my father first pointed me to a few of his favorite poets (Wordsworth, Keats, Shelley), I have been passionate about poetry, particularly poems that speak plainly of the world in a very relatable way. I’ve found that I can learn something about myself and my humanity by reading my favorite poets who often teach me something new about the world. They are my guides and companions.
I love the simplicity of the language and how close the poet feels to the natural world. In her plainspoken language, Oliver’s poems transport us through nature and, by the way, teach us what it is to be human. Herons, sparrows, owls, and kingfishers flit across the pages in meditations on love, artistry, and impermanence.
It is the smallest element that counts the most in Oliver’s poems because it contains so much in so little, stripping the poet’s and our powers of observation down to an essential moment. Who doesn’t love Mary Oliver’s work?
Maybe our world will grow kinder eventually. Maybe the desire to make something beautiful is the piece of God that is inside each of us.
In this stunning collection, Mary Oliver returns to the imagery that has defined her life's work.
Herons, sparrows, owls and kingfishers flit across the page in meditations on love, artistry and impermanence. Whether considering a bird's nest, the seeming patience of oak trees or the paintings of Franz Marc, Mary Oliver reminds us of the transformative power of attention and how much can be contained within the smallest moments.
Ever since I was a child and my father first pointed me to a few of his favorite poets (Wordsworth, Keats, Shelley), I have been passionate about poetry, particularly poems that speak plainly of the world in a very relatable way. I’ve found that I can learn something about myself and my humanity by reading my favorite poets who often teach me something new about the world. They are my guides and companions.
I love how crystalline and to the absolute point these poems are. “Where do I begin/being a minimalist?” the poet writes. These poems make me see the world in a fresh but very relatable way. “What would I/think, coming/up after/my world/had evaporated?/I’d wish/I were water."
So much said, so few words. The longing is implicit. This book is home to breathtaking lyricism–as well as narrative poems of mystery, loss, and wonder. It is a book I keep coming back to.
About Andrea Cohen’s poems, Christian Wiman has said: “One is caught off guard by their cumulative force. This is work of great and sustained attention, true intelligence, and soul.” In The Sorrow Apartments, Cohen’s eighth collection, those signature gifts are front and center, along with sly humor, relentless economy, and the hairpin curves of gut-punch wisdom. How quickly Cohen takes us so far:
Bunker
What would I think, coming
up after my world
had evaporated? I'd wish
I were water.
The Sorrow Apartments is home to spare and uncanny lyricism––as well as leaping narratives of mystery and loss and wonder.…
As a poet and a novelist, I'm fascinated by the places where these two genres meet, undo each other, and create something new again. That sounds a lot like what love can do, and whenever I read a long poem that achieves a unique aesthetic unity, I feel the writer has found a new way to love the world, to love the reader. And, as usual, both the world and the reader are challenged by that love—to grow.
Ultimately, this is a work about trauma, both personal and cultural; it is a deeply human testimony to trauma’s power to erase, shape, and reshape the narratives of our lives.
The self, this book implies, is one such narrative, and the forces of contemporary society act in powerful and often surreptitious ways to shape that story.
Rankine is a complete original in her methods of tackling these mysteries, and a reader leaves this book with a sense of having woken, if only a bit more, to the forces that are living our lives for us.
A brilliant and unsparing examination of America in the early twenty-first century, Claudia Rankine’s Don’t Let Me Be Lonely invents a new genre to confront the particular loneliness and rapacious assault on selfhood that our media have inflicted upon our lives. Fusing the lyric, the essay, and the visual, Rankine negotiates the enduring anxieties of medicated depression, race riots, divisive elections, terrorist attacks, and ongoing wars—doom scrolling through the daily news feeds that keep us glued to our screens and that have come to define our age.
First published in 2004, Don’t Let Me Be Lonely is a hauntingly prescient…
As a poet and a novelist, I'm fascinated by the places where these two genres meet, undo each other, and create something new again. That sounds a lot like what love can do, and whenever I read a long poem that achieves a unique aesthetic unity, I feel the writer has found a new way to love the world, to love the reader. And, as usual, both the world and the reader are challenged by that love—to grow.
Poets have many tools at their disposal in their attempt to bring aesthetic unity to a long poem, and C. D. Wright is innovative in her use of imagery and cinematic grammar to do exactly that.
This is a book to be studied for its remarkable ability to convey, in what Auden called “memorable speech,” the beautiful doom of the common heart.
Rebellious and fiercely lyrical, the poems of C.D. Wright incorporate elements of disjunction and odd juxtaposition in their exploration of unfolding context. "In my book," she writes, "poetry is a necessity of life. It is a function of poetry to locate those zones inside us that would be free, and declare them so."
C.D. Wright was born and raised in the Ozark Mountains of Arkansas. She has received numerous awards for her work, including grants from the National Endowment for the Arts, the Guggenheim Foundation, the American Academy and Institute for Arts and Letters, and the Lila Wallace-Reader's Digest Foundation.…
Sometimes, you just want to feel like you’re reading in an old library during a storm, you know? Because I’ve read so widely and studied so many Classics, I’ve had the opportunity to immerse myself in old books in a way that many others haven’t. Take that obsessive bookishness and add a love for magical, literary, character-driven stories, and voilà! I’m lucky I got to write my own dark academia novel for people looking to have that experience. Hopefully these books make you just as cozy and melancholy as they make me.
John Keats is one of my all-time favorite poets. It breaks my heart to think of how many poems were left unwritten when he died young. The ones he left behind are melancholy and absolutely gorgeous. The language tastes like chocolate. He’s a master of using sound to evoke nostalgia (for people who care about the mechanics of these things. It’s okay if you don’t.) His poetry speaks for itself. Read one of his poems slowly, and you’ll feel like you’re lying in a moonlit meadow with a glass of wine, pondering eternity.
Covering the entire output of an archetypal - and tragically short-lived - romantic genius, the Penguin Classics edition of The Complete Poems of John Keats is edited with an introduction and notes by John Barnard.
Keats's first volume of poems, published in 1817, demonstrated both his belief in the consummate power of poetry and his liberal views. While he was criticized by many for his politics, his immediate circle of friends and family immediately recognized his genius. In his short life he proved to be one of the greatest and most original thinkers of the second generation of Romantic poets,…
I’m Assistant Professor of Religion at Kalamazoo College and my research focuses on the Mahabharata, an epic narrative tradition from South Asia. As an Indian-American kid growing up in suburban Boston, my first introduction to the Mahabharata tradition was from the stories my grandmother told me when she would visit from Chennai and from the Mahabharata comics that she would bring me. Many years later, my friend and colleague Nell Shapiro Hawley (Preceptor of Sanskrit at Harvard University) and I began to work on a project that would eventually become our edited volume, Many Mahābhāratas. I’m excited to share some of my own personal favorite Mahabharatas with you here.
Considered to be the longest poem in the world, the Sanskrit Mahabharata is comprised of around 1.8 million words (for comparison: the combined length of the seven Harry Potter books is barely 1.1 million words). At 928 pages, Mahabharata: A Modern Retelling is by no means a short book, but it does make the massive Sanskrit epic very accessible for general readers. While the Sanskrit Mahabharata is primarily composed in couplets called shlokas, Carole Satyamurti’s masterful retelling is in blank verse, which is the meter of my two favorite English epics: John Milton’s Paradise Lost and Jack Mitchell’s The Odyssey of Star Wars. I also especially love the way Satyamurti presents Karna, the secret elder brother of Pandavas and one of the greatest tragic heroes in world literature.
The Mahabharata, originally composed some two thousand years ago is an epic masterpiece, "a hundred times more interesting" than the Iliad and the Odyssey (Wendy Doniger), it is a timeless work that evokes a world of myth, passion and warfare while exploring eternal questions of duty, love and spiritual freedom. A seminal Hindu text, it is one of the most important and influential works in the history of world civilisation.
This new English retelling, innovatively composed in blank verse, covers all the books of the Mahabharata. It masterfully captures the beauty, excitement and profundity of the original Sanskrit poem as…
I am a neuroscientist best known for my studies and writings exploring the brain basis of consciousness. Trained as a physicist, I was for 27 years a professor of biology and engineering at the California Institute of Technology in Pasadena before moving to the Allen Institute in Seattle, where I became the Chief Scientist and then the President in 2015. I published my first paper on the neural correlates of consciousness with the molecular biologist Francis Crick more than thirty years ago.
An extraordinary gem of a booklet that considers the many ways that four lines of a single poem, composed by an 8th century Chinese Buddhist, have been translated into modern idiom. It is amazing how a mere twenty ideograms, depicting a mountain and forest scene devoid of people, can illuminate the variety and subtlety of consciousness. I recommend the 2016 edition with additional translations.
The difficulty (and necessity) of translation is concisely described in Nineteen Ways of Looking at Wang Wei, a close reading of different translations of a single poem from the Tang Dynasty-from a transliteration to Kenneth Rexroth's loose interpretation. As Octavio Paz writes in the afterword, "Eliot Weinberger's commentary on the successive translations of Wang Wei's little poem illustrates, with succinct clarity, not only the evolution of the art of translation in the modern period but at the same time the changes in poetic sensibility."
