Love Poems, by Bertolt Brecht, translated by David Constantine and Tom Kuhn. 

Bertolt Brecht is widely considered the greatest German playwright of the twentieth century, and to this day remains best known as a dramatist, the author of Mother Courage, The Threepenny Opera, and The Caucasian Chalk Circle, among so many other works. However, Brecht was also a hugely prolific and eclectic poet, producing more than 2,000 poems during his lifetimeâÂ?Â?indeed, so many that even his own wife, Helene Weigel, had no idea just how many he had written.

"A thieving magpie of much of world literature," the full scope and variety of his poetic output did not become apparent until after his death. Now, the English-speaking world can access part of his stunning body of work in Love Poems, the first volume in a monumental undertaking by award-winning translators David Constantine and Tom Kuhn to translate Brecht's poetic legacy into English. Love Poems collects his most intimate and romantic poems, many of which were banned in German in the 1950s for their explicit eroticism.

Written between 1918 and 1955, these poems reflect an artist driven not only by the bitter and violent politics of his age but, like Goethe, by the untrammeled forces of love, romance, and erotic desire. In a 1966 New Yorker article, Hannah Arendt wrote of Brecht that he had "staked his life and his art as few poets have ever done." In these 78 poems, we see Brecht's astonishing and deeply personal love poemsâÂ?Â?including 22 never before published in EnglishâÂ?Â?many addressed to particular women, which show Brecht as lover and love poet, engaged in a bitter struggle to keep faith, hope, and love alive during desperate times.

Featuring a personal foreword by Barbara Brecht-Schall, his last surviving child, Love Poems reveals Brecht as not merely one of the most famous playwrights of the twentieth century but also one of its most fiercely creative poets.

Made in Detroit: Poems, by Marge Piercy.

A treasure trove of new poems by one of our most sought-after poets: poems that range from descriptions of the Detroit of her childhood to her current life on Cape Cod, from deep appreciations of the natural world to elegies for lost friends and relationships, from a vision of her Jewish heritage to a hard-hitting take on today’s political ironies.

In her trademark style, combining the sublime with the gritty, Marge Piercy describes the night she was born: “the sky burned red / over Detroit and sirens sharpened their knives. / The elms made tents of solace over grimy / streets and alley cats purred me to sleep.” She writes in graphic, unflinching language about the poor, banished now by politicians because they are no longer “real people like corporations.” There are elegies for her peer group of poets, gone now, whose work she cherishes but from whom she cannot help but want more. There are laments for the suicide of dolphins and for her beloved cats, as she remembers “exactly how I loved each.” She continues to celebrate Jewish holidays in compellingly original ways and sings praises of her marriage and the small pleasures of daily life.

This is a stunning collection that will please those who already know Marge Piercy’s work and offer a splendid introduction to it for those who don’t.

What Can I Ask: New and Selected Poems 1975-2014, by Elana Dykewomon.

Drawing on Dykewomon's impressive body of poetry, What Can I Ask: New and Selected Poems 1975-2015 assembles into a single volume poems from Dykewomon's three published collections, They Will Know Me By My Teeth (Megaera Press, 1976), Fragments from Lesbos (Diaspora Distribution, 1981), and Nothing Will Be As Sweet as the Taste (Onlywomen Press, 1995), as well as a selection of newer, uncollected poems. Dykewomon continues asking questions and reaching for answers, demonstrating the power of poetry to comfort and enrage, inspire and arouse.

A Stranger's Mirror: New and Selected Poems 1994-2014, by Marilyn Hacker. 

Drawing on two decades worth of award-winning poetry, Marilyn Hacker’s generous selections in A Stranger’s Mirrorinclude work from four previous volumes along with twenty-five new poems, ranging in locale from a solitary bedroom to a refugee camp.

In a multiplicity of voices, Hacker engages with translations of French and Francophone poets. Her poems belong to an urban world of cafés, bookshops, bridges, traffic, demonstrations, conversations, and solitudes. From there, Hacker reaches out to other sites and personas: a refugee camp on the Turkish/Syrian border; contrapuntal monologues of a Palestinian and an Israeli poet; intimate and international exchanges abbreviated on SkypeâÂ?Â?perhaps with gunfire in the background.

These poems course through sonnets and ghazals, through sapphics and syllabics, through every historic-organic pattern, from renga to rubaiyat to Hayden Carruth’s “paragraph.” Each is also an implicit conversation with the poets who came before, or who are writing as we read.

A Stranger’s Mirror is not meant only for poets. These poems belong to anyone who has sought in language an expression and extension of his or her engagement with the worldâÂ?Â?far off or up close as the morning’s first cup of tea.