From reviews of The Cornell Yeats series:

"For students of Yeats the whole series is bound to become an essential reference source and a stimulus to important critical re-readings of Yeats's major works. In a wider context, the series will also provide an extraordinary and perhaps unique insight into the creative process of a great artists."-Irish Literary Supplement

"I consider the Cornell Yeats one of the most important scholarly projects of our time."-A. Walton Litz, Princeton University, coeditor of The Collected Poems of William Carols Williams and Personae: The Shorter Poems of Ezra Pound

"The most ambitious of the many important projects in current studies of Yeats and perhaps of modern poetry generally.... The list of both general and series editors, as well as prospective preparers of individual volumes, reads like a Who's Who of Yeats textual studies in North America. Further, the project carries the blessing of Yeats's heirs and bespeaks an ongoing commitment from a major university press.... The series will inevitably engender critical studies based on a more solid footing than those of any other modern poet.... Its volumes will be consulted long after gyres of currently fashionable theory have run on."-Yeats Annual (1983)

New Poems, the last book that Yeats published in his lifetime, contains 35 poems, including "Lapis Lazuli," "The Municipal Gallery Re-visited," and "The Gyres." It is a volume in which Yeats attempted to make a fresh beginning. In language fueled by rage and frustration, the poems in this collection traverse emotions stimulated by Yeats's feelings toward women, his travels to Majorca, and political ideas inspired or provoked by Charles Parnell, Roger Casement, and Oliver Cromwell. "New Poems," write the editors, "has the newness of discovery in a vortex of exhaustion, desire, and calculation.... The sense of a renewal in the eighth decade of Yeats's life was precarious and, when it came, especially poignant."

The materials gathered here reveal the process by which Yeats wrote individual poems, established relations among them, and considered their possible placement in the collection. Photographs of drafts, stanzas floating within-but not trapped by-the margins of loose-leaf pages, in Yeats's characteristically illegible hand, are accompanied by the editors' transcriptions. Four appendixes contain an illustration for New Poems, Yeats's draft of the volume's table of contents, a poem written in collaboration between Yeats and Dorothy Wellesley, and three unpublished ballads.