Inspired by the familiar lines from William Wordsworth, “To me the meanest flower that blows can give / Thoughts that do often lie too deep for tears,” she uncovers the evidence presented to us daily by nature, in rivers and stones, willows and field corn, the mockingbird’s “embellishments,” or the last hours of darkness.From the Trade Paperback edition.

    Winner of the 2009 Gil Ott Book Award, this expanded edition of The Book of Frank features additional "Frank" poems and an essay by Eileen Myles.Praised by poet Anne Waldman as a "voyeuresque surreal portrait," The Book of Frank is also, in the words of “candid portrayal of human cruelty and its resultant fantasies of escape."

    Although they knew each other for just a few short years and spent a great deal of that time due to Keats' worsening illness, which forced him to live abroad, Keats wrote again and again about Fanny--his very last poem is called simply "To Fanny"--and wrote love letters to her constantly. She, in turn, would wear the ring he had given her until her death.This remarkable volume contains the love poems and correspondence composed by Keats in the heat of his passion, and is a dazzling display of a talent cruelly cut short.

    Now, acclaimed photographer Charles R. Smith Jr. interprets this beloved poem in vivid sepia photographs that capture the glory, the beauty, and the soul of being a black American today.

    This is particularly true when the definition of what constitutes nature writing is limited to work about the pastoral or the wild.Camille T. Dungy has selected 180 poems from 93 poets that provide unique perspectives on American social and literary history to broaden our concept of nature poetry and African American poetics. This collection features major writers such as Phillis Wheatley, Rita Dove, Yusef Komunyakaa, Gwendolyn Brooks, Sterling Brown, Robert Hayden, Wanda Coleman, Natasha Trethewey, and Melvin B. Tolson as well as newer talents such as Douglas Kearney, Major Jackson, and Janice Harrington. Included are poets writing out of slavery, Reconstruction, the Harlem Renaissance, the Black Arts Movement, and late twentieth- and early twenty-first-century African American poetic movements.Black Nature brings to the fore a neglected and vital means of considering poetry by African Americans and nature-related poetry as a whole.A Friends Fund Publication.

    With Bluets, Maggie Nelson has entered the pantheon of brilliant lyric essayists.

    When Here was published in Poland, reviewers marveled, “How is it that she keeps getting better?” These twenty-seven poems, as rendered by prize-winning translators Clare Cavanagh and Stanislaw Baranczak, are among her greatest work. Whether writing about her teenage self, microscopic creatures, or the upsides to living on Earth, she remains a virtuoso of form, line, and thought. From the title poem: I can’t speak for elsewhere, but here on Earth we’ve got a fair supply of everything. Here we manufacture chairs and sorrows, scissors, tenderness, transistors, violins, teacups, dams, and quips . . . Like nowhere else, or almost nowhere, you’re given your own torso here, equipped with the accessories required for adding your own children to the rest. Not to mention arms, legs, and astonished head.

    He has influenced generations of writers with his classic Letters to a Young Poet, and his reflections on the divine and our place in the world are disarmingly profound. A Year with Rilke provides the first ever reading from Rilke for every day of the year, including selections from his luminous poetry, his piercing prose, and his intimate letters and journals. Rilke is a trusted guide amid the bustle of our daily experience, reflecting on such themes as impermanence, the beauty of creation, the voice of God, and the importance of solitude. With new translations from the editors, whose acclaimed translation of Rilke's The Book of Hours won an ardent readership, this collection reveals the depth and breadth of Rilke's acclaimed work.

    Although he was only seventeen when he composed it, Hughes already had the insight to capture in words the strength and courage of black people in America.Artist E.B. Lewis acts as interpreter and visionary, using watercolor to pay tribute to Hughes's timeless poem, a poem that every child deserves to know.

    This volume, his shining legacy, moves from playful early poems to themes of mourning and loss, culminating in the ghazals of Call Me Ishmael Tonight. The title poem appears in print for the first time.from “The Veiled Suite”I wait for him to look straight into my eyesThis is our only chance for magnificence.If he, carefully, upon this hour of ice,will let us almost completely crystallize,tell me, who but I could chill his dreaming night.Where he turns, what will not appear but my eyes?Wherever he looks, the sky is only eyes.Whatever news he has, it is of the sea.

    Lyrics of Leonard Cohen

    Whether essay, novel, story, or poem, his inimitable voice rings true, as natural as the land he has farmed in Kentucky for over 40 years.Following the widely praised Given, this new collection offers a masterful blend of epigrams, elegies, lyrics, and letters, with the occasional short love poem. Alternately amused, outraged, and resigned, Berry’s welcome voice is the constant in this varied mix. The book concludes with a new sequence of Sabbath poems, works that have spawned from Berry’s Sunday morning walks of meditation and observation.Berry’s themes are reflections of his life: friends, family, the farm, the nature around us as well as within. He speaks strongly for himself and sometimes for the lost heart of the country. As he has borne witness to the world for eight decades, what he offers us now in this new collection of poems is of incomparable value.

    With loneliness and levity Schomburg takes the reader on a tour through a liminal world of dream-logic, informed by its own myth and folklore. Here there are new kinds of trees and new ways of naming the ages; jaguars and an abandoned hotel on the horizon. This book will crawl inside your chest and pump lava through your blood.

    Perhaps no American writer better appreciates those myriad drives; since the publication of his first collection of poetry . . . Harrison has become their poet laureate.”—Salon.comIn Jim Harrison’s new book of poems, birds and humans converse, biographies are fluid, and unknown gods flutter just out of sight. In terrains real and imagined—from remote canyons and anonymous thickets in the American West to secret basements in World War II Europe—Harrison calls his readers to live fully in a world where “Death steals everything except our stories.” In Search of Small Gods is an urgent and imaginative book—one filled with “the spore of the gods.”Maybe the problem is that I got involved with the wrong crowd of gods when I was seven. At first they weren’t harmful and only showed themselves as fish, birds, especially herons and loons, turtles, a bobcat and a small bear, but not deer and rabbits who only offered themselves as food. And maybe I spent too much time inside the water of lakes and rivers. Underwater seemed like the safest church I could go to . . .Jim Harrison is the author of thirty books of poetry, fiction, and nonfiction, including Legends of the Fall and Shape of the Journey. A long-time resident of Michigan, he now lives in Montana and Arizona.

    A. Powell since his remarkable trilogy of Tea, Lunch, and Cocktails, a finalist for the National Book Critics Circle Award so many of the best days seem minor forms of nearness that easily falls among the dropseed: a rind, a left-behind —from "no picnic" In these brilliant new poems from one of contemporary poetry's most intriguing, singular voices, D. A. Powell strikes out for the farther territories of love and comes back from those fields with loss, with flowers faded, "blossom blast and dieback." Chronic describes the flutter and cruelty of erotic encounter, temptation, and bitter heartsickness, but with Powell's deep lyric beauty and his own brand of dark wit.

    Here, alongside renowned masters, are internationally celebrated poets who have rarely, if ever, been translated into English.

    Magazine, which covered the Southern California, and national, poetry scene in the mid-90's. It covers the growth of slam, with interviews and profiles of many poets who are now important figures in American poetry.

    "They make us pay attention in new ways." In his second new and selected collection, Dunn subtly enlarges our sense of possibility. His new poems, suffused with affection and rue for our world, occasionally address the metaphysical, as in these lines—from “Talk to God”Ease into your misgivingsAsk him if in his weaknesshe was ever responsiblefor a pettiness—some weather, say,brought in to show who’s bosswhen no one seemed sufficiently movedby a sunset or the shape of an egg.Ask him if when he gave us desirehe had underestimated its power.

    PINK ELEPHANT is Rachel McKibbens' collection of beautifully crafted, emotionally searing poems depicting the fractured mythology of a family's tumultuous life. Picking up where Plath and Sexton have left off, McKibbens threatens the comfortable confines of confessional poetry with a take-no-prisoners surrealist and super-real edge. By creating a folklore out of brutality and violence (borne from misplaced or absent love) McKibbens ultimately locates both love and forgiveness, fearlessly placing them in their rightful home. McKibbens' PINK ELEPHANT is an audacious debut.

    “Every beautiful poem is an act of resistance.” As always, Darwish’s musings on unrest and loss dwell on love and humanity; myth and dream are inseparable from truth. “Truth is plain as day.” Throughout the book, Darwish returns frequently to his ongoing and often lighthearted conversation with death.Mahmoud Darwish (1941–2008) was awarded the Lannan Prize for Cultural Freedom in 2001. He was regarded as the voice of the Palestinian people and one of the greatest poets of our time.

    Expanding the palette of contemporary surrealism while harkening back to the stories and prayers at the origin of poetry, DESTRUCTION MYTH is a series of absurdist myths of creation and destruction that are at times both inventively silly and surprisingly emotionally direct. This book attempts the world again and again, only to find that even the most ridiculous of creations contains the seeds of its own destruction.

    Julie and Emma additionally contribute a number of their own poems and reveal the stories behind some of their family favorites. James McMullan's stunning watercolor paintings bring each page to glorious life with his spectacular vision and artistic point of view. The Collection, now featuring a brand-new cover design, is packaged with a special CD featuring mother and daughter alternately recording twenty-one poems, some of which are recited together. This special keepsake anthology is one that readers of all ages will return to and treasure.

    Poet, professor, and scholar Susan Snively has carefully chosen 35 poems of interest to children and their families. Each poem is beautifully illustrated by Christine Davenier and thoroughly explained by an expert. The gentle introduction, which is divided into sections by season of the year, includes commentary, definitions of important words, and a foreword.

    Frederick Seidel is, in the words of the critic Adam Kirsch, “the best American poet writing today.”

    However, instead of softening her words, she buttresses them with music from songwriters Kim Taylor and Chris Pureka, and music inspired by Devotchka.

    When I read a poem by Heather Christle I’m awed. – Dara WierThis is serious. Heather Christle’s poems in The Difficult Farm are dancing with the mysteries surrounding our condition and enlivening our language in the process. Christle’s poems are magical but they’re too busy to tell you that. These poems run and jump and float over an ever-evolving landscape where what’s at work is the serious business of discovery. In this book you will make discoveries of all kinds. These poems will shoot you to the moon, but which moon? – James Tate

    A mock elegy for the heady joys of old-time Soho, 'The Song of Lunch' displays the full range of Reid's wit, craft and human sympathy.

    Kids love him and his poetry...and so do adults, a combination of approbation that is unusual in today's world.

    and Beatrice, first introduced in The Babies. Unbeknownst to them they have come into being under the laws of Tsim Tsum, a Kabbalistic claim that a being cannot become, or come into existence, unless the creator of that being departs from that being. Along their journey they encounter many beguiling characters including The Healer, The Collector, Walter B.'s Extraordinary Cousin, and the Oldest Animal. These figures bewilder and dislodge what is at the heart of the immigrant experience: survival, testimony, and belonging.

    These bizarre, multifaceted short pieces are an homage bursting with love, oddball white trash, and twisted sincerity.Using a mélange of breathless energy and flamboyant desire, Conrad ensnares his reader from the first vignette, leaving us no choice but to doggedly follow him around the backwaters of Memphis. Conrad blurs the distinction between real and fictional experience to create a transcendental portrait of the legendary Elvis—the man who changed music and America forever. Through sources as disparate as graffiti, talk-show interviews, phone messages, and poetry, Conrad (whose unfettered energy is about as reality-based as an evening at Graceland) constructs a semimystical collage both celebrating and laughing with the cult of Elvis.Get ready for a surreal tour of a celebrity-obsessed, picaresque America from one of its most unusual guides. Conrad delights in turning his fantasies into our reality, making this frenetic fictionalized experience “as real as if it were real.”

    The world was 'somewhere inside his skull. And it hurt.' These poems and dramatic sketches, however, delight even when they hurt" -- ROSMARIE WALDROP"BORIS BY THE SEA was born when Aesop was reading Chekhov, and Chekhov was reading Nietzsche, and Nietzsche was watching The Brother From Another Planet. Actually Matvei Yankelevich wrote this book, but 'wrote' is incomplete... he seems more to inhabit this stateless, beautiful being who uses language to move his body or erase the sea: 'Boris looked over himself and realized there were many parts of him that he could not see. And only a small part of these parts was on the surface.' BORIS BY THE SEA could be a children's fable if it weren't so freakin' real, unreal, hyper-real: 'But people need each other to open each other up and see what is inside.' This is Boris--and he, like Pinnochio--has a clever master." -- ROBERT FITTERMANMatvei Yankelevich's first full-length book, BORIS BY THE SEA, is a work of existential theater that destroys the distance between puppeteer and puppet, between ego and id, between what is real and what is absurd. Consisting of prose, poems, and plays, the book creates its own world and then confronts the loneliness of having to exist within one's own creation. Like Daniil Kharms, Yankelevich has written a children's book for only the bravest of adults.

    Find out why it would be great to get accidentally killed by a bus. Find out how to perform hardcore sex and never have any fun. Find out why it would be better if your mom was a Ugandan hooker. And find out how to fill your mouth with confetti before blowing your own head off.Because a dead horse isn't ever fully beaten. Because when you get to Hell there will be a seat saved for you. Because you can't afford too many hellos. Because every time you come home, you stand in the door way and think, "It's time for a monster to eat me now." And then a monster eats you!Be brave enough to read this book.Be brave enough to clone yourself then kill the clone and eat it.

    Includes DVD. What happens when a person loses hope and yet still has the urge to make a photograph or draw with a stick in the dirt? Kate Greenstreet would like you to read this book as if you had found it left behind on the empty bus seat next to you--a document not directly addressing the question Why do we make art, but one that notices that one does make art, despite conditions, and that one would regardless. THE LAST 4 THINGS comes with a DVD of two movies created by the author. A poem is made by composition, by putting things together, and when you read this book your hands tingle. THE LAST 4 THINGS brings craftsmanship to reverie; it turns dreaming into meaningful work. It is a serious approach to the grammar of our emotions and you do well to read it with your hands--Thomas Basboll.

    "An oblique conversation with Degas reigns throughout this collection of oddly heartbreaking pieces. Against the backdrop of his paintings and sketches, we find ourselves in an intimate world, coherent but uncanny, where private memory becomes inseparable from the culture we hold in common, and all of it just barely cracked open, riven by interstices through which we glimpse the vivid but unsayable. White has given us a truly exceptional first collection, deeply musical and intricately haunting" Cole Swensen."

    These poems evoke that keenly, seeking justice but transcending judgment as they grieve loss, celebrate love, and find healing.

    Proceeding sentence by sentence, city by city, and backwards in time, poet and essayist Kazim Ali details the struggle of coming of age between cultures, overcoming personal and family strictures to talk about private affairs and secrets long held. The text is comprised of sentences that alternate in time, ranging from discursive essay to memoir to prose poetry. Art, history, politics, geography, love, sexuality, writing, and religion, and the role silence plays in each, are its interwoven themes. Bright Felon is literally "autobiography" because the text itself becomes a form of writing the life, revealing secrets, and then, amid the shards and fragments of experience, dealing with the aftermath of such revelations. Bright Felon offers a new and active form of autobiography alongside such texts as Theresa Hak Kyung Cha's Dictee, Lyn Hejinian's My Life, and Etel Adnan's In the Heart of the Heart of Another Country. A reader's companion is available at http: //brightfelonreader.site.wesleyan.edu/

    "If your life is burning well, poetry is just the ash."You don't need an advanced degree to reap the rewards of a rich poetic life–writing poetry is within the reach of everyone. Poet Sage Cohen invites you to slow down to the rhythms of your creative process and savor poetry by:Offering explorations of the poetic life and craftInspiring a feeling of play instead of laborious studyWeaving together lessons in content, form, and process to provide a fun and engaging experienceInviting you to add poetry to your creative repertoireWriting the Life Poetic is the inspirational companion you've been looking for to help you build confidence in your poetic voice. It takes poetry from its academic pedestal and puts it back into the hands of the people.Join the conversation with other poets at: www.writingthelifepoetic.typepad.com.

    #Charles Baudelaire, poete maudit, the self-styled "Satanic man" whose collection THE FLOWERS OF EVIL (Les Fleurs du Mal) is marked by paeans to sexual degradation such as "The Litanies Of Satan" and "Metamorphosis Of The Vampire." Baudelaire himself revelled in a life of filth, and kept as his poetic muse a diseased mulatto prostitute. THE FLOWERS OF EVIL is now presented in a brand new translation that vividly brings Baudelaire's masterpiece to life for the new millennium. This volume also includes key texts from Baudelaire's ARTIFICIAL PARADISE, his notorious examination of the effects of intoxication by alcohol and psychotropic drugs. In "On Wine And Hashish" and "The Poem Of Hashish," Baudelaire brilliantly evokes the agony and ecstasy of addiction. With an introductory essay by Guillaume Apollinaire, published for the first time in English. Cover illustration by Odilon Redon. Solar Nocturnal presents classic texts by key forerunners of modernism.#One of the founders of Modernism, an early champion of Cubism, and inventor of the term "Surrealist." Critic, poet, novelist, theorist, pornographer. #Russell Dent lives in Brighton, UK, and has previously translated he works of Maurice Rollinat.

    His language—lyrical and tender—helped to transform modern Arabic poetry into a living metaphor for the universal experiences of exile, loss, and identity. The poems in this collection, constructed from the cadence and imagery of the Palestinian struggle, shift between the most intimate individual experience and the burdens of history and collective memory. Brilliantly translated by Fady Joudah, If I Were Another—which collects the greatest epic works of Darwish's mature years—is a powerful yet elegant work by a master poet and demonstrates why Darwish was one of the most celebrated poets of his time and was hailed as the voice and conscience of an entire people.

    As well as her poems and mine, it contains a few classics and some kindly donated by Martin Newell.I have now decided to sell Verse for Ages for Sue Ryder, Duchess of Kent Hospice, and all proceeds will go to this charity.

    M. Forster's famous description of C. P. Cavafy--the most widely known and best loved modern Greek poet--perfectly captures the unique perspective Cavafy brought to bear on history andgeography, sexuality and language. Cavafy wrote about people on the periphery, whose religious, ethnic and cultural identities are blurred, and he was one of the pioneers in expressing a specifically homosexual sensibility. His poems present brief and vivid evocations of historical scenes andsensual moments, often infused with his distinctive sense of irony. They have established him as one of the most important poets of the twentieth century. The only bilingual edition of Cavafy's collected poems currently available, this volume presents the most authentic Greek text of every poem heever published, together with a new English translation that beautifully conveys the accent and rhythm of Cavafy's individual tone of voice. In addition, the volume includes an extensive introduction by Peter Mackridge, explanatory notes that gloss Greek historical names and events alluded to in thepoems, a chronological list of the poems, and indexes of Greek and English titles.About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expertintroductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

    His sophisticated insights into psychological complexities, his ability to capture the essence of nature's sounds and spoken dialects in written words, and above all his inimitable-and often surprising-imagery have entertained his legions of fans over successive generations. It represents Gulzar's most memorable compositions of all time, and feature anecdotes about the composition of the lyrics as well as sketches by Gulzar.

    The first new selection of this acclaimed poet’s work in nearly twenty years—now in paperback—is a rich reminder to poetry readers of his lasting contribution and his unending ability to puzzle, fascinate, and delight us.

    

    "STARS OF THE NIGHT COMMUTE haunts in three dimensions, knit by a below-words rumble in the sure rhythm of dreams"—Annie Finch. "Bozicevic's poetry has everything—a mastery of language, a distinct and singular voice and a worldview so visionary and all-encompassing, so as to both terrify and astound"—Noelle Kocot. "How does she do it?"—Eileen Myles. "Absolutely anything can happen next but whatever it is, it will be perfect.... She is able to stretch language to its most ineffable and musical limits while maintaining a masterful grasp of the colloquial.... She is able to perceive with the eyes of language—then render with lyrical immediacy—the experience of our collective sleepwalking soul, who may well soon awaken to discover that its terror was not a dream"—Franz Wright.

    This is contemporary poetic sincerity that is not too shy to see the heart, to eat the heart, to carry a heart and hold it when it catches a shake.Bailey's work has appeared in No Colony, Abraham Lincoln, NOÖ Journal, elimae, Opium Magazine and more. He is from Muncie, Indiana.

    One needs only to watch and listen in gratitude as poems informed by Bronk, Niedecker, Olson (to name a few), and the landscape of Humboldt County, California, take shape in AREAS OF FOG, Joseph Massey's first full-length collection."Joseph Massey sees with a composer's eye and sings in a microtonality all his own. Syllable by syllable phenomena miraculously unfold. This is fantastic work, understated, charmed, and open. The world simply happens in these poems and its moments are tuned marvels. You don't want to miss it." Peter Gizzi"These are poems of ear and eye, full of echoes and luminous images. With a sensuality born of melancholy, they attend to resonant details that hover at the edge of recognition, as when Pacific fog partly obscures the view." Devin Johnston"

    The Complete Poetry and Essential Prose of John Milton celebrates this author’s genius in a thoughtfully assembled book that provides new modern-spelling versions of Milton’s texts, expert commentary, and a wealth of other features that will please even the most dedicated students of Milton’s canon. Edited by a trio of esteemed scholars, this volume is the definitive Milton for our time.In these pages you will find all of Milton’s verse, from masterpieces such as Paradise Lost–widely viewed as the finest epic poem in the English language–to shorter works such as the Nativity Ode, Lycidas,, A Masque and Samson Agonistes. Milton’s non-English language sonnets, verses, and elegies are accompanied by fresh translations by Gordon Braden. Among the newly edited and authoritatively annotated prose selections are letters, pamphlets, political tracts, essays such as Of Education and Areopagitica, and a generous portion of his heretical Christian Doctrine. These works reveal Milton’s passionate advocacy of controversial positions during the English Civil War and the Commonwealth and Restoration periods. With his deep learning and the sensual immediacy of his language, Milton creates for us a unique bridge to the cultures of classical antiquity and medieval and Renaissance Christianity. With this in mind, the editors give careful attention to preserving the vibrant energy of Milton’s verse and prose, while making the relatively unfamiliar aspects of his writing accessible to modern readers. Notes identify the old meanings and roots of English words, illuminate historical contexts–including classical and biblical allusions–and offer concise accounts of the author’s philosophical and political assumptions. This edition is a consummate work of modern literary scholarship.

    Don’t count on Donne. Shelley and Keats: banished! And there’s absolutely no poet laureate from the golden or any other age. So fawning PhDs in love with little-understood verses by long-dead writers should go elsewhere. This is poetry for the rest of us—bad poetry!Pamela Russell’s unexalted (but thoroughly hysterical) poems mock, chide, accuse, tease, joke, undermine, point, and laugh at the world around us—and at anything that takes itself too seriously. Her non-canonical oeuvre includes: Tea For Two (A Tragedy); Nietzsche And The Ice-Cream Truck; Capitalism Can Fall Not Like I Fell For You; Inappropriately Touched By An Angel; Love Is Like A Toilet Bowl; and many more.  Who knew bad poetry could be so good!

    . . These poems literally vibrate with Kearney's precocious intellect and passion. They hum, they bang, they bite. What else can I say? I have never encountered poetry like this before."—Terrance Hayes

    Few writers in poetry or prose have attained the lucid intelligence and limpid economy of style that are the trademarks of his work. His wry humor, gentle skepticism, and perpetual sense of history's dark possibilities have earned him a devoted international following. This collection, gracefully translated by Clare Cavanagh, finds the poet returning to the themes that have defined his career—moving meditations on place, language, and history. Unseen Hand is a luminous meeting of art and everyday life.

    We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork."This book is not about heroes. English Poetry is not yet fit to speak of them. Nor is it about deeds or lands, nor anything about glory, honour, dominion or power, except War. Above all, this book is not concerned with Poetry. The subject of it is War, and the pity of War. The Poetry is in the pity. Yet these elegies are not to this generation, This is in no sense consolatory. They may be to the next. All the poet can do to-day is to warn. That is why the true Poets must be truthful. If I thought the letter of this book would last, I might have used proper names; but if the spirit of it survives Prussia, -- my ambition and those names will be content; for they will have achieved themselves fresher fields than Flanders."Wilfred Owen - 1917This Preface was found, in an unfinished condition, among Wilfred Owen's papers.

    

    Ralph Adamo's selection from Maddox's four books provides an accessible introduction to readers new to the work, but in its novel organization it also suggests new and surprising readings for those who know the work, or thought they did.

    But do expect language surprise and beautiful metaphors. . . . When [Akilah] Oliver presents her experiences in metaphor-rich language, the reader feels what she feels: incredible loss, infinite pain."—Library Journal“An extraordinary gift for everyone.”—Alice NotleyWritten for her son, Oluchi McDonald (1982–2003), Akilah Oliver’s poems incorporate prose, theory, and lyric performance into a powerful testimony of loss and longing. In their journey through the borderlands of sorrow, they grapple with violence, find expression in chants, and, like the graffiti she analyzes, become a place of public and artistic memorial. “If memory is the act of bearing witness,” she writes, “then the dream is a friend driving us somewhere.”Akilah Oliver is the author of the she said dialogues, recipient of the PEN/Beyond Margins Award. Born and raised in Los Angeles, she currently lives in Brooklyn and curates the Monday Night Reading Series at the Poetry Project.

    These poems populate empty parking lots and seaside pawnshops and depart from a port at Deadhorse, Alaska. A narwhal gives cryptic advice to those requiring guidance on eulogies and extracting minerals from ghosts. Allison Titus presents us with quiet meditations on how absence often remains fixed as longing, a red thread knotted at the wrist.

    Complex, layered lyrics in a large photographic folder evoke both the archival nature of Gardner's poetry and the unbound sea thematically resonating in herso. Typeset by Susana Gardner; designed, published and distributed by Nicole Mauro and The University of Theory and Memorabilia press for year 3 of the Dusie chapbook Kollektiv.

    As the poems progress, eight letters arrive written by non-human addressees (a nightgown, a grove of trees, a wooden spoon, others) at random points over the last 2,200 years. They are messages from home and pleas for understanding, warnings and promises of change. These in turn ignite other poems and themes which anticipate the next arrival. Taken together, the letters form an armature, a living skeleton fleshed by real and metaphenomenal experience. Throughout, a variety of styles appear and no single approach to poetry pervades. Singly, these poems should challenge and entertain. As a group they must transform and evolve our experience of sitting down with a book of poems.

    Evoking the styles of Murasaki and other women writers of the Heian-period Japanese court, Lee Ann Roripaugh presents a collection of confessional poems charting the course of that perilous year. Roripaugh, in both an homage to and a dialogue with women writers of the past, explores the trials of women facing the treacherous waters of time while losing none of the grace and decadence of femininity. Often calling upon the passing of the seasons and revelations of nature, these lyrically elegant poems chronicle the dangers and delights of a range of issues facing contemporary women—from bisexuality and biracial culture and identity, to restless nights and lingering memories of the past. The pleasures of the senses collide with parallels of time and the natural world; tangible solitude lies down beside wistful memories of relationships gone by. What is ultimately revealed is both heartbreaking and illuminating. At once provocative, humorous, and bittersweet, On the Cusp of a Dangerous Year is a pillow book for the twenty-first century, providing a candid and whimsical look into the often tumultuous universe of the modern woman.

    

            Whether you are a lover of poetry or have yet to discover its power, Rosen offers a new way to experience a poem. She encourages you to feel the poem as you might an affirmation or sacred text, which can align every level of your being.         In an uncertain world, Saved by a Poem is an emphatic call to cultivate the ever-renewable resources of the heart. Through poetry, the unspeakable can be spoken, the unendurable endured, and the miraculous shared. Weaving teaching, story, verse, and memoir, Rosen guides you to find a poem that speaks to you so you can take it into your life and become a voice for its wisdom in the world.

    Told through a kaleidoscopic braid of stories, letters, and riddles, this stunning debut collection follows Xiaomei's life as she grows into her sexuality and searches for a way to deal with her complicated histories.At times, meditation, celebration, investigation, and elegy, this is a book about personal transformation within the context of a family forced to make do—a Makeshift Family—and how one might create new language to name the New World.

    Love Songs, page 7 Rivers to the Sea, page 41 Flame and Shadow, page 99 Helen of Troy And Other Poems, page 149

    These include contact information, submission preferences, insider tips on what specific editors want, and--when offered--payment information.In addition to the listings, Poet's Market offers articles on the Craft of Poetry, Business of Poetry, and Promotion of Poetry--not to mention new poems from today's best and brightest poets, including Beth Copeland, Joseph Mills, Judith Skillman, Laurie Kolp, Bernadette Geyer, and more. Learn the habits of highly productive poets, the usefulness of silence, revision tricks, poetic forms, ways to promote a new book, and more.You also gain access to:Lists of conferences, workshops, organizations, and grantsA free digital download of Writer's Yearbook featuring the 100 Best Markets*Includes access to the webinar "How to Build an Audience for Your Poetry" from Robert Lee Brewer, editor of Poet's Market*

    In his follow-up to the acclaimed THE TO SOUND (Verse Press/Wave Books 2004), Eric Baus's second full-length poetry book is a continuation of his experimentation with the elongated lyric prose form. "In TUNED DROVES, there's a figure who discovers 'human or animal bones in the REM movements of babies.' As if that isn't fabulous enough, there's writing that's both prehensile and irreversible: a dismantled mouth that's capable of both a 'normal hello' and the subtly grotesque 'language of flags.' In this way, Eric Baus writes at the dark edge of an imaginary nation, collapsing us, with each climbing page, into an oral, incendiary architecture. As a poet, then, he's the flame-thrower, he's the one who says: catch"--Bhanu Kapil.

    African American Studies. Asian American Studies. LGBT Studies. Winner of the Publishing Triangle's 2010 Thom Gunn Award for Gay Poetry and the 13th Annual Asian American Literary Award for Poetry. "I applaud Ronaldo Wilson's pathbreaking movement into what has never, never, in history, been said. About sexuality, in particular, these poems speak with incorrigible and raving clarity. And, always, they display intellectual curiosity, and an impatient, gorgeous readiness to make language new."--Wayne Koestenbaum"[A] warning to anyone tempted to believe that in objectification lies freedom. Livid inside an apocalyptic negative capability, these poems are constructed through their maker's deconstruction, and reading, I too, felt unmade."--Claudia Keelan"Ronaldo Wilson's POEMS OF THE BLACK OBJECT turns the parenthetical inside out, contents kicking and alive, person, race and being: where fate is in store in you, not for you, out there; in consciousness, and barely conscious, where consciousness is the accumulation of the scarcely discernible experiences. Wilson's poems captures states of person, the thinking being, the being thinking, the being perceived, and all the slippage between stages of person, Black and on the page, folding and unfolding layers of social construction."--Erica Hunt"The force here is in the erotic attachment between the human figures certainly--but also (and more surprisingly) between history and present-day experience. Ronaldo Wilson teases the reader with earnestness while he refracts event and experience. The effect is dazzling. The poems are panoramic. One part slave narrative, one part pillow book, POEMS OF THE BLACK OBJECT is a triumph of the social lyric: violent, tender, absurd."--G.E Patterson"For all the disturbances examined in this intensely lucid book of bodily desire, dead porn stars, and the high art of human survival, the voice of these poems manages to maintain a kind of giddy composure. Perhaps the trick of it comes through his sense that, 'pattern organizes trauma, and so does speed.' It's not so fast, the pace here; we're made to look, to see, with shrewd intention. It's that Ronaldo Wilson's writing doesn't let you get too comfortable. It shifts experience and reckoning from poem to essay, theory to epistle, these intuitive modes of a person in search of a particular poetics, darting around sharp visions that could bloody or shine on the tempestuous landscape 'the black object' emerges from."--Tisa Bryant

    A modern metaphysical, Donaghy wrote poetry of great wisdom, grace, charm, erudition and consummate technical accomplishment; this book gathers together all Donaghy's mature poetry, and includes the full texts of his four published volumes, as well as a number of fine uncollected pieces. As the poet-critic Sean O'Brien has remarked, Donaghy will come to be seen as one of the representative poets of the age. The publication of his "Collected Poems" is a major event in the literature of our time.

    The tension is sustained by an imagination of remarkable fertility and a rich and crowded verbal palette. Simonds writes to sting. She's like a Plath whose capacity for erotic altruism has thoroughly imploded, producing a crisis that only a brilliant talent could turn into a field of triumphantly exhibited power. Simonds has such a talent." --Cal Bedient

    Barn Burned, Then implicates Objectivism in this imagining, to create poems of the conglomerate of bank and barn—words shown to be made of contingent cultural forces.” In terse, tautly crafted poems that are dynamically contemporary, Taranksy assesses our cultural moment with unrelenting courage and candor.

    "Of the many ways of knowing the world, Stacie Cassarino in her elegant and poignant first book of poems, ZERO AT THE BONE, reminds us of the primacy of the senses. She tells us 'our mouths try to get it right' or that the 'mouth of the trees' will swallow us whole, by which she means taste is the most direct authenticator of experience and also the most defenseless because it's instruments of lips and tongue are eager. As a result, her great pre-occupation is with the vulnerability of human relationships, but as the title of the book suggests, Cassarino is fearless in her explorations of the risks. She knows 'you've got to live like everything will hurt you'"--Michael Collier.

    It is both an elegy and an inquiry into many of the themes that Moten has explored throughout his career: language, music, performance, improvisation, and the black radical aesthetic and political tradition. In Moten’s verse, the arts, scholarship, and activism intertwine. Cadences echo from his mother’s Arkansas home through African American history and avant-garde jazz riffs. Formal innovations suggest the ways that words, sounds, and music give way to one another.The first and last poems in the collection are explicitly devoted to Moten’s mother; the others relate more obliquely to her life and legacy. They invoke performers, writers, artists, and thinkers including not only James Baldwin, Roland Barthes, Frederick Douglass, Billie Holiday, Audre Lorde, Charlie Parker, and Cecil Taylor, but also contemporary scholars of race, affect, and queer theory. The book concludes with an interview conducted by Charles Henry Rowell, the editor of the journal Callaloo. Rowell elicits Moten’s thoughts on the relation of his poetry to theory, music, and African American vernacular culture.

    The poems are mercilessly recursive, placing pressure on the lyric as a mode of both the elegiac and the ecstatic. The result is an enforced silence, urgent with grief.

    Cross-Genre. Asian American Studies. In this new prose document, Bhanu Kapil follows a film crew to the Bengal jungle to re-encounter the true account of two girls found living with wolves in 1921. Taking as its source text the diary of the missionary who strove to rehabilitate these orphans--through language instruction and forcible correction of supinated limbs--HUMANIMAL functions as a healing mutation for three bodies and a companion poiesis for future physiologies. Through wolfgirls Kamala and Amala, there is a grafting: what scars down into the feral opens out also into the fierce, into a remembrance of Kapil's father. The humanimal text becomes one in which personal and postcolonial histories cross a wilderness to form supported metabiology. Lucidly, holographically, your heart pulsed in the air next to your body; then my eyes clicked the photo into place. Future child, in the time you lived in, your arms always itched and flaked. To write this, the memoir of your body, I slip my arms into the sleeves of your shirt. I slip my arms into yours, to become four-limbed.

    Tickets are a tense, electrifying few seconds from going on sale. Eyeing the time, you're hitting "Refresh," and elsewhere, all your friends are doing the exact same thing. That's Paul Siegell's jambandbootleg. A widespread, high-spirited head rush. Desperation, fretfulness—all out life-leaping. "The party starts in the parking lot," indeed. With poems shaped like a guitar, the American flag, even a Golgi apparatus, Paul's monumental artworks could easily transform into posters. His is a poetry of exploration, heart and astonishment. Simply put: read Paul Siegell's music. Read it as if listening to the most banging bootleg.

    The ambition of Ish Klein's debut collection, UNION!, like that of the Soviet/Russian Soyuz space program it's named after, is to take us to another world so that we may better see our own. Klein traverses ocean, earth, and sky with spiritual longing as she compassionately describes human loneliness, and each poem is a love letter written to a civilization left behind. Here is a voice like A spark from Hard Silence made mad, replete with yearning and fierce with mystery, and even as the poems teeter on the invisible line between wit and sorrow, each poem attests to Klein's promise: I sympathize with all the creatures in this story.

    We get illuminating glimpses of the poet’s background and childhood, in poems like “Going Home” (his mother the daughter of sharecroppers, his father the black sheep in a family of rich Virginia merchants) and “Summer at Blue Creek, North Carolina,” a classic scene of pulling water from the well, sounding the depths.The title of the collection is drawn from the startling “Ovid in Tears,” in which the poet figure has fallen and is carried out, muttering faintly: “White stone in the white sunlight . . . Both the melody / and the symphony. The imperfect dancing / in the beautiful dance. The dance most of all.” Gilbert reminds us that there is beauty to be celebrated in the imperfect—“a worth / to the unshapely our sweet mind founders on”—and at the same time there is “the harrowing by mortality.” Yet, without fail, he embraces the state of grief and loss as part of the dance.The culmination of a career spanning more than half a century of American poetry, The Dance Most of All is a book to celebrate and to read again and again.

    When you pick up PINK & HOT PINK HABITAT go directly to the table of contents, look at the titles there, you want to read the poems called by these names, then go to the first poem, being afraid is a good thing, then go to 'Watch the Village, ' and then find the poem where it's written 'we do not need a / country. We can destroy ourselves here.' Somewhere in these pages Lyalin writes, 'I start the time machine.' Well, she does, and the heart machine and the brain machine, her poems can go anywhere, and they choose to go where it matters. These poems are gorgeous, surprising, full of necessary knowledge and feeling.--Dara WierNatalie Lyalin's poems are animated by an urgent, slightly deranged whisper. In the dead of night, when the inane games have finally ended and the 'normal' kids are all asleep in their bunks, she calls over to you (Are you awake? Can you hear?). She's asking you to shake off your sleeping bag and go out into that pink and hot pink habitat to commune with the headless boy birds, the beaver humans, and the ghost of Otto Frank. I suggest you do it.--Travis NicholsIn PINK & HOT PINK HABITAT, Natalie Lyalin makes heat. The pages and words rub at each other to make something more than fire, more like a bomb, more like a thousand bombs going off at once. This poet is more than bombmaker though. She herself is the bomb she constructs and sets off upon your reading. In these poems, Lyalin enacts the old work of Flaubert that 'The artist must be in his work like God in his Creation, invisible and all-powerful, so that he is felt everywhere but not seen.' When you are done with this book, your own life is more than bombed out. It is more than a 'dusty' 'gem' sitting in front of you because '[y]our family is in flight.' You yourself are transformed into a bird rising out of the fire, a 'Miniature Life of a Raven, ' where Lyalin has made 'stars for your teeth, ' where your old ideas are nothing more than 'ancient dust on velvet.'--Dorothea Lasky

    Battered but never beaten, this narrator finds salvation in ecstatic communion with the gods of jazz and especially boxing: “O Tommy Hearns, O blood come down,” she prays. “Find your way to Hungerford where my/father glowers over me. Show him/how the bag does penance.” In such prayers she finds the strength to survive the home she has to leave and, once she does, the strength to face the fires she finds flaring the country over, from Los Angeles to Laramie. Apocalyptic Swing is a work of unbelievable force, a devastating and glorious testimony about America—its lore, disappointments, and promise.

    . . memoirs, dialogues, choral performances witnessing scenes both weird and familiar."—Rain Taxi"Dara Wier's Reverse Rapture is a mosaic whose colossal proportions contradict the mundane character of its countless self-contained tesserae. It may not be for the faint of heart—most intense experiences aren't—but those who stay with it will find themselves face to face with a world whose eerily sharp focus suggests recent satellite photographs of Mars. And they will never be the same again."—John AshberySpanning 1977 to 2006, Selected Poems is a major retrospective that will stand as an indispensable record of turn-of-the-millennium poetry. The progression of Dara Wier’s poetry over the last thirty years mirrors—and simultaneously transcends—the evolution of American poetry, from the lyric poems of the Deep South to the complex intensity of poems in more recent volumes such as Remnants of Hannah and Reverse Rapture. Selected Poems confirms Dara Wier as one of contemporary poetry's most important and insistent voices.Dara Wier is the author of ten collections of poetry, most recently Remnants of Hannah (Wave Books, 2006) and Reverse Rapture (Verse Press, 2005). She is the recipient of numerous fellowships and awards, including those from the Guggenheim Foundation and the NEA, and she has taught at numerous universities and conferences throughout the country. Wier is on the permanent faculty of the University of Massachusetts Program for Poets & Writers.

    OVER HERE is a collection of works written for farewell parties in the era of endings. These poems are culled from notebooks kept during imaginary road trips across the late empire, serving as toasts to new futures. Come inside for a strange celebration, and watch for sparks.

    Part 1, Life and Times, traces Larkin’s early years and follows his development, within his career as a university librarian, into one of the most important and popular voices in twentieth-century poetry. Part 2, Artistic Strategies, explores a range of methodologies and aesthetic influences by which Larkin was able to create poetry at once both accessible and profound. Part 3, Reading Larkin, provides detailed critical commentary on many of the poems from his three major collections, The Less Deceived, The Whitsun Weddings and High Windows. Part 4, Reception, outlines the history of Larkin’s reputation from the mid-1950s to the present, examining the debates and ideological confrontations to which his poetry has given rise.BEWARE FAKE REVIEWS ON AMAZON.COM. ****Five Star Reviews on Amazon UK*****Insightful Assessment of a still under-rated Poet. I found this book gripped me from the start. Confirming some things I though I knew, illuminating areas I knew little about and flatly contradicting some misconceptions, the book is insightful, sympathetic and, of course, literate. Here is the real Larkin - a poet I admired more than liked, revealed to be more interesting and accomplished than I knew. By RoyAn Excellent Larkin Teacher provides a great insight into the Poet and his Times. This book reflects great scholarship. Mr Gilroy is a dedicated and insightful reader of Larkin and I recommend this book simply because it has made Larkin one of my favorite poets. By Alexandros Alexandropoulos

    . . . By turns clowning, worshipful, heartbroken, and Faulknerian, these lyrics transport the reader to a familiar place made utterly strange.”—Srikanth Reddy Kiki Petrosino earned graduate degrees from both the University of Chicago and the Iowa Writers’ Workshop. Her poem, “You Have Made a Career of Not Listening,” was featured in the anthology Best New Poets 2006. She lives in Iowa City.

    They arrive, finally, in a place of beauty, mystery, grief, and joy. Poems from this collection were selected by Marie Howe as winner of the 2006 Tupelo Press Snowbound Chapbook Award.Cecilia Woloch was named 2004 Georgia Author of the Year in Poetry for her last collection, Late (BOA Editions, Ltd., 2003). She is founding director of the Summer Poetry Workshop in Idyllwild, California. She lives in Atlanta, Georgia, and Los Angeles, California, and travels extensively in Europe.From Devils Lake Journal:“Celia Woloch’s collection Carpathia is about distance, both physical and emotional. Her poems occupy a lush landscape where the natural world succombs to loss, where “fat bees [fall] into the wine” and the ghost swans have “wings of death.” The highlights of this collection are her numerous postcard poems which feel balanced in their attempts to be both strange and authentic without becoming burdened with ironic oddity that I’ve seen so much in recent poetry. Her postcards move, making leaps with each new sentence, and their prose-poem form opens these poems up to be more peculiar in a way that’s all-together successful.”From The Cosmopolitan Review:“One of the joys of Cecilia Woloch’s poetry is that it so beautifully and skilfully intermingles humour with emotional intensity, sensuality, and existential profoundness...Underneath it all, there lies a clear conviction that each of us could have been somebody else, could have been born and lived somewhere else, and yet “We all dwell in one country, O stranger, the world.”

    Bringing together the greatest love poetry from around the world and through the ages, ranging from W. H. Auden to William Shakespeare, John Donne to Emily Dickinson, Robert Browning to Roger McGough, this new anthology will delight, comfort and inspire anyone who has ever tasted love - in any of its forms.

    From these disparate elements she fashions a female persona—“clairvoyant with great shoes”—who is both bracingly modern and movingly vulnerable. Through her poems we traverse the landscape of a woman’s life (girl, mother, lover), navigating a terrain tinted with mythology and relic yet still fresh and uncharted. The poems revolve around issues of identity—and the ways in which identity is both inherited and constructed/reconstructed. Or, as one poem puts it, “The planet floating backwards / whirling some of us older than the stars, some of us nascent and bare.” Although she employs techniques of avant-garde poetry, Giménez Smith shades and deepens the New World landscape into a territory of rare lyric intensity and energy. Humorous, sly, sexy, sophisticated, these poems are animated by passion and hard-won knowledge. In these poems we encounter such strange beauties as a girl assembling and disassembling, a moth trapped in a glass of water, new-age fairy godmothers, and a lark who sings for the milkman. Yet we are also made aware of how these beauties reflect the speaker’s troubles—her effort to employ, in the words of one of her most memorable poems, “Only the invisible post where she writes the encounters / with air’s lusters. Only the imagined hour / with which she’s made a fragile craft.” Vivid and charged with an inner light, these are poems that linger and expand in the mind and memory.

    Poems in Bulgarian and English; parallel text.

    . . focus is so unwaveringly aimed toward the transcendent—not God, but the beloved—that we seem to slip into a less cluttered time.”—The Virginia Quarterly Review, “Editor’s Choice”"Mary Oliver calls him '...a Walt Whitman without an inch of Whitman's bunting or oratory.' In these pages, he is more nearly a modern-day Rumi. This is not primarily a poetry of image, but of ideas, perfectly distilled. Orr brings together the monumental themes of love and loss in small, spare, and exquisite koan-like poems."—ForeWord"...magnetic poems that open the world of lyrical verse to the larger questions of what is true and timeless." —The Bloomsbury ReviewGregory Orr continues his acclaimed project on the “beloved” with a lyrical sequence about the joys and hungers of being fully engaged in life. Through concise, perfectly formed poems, he wakes us to the ecstatic possibilities of recognizing and risking love. Mary Oliver has called this project “gorgeous,” and said that he "speaks of the events that have no larger or more important rival in our lives—of our love and our loving."If to say it onceAnd once only, then stillTo say: Yes.And say it complete,Say it as if the wordFilled the whole momentWith its absolute saying.Later for “but,” Later for “if.”NowOnly the single syllableThat is the beloved.That is the world.Gregory Orr is the author of ten books of poetry. He teaches at the University of Virginia and lives in Charlottesville.

    Jared Stanley strikes at the absurd thingness of things, rings out their histories, traces their loss in the 6th extinction, figures his voluminous overhearing into poems rhetorical and fragmented, mournful and comedic.

    —from "Refuge"With sheer wit and keen observation, Dobby Gibson's Skirmish puts into conflict the private and public self, civil disobedience and civic engagement, fortunes told and fortunes made. These poems imaginatively, sometimes manically, move from perception to perception with the speed of a mind forced moment by moment to make sense of distant war and local unrest, global misjudgment and suspicious next-door neighbors, the splice-cuts of the media and the gliding leaves on the Mississippi River.

    Yet the poems relate to the images in an oblique rather than a direct way. Poteat uses this framework to construct a mysterious and engaging book that inhabits many worlds at once, bridging the real and the imagined, the traditional and the experimental, the surreal and the ordinary.As each diagram and scene gives rise to a poem that intertwines the life of German artist and printer J. G. Heck—imagined, as little is recorded—with Poteat’s own, the book reveals a preoccupation with landscape that encompasses both the precision of Heck’s carefully labeled sine waves and brass devices as well as the eeriness of his depictions of skeletal hands or dogs tearing apart a wounded boar. Poteat’s intense interest in the natural world is set against a sense of a world behind the world, where each living thing is properly named and the Spirit glows purposefully above the forest, ready to heal if asked in the correct manner.From “Illustrating how to catch and manufacture ghosts”: Tonight there is no wind. Even the heat / is on its knees, and the moths laying eggs / on the side door are not being honest / with themselves. Though their enterprise / is beauty, the eggs will not last through / the rains, and so it goes. / A slug, fresh as cinnamon, steps through / the snuffed coals of my stove.

    This debut includes his most notable performance poems, stories, humorous anecdotes and how-to's. This handbook moves between serious love tomes, like "Open Letter to Neil Armstrong" and "Every Day," to his most irreverent and requested works, like "Puddin'" and "Like." A true road-dog, McGee travels with words and camera, many results of which are captured in this collection. The humor contained in these pages are a campfire on a lonely winter night, the poetry - a reason to shout about love.

    Teare provides us with poems that insist on the simultaneous physical embodiment of tactile pleasure—that which is found in the textures of thought and language—as well as the action of syntax. Partly informed by an ecological imagination that leads him back to Emerson and Thoreau, Teare's method and fragmented style are nevertheless up to the moment. Remarkable in its range, Sight Map serves at once as a cross-country travelogue, a pilgrim's gnostic progress, an improvised field guide, and a postmodern "pillowbook," recording the erotic conflation of lover and beloved, deity and doubter.

    We've all stuck a finger in its surface and wondered what the hell was under there. Perhaps after an accident the pond gets drained and gaggles of neighborhood kids then find their bikes and balls and other bits of tossed ephemera. The Pond is like a catalog of all that: of yesterdays both dreamt and recollected with clarity.The Pond will also be published as the final section to his forthcoming full-length book, Scare, No Scary published by Black Ocean

    Ranging in style from measured narratives to fragmented lyrics that convey the ambiguity of loss, these poems both arc into the past and question the possibility of the future, exploring the ways in which memory at once sustains and fails love. Ultimately the poems are elegies not only to one beloved mother, but to the large and diffusive presences of Keats, Mandelstam, a concentration camp near Prague, a coming-of-age on a Greek island, and the nearly traceless particles of neutrinos that--as with each detail toward which the poet lends her attention -- become precious as the mother departs from her position at the center of the world. Furious, redemptive, and deeply immediate, Houses are Fields is a beautifully moving first book.

    Winner of the 2008 New Issues Poetry Prize, judged by Carl Phillips. "Here is a rarely expressed self-awareness that accedes as little to words as it does to the pain of the condition itself"--Fanny Howe.

    A brutal tour de force."--Juan Felipe Herrera, author of Half of the World in Light"Durbin's debut volume sizzles...Throughout this deeply feminist, groundbreaking collection, she employs both the elemental forces of her intellect and a vigorous intensity of startling imagery to implode or explode conventional notions of sexuality and womanhood."--Maurya Simon, author of Cartographies"Durbin writes first-rate traditional lyric poems, while at other times she writes poems that push the limits of the avant-garde and, most amazingly, at other times, she makes a loving marriage of the two! This is an exceptional debut by a young poet burning with talent."--Thomas Lux, author of God ParticlesBlack Goat is an independent poetry imprint of Akashic Books created and curated by award-winning Nigerian author Chris Abani (author of Becoming Abigail and Song for Night). Black Goat is committed to publishing well-crafted poetry with a focus on experimental or thematically challenging work. The series aims to create a proportional representation of female poets and non-American poets, particularly poets from Africa.Little Red Riding Hood, Jezebel, Catherine Breillat's Fat Girl, Marilyn Monroe, Amelia Earhart, Pier Paolo Pasolini's Christ--these are only a few of the archetypal and pop cultural characters that populate Kate Durbin's strange and mesmerizing coming-of-age poetry collection, The Ravenous Audience.

    Asian American Studies. Winner of the 2008 DeNovo Poetry Prize. "Jason Koo's MAN ON EXTREMELY SMALL ISLAND is an absurdly funny meditation on loneliness, desire and the silences between us. By turns mythic and pop, Koo's poems explore the anger, betrayal and compromises of young love, as well as the complexities of communication within families. MAN ON EXTREMELY SMALL ISLAND is a self-effacing look at anguish, an expansive and inclusive debut"--Denise Duhamel.

    Howard Foundation is pleased to present The Collected Poetry of Robert E. Howard. This volume collects all of Howard’s known verse (more than 700 poems), excluding only certain draft and/or variant versions of his poems which are not significantly different from published versions. It also includes the prose poems published in Etchings in Ivory, title and first line indexes, and “Barbarian Bard: The Poetry of Robert E. Howard” by Steve Eng.This massive volume, over 800 pages, will be printed in hardback with dust jacket, in a limited quantity. Cover design is by Jim Keegan. The book is expected to ship in 2009.

    Winner of the 2008 Anhinga Prize for Poetry selected by Sheryl St. Germain. Open this book up anywhere and you'll find a poem of fierce and uncompromising energy and insight, a poem that doesn't pull any punches or take any prisoners, a poem that will both stun and uplift, even as it wounds and sometimes descends into darkness. "I've never read a poet who understands more fully the brutal paradoxes of love and of loving damaged things, nor have I ever read one whose epiphanies felt truer. Even more than the real warnings, this collection represents the real thing and you'll be changed by reading it"--Sheryl St. Germain.

    "HYPERGLOSSIA is part anthropology, part anatomy; it is part song and part dissonance. Yet Szymaszek's poetry is always too wily, and too alive with its own pleasures--in short, too wise--to accept any conscription to stable identity. In this 'skirmish with a makeshift tongue, ' the poet keeps us 'attuned to close-calls and eruptions of selfhoods.' Demonstrating that language and identity are 'a temporary site, ' this poetry is a cultural 'mirroror, ' full of sly heresies which abet Szymaszek's poetic subversions so that she is able to 'elude detection and find company.' Indeed, in her company, we can be grateful to find such a 'superior sayerer'"--Elizabeth Robinson. Cover art: "Betty's Revenge" by Laurel Spar