"Poignant, sexy. . . lyrical, passionate. . . cool and delicate. . . hot as a chili pepper."--Boston Globe.

    Crazily enough, it's also packed with truth.”—NPR“The voice of this third book from Bibbins is marked and numbed by the onslaught of American media and politics that saturate the Internet, television, radio, and smartphone: ‘the way things are going, children/ will have to upgrade to more amusing.’ Much like advertisements or news stories vying for viewer’s attention, the book intentionally overwhelms, eschewing sections; the author instead differentiates the poems by repetition, creating a sort of echo chamber, similar to the way viral information cycles through social media platforms.”—Publishers Weekly, starred review"[A] hilarious send-up of contemporary values and an alarm bell of sorts, directing attention to all that is so sinister in our civilization.”—American Poets"Whip-smart and wickedly funny, They Don't Kill You is Bibbins's most authoritative and self-possessed collection to date."—Boston ReviewThe poems in Mark Bibbins's breakthrough third book are formally innovative and socially alert. Roving across the weird human landscape of modern politics, media-exacerbated absurdity, and questionable social conventions, this collection counters dread with wit, chaos with clarity, and reminds us that suffering is "small//compared to what?"Mark Bibbins teaches in the graduate writing programs at The New School and Columbia University, and edits the poetry section of The Awl. He lives in New York City.

    Bok leaves his village to try his luck in Kiev, and after denying his Jewish identity, finds himself working for a member of the anti-Semitic Black Hundreds Society. When the boy is found nearly drained of blood in a cave, the Black Hundreds accuse the Jews of ritual murder. Arrested and imprisoned, Bok refuses to confess to a crime that he did not commit.

    Notley's work has always been highly narrative, and her new book mixes short lyrics with long, expansive lines of poetry that often take the form of prose sentences, in an effort "to change writing completely." The title piece, a folksong-like lament, makes a unified tale out of many stories of many people; the middle section, "The Black Trailor," is a compilation of noir fictions and reflections; while the shorter poems of "Hemostatic" range from tough lyrics to sung dramas. Full of curative power, music, and the possibility of transformation, In the Pines is a genre- bending book from one of our most innovative writers.

    Yet the fiction books in the Borealis imprint certainly belong to a world other than our own. This line encompasses our science fiction, fantasy and horror novels and anthologies.

    Collins’ emotional complexity and uncommon range make this debut both thrillingly imaginative and ethical in its uncompromising attention to detail. In her Foreword, contest judge Louise Glück observes, “I know no poet whose sense of fraud, the inflated emptiness that substitutes for feeling, is more acute.” Glück calls Collins’ volume “savage, desolate, brutally ironic . . . a book of astonishing originality and intensity, unprecedented, unrepeatable.”

    A collection of astonishing originality and intensity, it spoke of politics, sexual emancipation, and what it meant to be an American. From the joyful “Song of Myself” and “I Sing the Body Electric” to the elegiac “When Lilacs Last in the Dooryard Bloom’d,” Whitman’s art fuses oratory, journalism, and song in a vivid celebration of humanity. Containing all Whitman’s known poetic work, this edition reprints the final, or “deathbed,” edition of Leaves of Grass (1891–92). Earlier versions of many poems are also given, including the 1855 “Song of Myself.”Features a completely new—and fuller—introduction discussing the development of Whitman's poetic career, his influence on later American poets, and his impact on the American cultural sensibilityIncludes chronology, updated suggestions for further reading, and extensive notes

    The three are attended and visited by family and close friends: Agnes and her mother Felicity, estranged further by the latter's dementia; Brian and Beverly whose martial complications are exacerbated by Brian's new lover, Mark; and Joe and Maggie, unready for the strain of Joe's impending death and it's effect on their teenage son.

    The Lyrical Ballads, written with Coleridge, is a landmark in the history of English romantic poetry. His celebration of nature and of the beauty and poetry in the commonplace embody a unified and coherent vision that was profoundly innovative. This volume presents the poems in their order of composition and in their earliest completed state, enabling the reader to trace Wordsworth's poetic development and to share the experience of his contemporaries. It includes a large sample of the finest lyrics, and also longer narratives such as The Ruined Cottage, Home at Grasmere, Peter Bell, and the autobiographical masterpiece, The Prelude (1805). All the major examples of Wordsworth's prose on the subject of poetry are also included.

    But Donald Hall's poignant and courageous poetry, facing that dread fact, involves us all: the magnificent, humorous, and gifted woman, Jane Kenyon, who suffered and died; the doctors and nurses who tried but failed to save her; the neighbors, friends, and relatives who grieved for her; the husband who sat by her while she lived and afterward sat in their house alone with his pain, self-pity, and fury; and those of us who till now had nothing to do with it. As Donald Hall writes, "Remembered happiness is agony; so is remembered agony." Without will touch every feeling reader, for everyone has suffered loss and requires the fellowship of elegy. In the earth's oldest poem, when Gilgamesh howls of the death of Enkidu, a grieving reader of our own time may feel a kinship, across the abyss of four thousand years, with a Sumerian king. In Without Donald Hall speaks to us all of grief, as a poet lamenting the death of a poet, as a husband mourning the loss of a wife. Without is Hall's greatest and most honorable achievement -- his give and testimony, his lament and his celebration of loss and of love.

    With this continuation of Agee and Evans's project, Maharidge and Williamson not only uncover some surprising historical secrets relating to the families and to Agee himself, but also effectively lay to rest Agee's fear that his work, from lack of reverence or resilience, would be but another offense to the humanity of its subjects. Williamson's ninety-part photo essay includes updates alongside Evans's classic originals. Maharidge and Williamson's work in And Their Children After Them was honored with the Pulitzer Prize for nonfiction when it was first published in 1990.

    Based on years of historical research and cultural investigation, XX turns poetry into an archival inquiry and a choral documentary. Hollywood and Hiroshima, Modernism and propaganda, Bob Dylan and Walter Benjamin—its range of interest encompasses the entire century of art and culture, invention and struggle.Elegiac and celebratory, deeply tragic and wickedly funny, XX is a unique collection from this acknowledged master of historical poetry, and his most ambitious book yet.

    Praised by his contemporaries and emulated by his successors, Charles Olson (1910-1970) was declared by William Carlos Williams to be "a major poet with a sweep of understanding of the world, a feeling for other men that staggers me." This complete edition brings together the three volumes of Olson's long poem (originally published in 1960, 1968, and 1975) in an authoritative version.

    Warren wrote enduring fiction as well as influential works of literary criticism and theory. Yet, as this variorum edition of his published poems suggests, it is his poetry - spanning sixty years, sixteen volumes of verse, and a wide range of styles - that places Warren among America's foremost men of letters. In this volume, John Burt, Warren's literary executor, has gathered together every poem Warren ever published (with the exception of Brother to Dragons), including the many poems he published in The Fugitive and other magazines, as well as those that appeared in his small press works and broadsides. Burt has also exhaustively collated all of the published versions of Warren's poems - in some cases, a poem appeared as many as six different times with substantive revisions in every line - as well as the author's typescripts and proofs. And since Warren never seemed to reread any of his books without a pencil in hand, Burt has referred to Warren's personal library copies. A record of Burt's comprehensive analysis is found in this edition's textual notes, list of emendations, and explanatory notes.

    In this virtuosic array of poems, lists, shards, and sequences, Sharif assembles her family’s and her own fragmented narratives in the aftermath of warfare. Those repercussions echo into the present day, in the grief for those killed, in America’s invasions of Afghanistan and Iraq, and in the discriminations endured at the checkpoints of daily encounter.At the same time, these poems point to the ways violence is conducted against our language. Throughout this collection are words and phrases lifted from the Department of Defense Dictionary of Military and Associated Terms; in their seamless inclusion, Sharif exposes the devastating euphemisms deployed to sterilize the language, control its effects, and sway our collective resolve. But Sharif refuses to accept this terminology as given, and instead turns it back on its perpetrators. “Let it matter what we call a thing,” she writes. “Let me look at you.”