Possessing rapid-fire comedic timing, Shapero touches on subjects such as religion, perpetual war, birth, and death—exposing humanity’s often faulty sense of what’s important and displaying a willingness to self-incriminate. These poems exhibit an expansive, searching sensibility that balks at the standard-issue hopes and fears of modern American culture.

    The 44 pieces collected here--particularly the long title-poem--find the poet applying his uniquely lyric, meditative, and often hilarious sensibility to the mysterious and incessant curves and crests of love, art, thought, experience, and selfhood.

    In this wise and intimate telling—which carries us through the seasons when her marriage was ending—Sharon Olds opens her heart to the reader, sharing the feeling of invisibility that comes when we are no longer standing in love’s sight; the surprising physical bond that still exists between a couple during parting; the loss of everything from her husband’s smile to the set of his hip. Olds is naked before us, curious and brave and even generous toward the man who was her mate for thirty years and who now loves another woman. As she writes in the remarkable “Stag’s Leap,” “When anyone escapes, my heart / leaps up.  Even when it’s I who am escaped from, / I am half on the side of the leaver.” Olds’s propulsive poetic line and the magic of her imagery are as lively as ever, and there is a new range to the music—sometimes headlong, sometimes contemplative and deep. Her unsparing approach to both pain and love makes this one of the finest, most powerful books of poetry Olds has yet given us.

    As elliptical and demanding as Emily Dickinson, Valentine consistently rewards the reader."—Library JournalIn her eleventh collection, National Book Award–winning poet Jean Valentine characteristically weds a moral imperative to imaginative and linguistic leaps and bounds. Whether writing elegies, meditations on aging, or an extended homage to ancient remains, Valentine searches out ideas and explores the unexplainable. As Adrienne Rich has said of Valentine's work, "This is a poetry of the highest order, because it lets us into spaces and meanings we couldn't approach in any other way."From "If a Person Visits Someone in a Dream, in Some Cultures the Dreamer Thanks Them":At a hotel in another star. The rooms were cold anddamp, we were both at the desk at midnight asking ifthey had any heaters. They had one heater. You areill, please you take it. Thank you for visiting my dream.*Can you breathe all right?Break the glass shoutbreak the glass force the roombreak the thread Openthe music behind the glass . . .Jean Valentine is the state poet of New York. She has earned many honors, including the National Book Award, the Wallace Stevens Award, and the Shelley Memorial Prize. She has taught at Sarah Lawrence College, New York University, and Columbia University. She lives in New York City.

    With titles such as “Stride Piano,” “Gutbucket,” and “Can-Can,” these poems have the sharp completeness of vocalized songs and follow a classic blues trajectory: praising and professing undying devotion (“To watch you walk / cross the room in your black / corduroys is to see / civilization start”), only to end up lamenting the loss of love (“No use driving / like rain, past / where you at”). As Young conquers the sorrow left on his doorstep, the poems broaden to embrace not just the wisdom that comes with heartbreak but the bittersweet wonder of triumphing over adversity at all.Sexy and tart, playfully blending an African American idiom with traditional lyric diction, Young’s voice is pure American: joyous in its individualism and singing of the self at its strongest.From the Hardcover edition.

    This new book of eighteen rituals and their resulting poems contains that success, along with other political actions and exercises that testify to poetry's ability to reconnect us and help put an end to our alienation from the planet.unfastenedin the backseat aportion of the music ismucus flying into stillnessat what point do we submitto the authority of flowersat what point after it entersthe mouth is it no longer in themouth but the throat the colonmaking sumptuous death of the worldthis is what crossing the line gainsno need to pretend weare the people wewant to be inthe next lifebone undertongue drivestaste of snow to metal…CAConrad is the author of ECODEVIANCE: (Soma)tics for the Future Wilderness, A Beautiful Marsupial Afternoon, and The Book of Frank, as well as several other books of poetry and essays. Most recently, he has co-edited Supplication: Selected Poems of John Wieners. A 2014 Lannan Fellow, a 2013 MacDowell Fellow, and a 2011 Pew Fellow, he also conducts workshops on (Soma)tic poetry and Ecopoetics.

    . . . Poetry busts guts." —Frank StanfordThe poetry publishing event of the season, this six-hundred-plus page book highlights the arc of Frank Stanford's all-too-brief and incandescently brilliant career.Despite critical praise and near-mythic status as a poet, Frank Stanford's oeuvre has never fully been unified. The mystery and legend surrounding his life—and his suicide before the age of thirty—has made it nearly impossible to fully and accurately celebrate his body of work. Until now.This welcome and necessary volume includes hundreds of previously unpublished poems, a short story, an interview, and is richly illustrated with draft poems, photographs, and odd ephemera.As Dean Young writes in the Foreword to the book: "Many of these poems seem as if they were written with a burnt stick. With blood in river mud... Frank Stanford, demonically prolific, approaches the poem not as an exercise of rhetoric or a puzzle of signifiers but as a man 'looking for his own tongue' in a knife-fight with a ghost."When It's After DarkI stealall the light bulbsand hide them like eggsin a basketgoing to some outlawI put on the best I can findI cover them with a swatchof somethingthat swells like a bitethat bleeds greencloth that smellsof a feed storebut looksto of been wornI go over to nasty willy's bridgeand throw them into the creekthere in the shade I listenfor themto make nests to escapeagony and burst

    These poems bear witness to survival in the face of brutality, while also elegizing two brothers haunted by shame, two lovers hounded by death, and an America wounded by war and numbered by religion. Brown summons myth, fable, and fairytale not to merely revise the Bible—more so to write the kind of lyric poetry we find at the source of redemption—for the profane and for the sacred.

    Edited by Cid Corman. The section headings in this book of poems are all vintage Niedecker, but they stake out the poems in three large masses. The earlier work-apprentice to Zukofsky but finding her voice; the central work--when she discovers her range and depth; the final work--much of it known posthumously--showing how she was probing other voices into a larger plenum. One's first impulse, after awe, on reading THE GRANITE PAIL is a double dose of shame: shame at not being more familiar with her work; shame at ever having complained of the narrowness of one's life--Carolyn Kizer.

    New work by the best-selling author of XECLOGUE and DEBBIE: AN EPIC. "Consider that we need to drink deeply from convention under faithfully lighthearted circumstances in order to integrate the weather, boredom utopic, with waking life. By 'integrate' we mean: to arc into a space without surface as if it were an inhabitable, flickering event. And by 'convention' we refer to our improprietous infiltration of the long citations of grooming, intimacy, and prognastication. Like flags or vanes, we signify an incommensurability. No elegance is self-sufficient. No-one is old enough to die or to love. The weather is a stretchy, elaborate, delicate trapeze, an abstract and intact conveyance to the genuine future which is also now. Mount its silky rope in ancient makeup and polished muscle to know the idea of tempo as real" - from the Introduction by Lisa Robertson.

    Here is a volume of poetry approaching Carolyn Forche's The Angel of History as a stark meditation on Blanchot's sense of writing as the "desired, undesired torment which endures everything." Levine engages the traditional resources of lyric poetry in an exploration of historical and cultural landscapes ravaged by imponderable events. Enola Gay's "mission" can seem spiritual, imaginative, and militaristic as the speaker in these poems surveys marshes and fields and a land on the edge of disintegration. Levine sifts the psychological residue that accumulates in the wake of unspeakable acts and so negotiates that terrain between the banality of language and the need to stand witness and to speak. Levine's stunning second book, with its grave cultural implications and its surveillance of a distinctly postmodern malaise, offers multiple readings. Here are compact poems with uncanny power, rhythm, and a strange, formal beauty echoing and renewing the legacy of Wallace Stevens for a new era.

    Heralded as "one of our most vital, unclassifiable writers" by the Voice Literary Supplement, Fanny Howe has published more than twenty books and is the recipient of the Gold Medal for Poetry from the Commonwealth Club of California. In addition, her Selected Poems received the 2001 Lenore Marshall Poetry Prize for the Most Outstanding Book of Poetry Published in 2000 from the Academy of American Poets.The poems in Gone describe the transit of a psyche, driven by uncertainty and by love, through various stations and experiences. This volume of short poems and one lyrical essay, all written in the last five years, is broken into five parts; and the longest of these, "The Passion," consecrates the contradictions between these two emotions. The New York Times Book Review said, "Howe has made a long-term project of trying to determine how we fit into God's world, and her aim is both true and marvelously free of sentimental piety." With Gone, readers will have the opportunity to experience firsthand Howe’s continuation of that elusive and fascinating endeavor.

    This is a spectacular debut trying to puzzle though the insurgencies, context, and kinesis of our present, from the workplace to the pop charts but most of all to the politics of struggle.Copies for purchase now available: https://communeeditions.com/cruel-fic...

    Lying still in snow,not iron-willed, like railroad tracks, willingnot to meet until heaven, but here and theretreading slubby kissing stops, our trackswobble across the snow their long scratch.So many things that happen here are really little more,if even that, than a scratch, too. Words, in our mouths,are almost ready, already, to bandage the onewhom the scritch scritch scritch, meaning if how whenwe might lose each other, scratches scratches scratchesfrom this moment to that. Then I will go backto that silent evening, when the past just managedto overlap the future, if only by a trace,and the light doubles and caststhrough the dark a sparkling that heavens the earth.

    Featuring rewritten fairytale heroines, goddess wisdom, and poetry that burns with revolution, this collection is an explosion of femininity, empowerment, and personal growth.