One sleeping bag and a storm that leaves them without power will set into motion a few events that have been waiting to occur.

    Hauntingly vivid, the poems march through a soldier's lingering psychological wounds, tackle the curious questions of school children on the meaning of "hate," and tangle with a lover's witty and vibrant description of longing. Gibson's poems deconstruct the current political climate through stunning imagery and careful crafting. With the same velocity, the poignant and vacillating love poems sweep the air out of the room. It's word-induced hypoxia. Pole Dancing to Gospel Hymns whispers with a bold and unforgettable internal voice rich with the kind of questioning that inspires action.

    As a woman, a black, and a lesbian, Brand arrives at a rigorous and nakedly ruthless reclamation of the poetic.

    Brute arises, brave and furious, from the dissolution of a relationship, showing how such endings necessitate self-discovery and reinvention. The speaker of these poems is a sorceress, a bride, a warrior, a lover, both object and agent, ricocheting among ways of knowing and being known. Each incarnation squares itself up against ideas of feminine virtue and sin, strength and vulnerability, love and rage, as it closes in on a hard-won freedom. Brute is absolutely sure of its capacity to insist not only on the truth of what it says but on the truth of its right to say it. "What am I supposed to say: I'm free?" the first poem asks. The rest of the poems emphatically discover new ways to answer. This is a timely winner of the Walt Whitman Award, and an introduction to an unforgettable voice.

    Moving between a childhood marked by love and abuse and the breaking marriage of that adult child, Donika Kelly charts memory and the body as landscapes to be traversed and tended. These poems construct life rafts and sanctuaries even in their most devastating confrontations with what a person can bear, with how families harm themselves. With the companionship of “the oracle”—an observer of memory who knows how each close call with oblivion ends—the act of remembrance becomes curative, and personal mythologies give way to a future defined less by wounds than by possibility.In this gorgeous and heartrending second collection, we find the home one builds inside oneself after reckoning with a legacy of trauma—a home whose construction starts “with a razing.”

    One of the most significant writers of the New York School—which unofficially included John Ashbery, Frank O'Hara, and Kenneth Koch, among others—Schuyler was strongly influenced by both art and music in his work, often incorporating rapid shifts in sound, shape, and color within his poems that almost gave his work the effect of a collage and engendered comparisons with Whitman and Rimbaud.

    Winner of the 2011 Norma Farber First Book Award from the Poetry Society of America. John Beer's first collection, THE WASTE LAND AND OTHER POEMS, employs the wit of a philosopher and the ear of a poet to stage ways of reading that are political, personal, and theoretical. The speaker of these poems also brings humor to the dissecting table, to prod the legacies of great works of the imagination while balancing irony and affection.

    At least professionally.She's a well-respected relationship expert with two books published and another on the way.She's also a regular on TV talk shows and podcasts.Life is good, until it starts to fall apart, and as Alex's 40th birthday approaches, she starts to question everything.At 28, Payton isn't where she thought she'd be.Her dreams of becoming a doctor are long gone, and Payton still has medical school loans to pay back even if she doesn't have anything to show for it.Payton never stayed in relationships for long, preferring the freedom of dating and playing the field, but when she meets Alex, Payton is immediately drawn to her.Both Alex and Payton are at a crossroads in their lives and getting into a relationship was not what either of them had planned on, but the infatuation and the chemistry is undeniable, and the two women can't stay away from one another.Will Alex risk her career and everything she's built professionally to come out?Can Payton wait for Alex to make that decision?Find out in this steamy age gap lesbian romance.Read for free with Kindle Unlimited

    He is "singular among his peers in his ability to convey with a deceptive lightness the paradoxes of human emotion," says Publishers Weekly, and Robert Hass, in the Washington Post Book World, takes special note of Lux's "bitter wit, the kind of irony that comes with a quick, impatient intelligence."

    Desperate for something solid to believe in, Capps still mistrusts authority, feeling disenchanted with God, family, eros, even her own impulsive self. And yet while the absence of faith hints at despair, these poems often achieve, almost inspite of themselves, an odd buoyancy. Playful, fearless, wary, there's a dazzling resilience in this book. One poem can make a grand and eccentric claim, "I forgive the afterlife," while another takes as its title something humbler and more poisonous, "God Bless Our Crop-Dusted Wedding Cake." No matter how adrift this poet may feel, poetry itself remains her anchor and lifeline.

    Advice on conflict resolution and genuine intimacy. The author doesnt forget to include treatments on couple crises, ruptures, and the mourning of heartbreak as a previous step to be prepared to fall in love again.

    Do yourself a favor and check out Neon Fever Dream." -Popular Science A dark secret hides in the swirling dust and exultant revelry of Burning Man.Asha Amarasuriya is bored and struggling to get by as a martial arts instructor in Oakland. When an enigmatic seductress offers her a golden ticket, Asha decides to take a leap of faith and head to Burning Man. But there is more than meets the eye at the infamous desert pilgrimage and Asha gets sucked into a quest to unravel a sinister mystery at the heart of Black Rock City.Will Asha and her friends survive to expose the shadowy conspiracy? By the time the Man burns, their lives will have changed forever.

    I saw her almost every day and, God, she made my lady parts sing. But it wasn’t just what she did to me physically. Whenever I looked at her, my imagination ran away with me and I couldn’t help but picture her hands on me. I couldn’t help but wonder what her skin tasted like. I would imagine the heat of her body against mine. Feel the crush of her lips. She became the star of every one of my fantasies. And when we finally spoke, I was entranced by her voice, spurred to near climax by a wild encounter. It was then she began to unravel me and held me tight as everything in my world turned upside down. My Vixen.

    With his other 'shorter' collections Black + Blues and Third World Poems, Middle Passages creates a kind of chisel which may well lead us into a projected third trilogy. Here is a political angle to Brathwaite's Caribbean & New World quest, with new notes of protest and lament. It marks a Sisyphean stage of Third World history in which things fall apart and everyone's achievements come tumbling back down upon their heads and into their hearts, like the great stone which King Sisyphus was condemned to keep heaving back up the same hill in hell - a postmodernist implosion already signalled by Baldwin, Patterson, Soyinka and Achebe and more negatively by V.S. Naipaul; but given a new dimension here by Brathwaite's rhythmical and 'video' affirmations. And so Middle Passages includes poems for those modern heroes who are the pegs by which the mountain must be climbed again: Maroon resistance, the poets Nicolas Guillen, the Cuban revolutionary, and Mikey Smith, stoned to death on Stony Hill; the great musicians (Ellington, Bessie Smith); and Third World leaders Kwame Nkrumah, Walter Rodney and Nelson Mandela.

    Carol Ann Duffy's 'Rapture' is about the loss and rediscovery of love in all its aspects - erotic, intellectual, emotional.