I can no longer grab beauty by her wrists and demand articulation or meaning. I can only take account of where things touch.Part lyric essay, part prose poetry, Where Things Touch: A Meditation on Beauty grapples with the manifold meanings and possibilities of beauty. Drawing on her experiences as a physician-in-training, Orang considers clinical encounters and how they relate to the concept and very idea of beauty. Such considerations lead her to questions about intimacy, queerness, home, memory, love, and other aspects of human experience. Throughout, beauty is ultimately imagined as something inextricably tied to care: the care of lovers, of patients, of art and literature, and the various non-human worlds that surround us.Eloquent and meditative in its approach, beauty, here, beyond base expectations of frivolity and superficiality, is conceived of as a thing to recover. Where Things Touch is an exploration of an essential human pleasure, a necessary freedom by which to challenge what we know of ourselves and the world we inhabit.

    Dylan's story—which is, sadly, not that unusual—has already received attention from such shows as 20/20, Dateline, Today, and Leeza. But his memoir, bound to become a classic, tells the story in a funny, ironic, unforgettable voice that "isn't all grim; Scholinski tells [his] story in beautifully evocative prose and mines [his] experiences for every last drop of ironic humor, determined to have the last laugh." (Time Out New York)

    O'Hara’s untimely death in 1966 at the age of forty was, in the words of fellow poet John Ashbery, "the biggest secret loss to American poetry since John Wheelwright was killed.” This collection is a reissue of a volume first published by Grove Press in 1957, and it demonstrates beautifully the flawless rhythm underlying O'Hara’s conviction that to write poetry, indeed to live, "you just go on your nerve.”

    Compiled by her sister after the poet's death and originally published in 1956, this is the definitive edition of Millay, right up through her last poem, Mine the Harvest.

    Simultaneously, this compilation unpacks the contentious relationship that exists between Róisín and her mother, her platonic and romantic heartbreaks, and the cognitive dissonance felt as a result of being so divided among her broad spectrum of identities.

    Eloquence is only a grasping in the space of ineffable air. There are few words or phrases that do justice to the soul singing its own revelations. That place is where Last Psalm at Sea Level lives, where it is as solid as gold burning itself into light. --Afaa Michael Weaver

    Or she is and she isn’t. If you just want to boss people around, you’re a control freak, but if you can joke about it, then your bossiness is leavened by a yeast that’s all too infrequent in contemporary poetry, that of humor.”—New York Times“Shaughnessy’s voice is smart, sexy, self-aware, hip . . . consistently wry, and ever savvy.”—Harvard Review“Brenda Shaughnessy . . . writes like the love-child of Mina Loy and Frank O’Hara.”—Exquisite Corpse"In its worried acceptance of contradiction, its absolute refusal of sentimentality and its acute awareness of time's 'scarce infinity,' this is a brilliant, beautiful and essential continuation of the metaphysical verse tradition." —Publishers Weekly, starred review“Human Dark with Sugar is both wonderfully inventive (studded with the strangenesses of ‘snownovas’ and ‘flukeprints’) and emotionally precise. Her ‘I’ is madly multidexterous—urgent, comic, mischievous—and the result is a new topography of the debates between heart and head.”—Matthea Harvey, a judge for the Laughlin Award"Seriously playful, sexy, sharp-edged, and absolutely commanding throughout....Here you'll meet an 'I' boldly ready to take on the world and just itching to give 'You' some smart directives. So listen up."—Library JournalIn her second book, winner of the prestigious James Laughlin Award, Brenda Shaughnessy taps into themes that have inspired era after era of poets. Love. Sex. Pain. The heavens. The loss of time. The weird miracle of perception. Part confessional, part New York School, and part just plain lover of the English language, Shaughnessy distills the big questions into sharp rhythms and alluring lyrics. “You’re a tool, moon. / Now, noon. There’s a hero.”Master of diverse dictions, she dwells here on quirky words, mouthfuls of consonance and assonance—anodyne, astrolabe, alizarin—then catches her readers up short with a string of powerful monosyllables. “I’ll take / a year of that. Just give it back to me.” In addition to its verbal play, Human Dark With Sugar demonstrates the poet’s ease in a variety of genres, from “Three Sorries” (in which the speaker concludes, “I’m not sorry. Not sorry at all”), to a sequence of prose poems on a lover’s body, to the discussion of a disturbing dream. In this caffeine jolt of a book, Shaughnessy confirms her status as a poet of intoxicating lines, pointed, poignant comments on love, and compelling abstract images —not the least of which is human dark with sugar.Brenda Shaughnessy was raised in California and is an MFA graduate of Columbia University. She is the poetry editor for Tin House and has taught at several colleges, including Eugene Lang College and Princeton University. She lives in Brooklyn.

    The book is an urgent recall of heartbreak, a stark portrait of an identity in crisis.

    These poems are honest, vulnerable, and unflinching in their ability to look into the speaker's complications. The poems trace the author's childhood, adulthood, and hopeful future, all of them asking the central question of how a person continues to love themselves, even as all they know evolves and vanishes.

    To date, it has been watched over 10 million times. Our Numbered Days is Neil’s debut full-length poetry collection, containing 45 of Neil’s poems including “OCD”, “Joey”, “Future Tense”, “Liminality”, “Moving Day”, and many, many never-before-seen poems.

    Taking time, and specifically the months of the year as an overarching structure, Dimitrov elevates the every day and speaks directly to the reader as if the poem were a phone call or a text message. From the personal to the cosmos, the moon to New York City, NASA’s golden record to the Ouija board, the speaker is convinced that love is “our best invention.” While he navigates darkness and fear, loneliness and guilt, Dimitrov doesn’t resist joy even in despair. There is a determined curiosity about who we are as people and a shameless interest in the idea of hope. These poems are obsessed with everything around us, even the terrible and fraught.

    The first book of the author to examine disability from a queer femme of color lens, Bodymap contains work created and performed with Sins Invalid. Bodymap maps hard and vulnerable terrains of queer desire, survivorhood, transformative love, sick and disabled queer genius and all the homes we claim and deserve."These poems are a gift for your love for self, your love itself and everyone you love. It is rare that a poet priestess offers words that allow us to emerge reborn with dirt, glitter and tenderness... Revere it. Revel in it. Read it again and again!" —Alexis Pauline Gumbs"Bodymap uses the alchemy of the voice on the page to transform words into an ache in the pit of me. I want what these poems demand: to be free to love & die, to be resurrected in time, & to be restored by desire. Piepzna-Samarasinha has located where this body houses the smirk learned from the sidewalk, the reason to do the difficult, and the blessings for the best worst thing."—Meg Day, author of Last Psalm at Sea Level "Sharp, yet remarkably compassionate, Piepzna-Samarasinha knows that the poem is no place for tidy inquiry and easy answers. She offers her own tenacious guts and veins on each and every page. Only someone who understands rage and reconciliation and blood and bone can write like this."—Amber Dawn, author of How Poetry Saved My Life: A Hustler’s Memoir and Sub Rosa

    Poems that range in style from starkly concrete to limber break down the barriers that prevent understanding of what it means to be racialized. Shraya paints the face of everyday racism with words, rendering it visible, tangible, and undeniable.

    She was fighting for the legal right to marry as a woman. The author tells of her childhood in Norfolk, the operations that liberated her sexually and her persecution by the tabloid press.

    Among the women’s most powerful weapons in their assault is laughter, but they also threaten literary and linguistic customs of the patriarchal order with bullets. In this breathtakingly rapid novel first published in 1969, Wittig animates a lesbian society that invites all women to join their fight, their circle, and their community. A path-breaking novel about creating and sustaining freedom, the book derives much of its energy from its vaunting of the female body as a resource for literary invention."A delectable epic of sex warfare . . . an extraordinary leap of the imagination into the politics of oppression and revolt." --Mary McCarthy