With the dead man's horse in tow, Bowdrie ambles into the middle of a dispute between the H&H ranch and the Darcy spread. Seems some H&H hired guns are giving Jack Darcy a hard time . . . and leading the troublemakers is ranch owner Rack Herman, strangely in the middle of many a run-in. But with the help of some friendly locals, Bowdrie pieces together a puzzle of murder, corruption, and the shady dealings of a power hungry rancher. Will Bowdrie travel far to track down Dyson . . . or is this killer closer than he thinks?

    Inspired by the poetry of Rumi, the great Sufi mystic, a restless young man heads out on an epic voyage of the heart that takes him from the hills of Florence to the mosques of Konya, Turkey, and into the heart of religious mysticism.

    This brilliant American dramatist creates what The New Yorker dubbed "Shepard Country"--a landscape of the imagination, a unique theatrical experience that captures our culture and consciouness, our fears and fantasies.FOOL FOR LOVE * ANGEL CITY * GEOGRAPHY OF A HORSE DREAMER * ACTION * COWBOY MOUTH * MELODRAMA PLAY * SEDUCED * SUICIDE IN BbWith an Introduction by Ross Wetzsteon"Sam Shepard is phenomenal...the best practicing American playwright." --The New Republic "Sam Shepard is the most exciting presence in the movie world and one of the most gifted writers ever to work on the American stage." --Marsha Norman"The most ruthlessly experimental and uncompromising of today's young writers." --John Lahr"Sam Shepard fills the role of professional playwright as a good ballet dancer or acrobat fulfills his role in performance. That is, he always delivers, he executes feats of dexterity and technical difficulty that an untrained person could not, and makes them seem easy." --Michael Feingold, The Village Voice "One of the most original, prolific, and gifted dramatists at work today." --The New Yorker "Increasingly recognized as one of the more significant dramatists in the English-speaking world." --Charles R. Bachman, Modern Drama

    The poems in Accepting the Disaster range from lyric miniatures like "The Crossroads," a six-line sketch of an accident scene, to "The Orange Bottle," an expansive narrative page-turner whose main character suffers a psychotic episode after quitting medication. Mehigan blends the naturalistic milieu of such great chroniclers of American life as Stephen Crane and Studs Terkel with the cinematic menace and wonder of Fritz Lang. Balanced by the music of his verse, this unusual combination brings an eerie resonance to the real lives and institutions it evokes. These poems capture with equal tact the sinister quiet of a deserted Main Street, the tragic grandiosity of Michael Jackson, the loneliness of a self-loathing professor, the din of a cement factory, and the saving grandeur of the natural world. This much-anticipated second collection is the work of a nearly unrivaled craftsman, whose first book was called by Poetry "a work of some poise and finish, by turns delicate and robust."

    These poems are written with the authority of classical myth, yet sound utterly contemporary: the poet's gaze - whether on the natural world or the details of his own life - is unflinching and clear, its utter seriousness leavened by a wry, dry and disarming humour. Alongside fine translations from Neruda and Montale and dynamic (and at times horrific) retellings of stories from Ovid, the poems in "The Wrecking Light" pitch the power and wonder of nature against the frailty and failure of the human. Ghosts sift through these poems - certainties become volatile, the simplest situations thicken with strangeness and threat - all of them haunted by the pressure and presence of the primitive world against our own, and the kind of dream-like intensity of description that has become Robertson's trademark. This is a book of considerable grandeur and sweep which confirms Robertson as one of the most arresting and powerful poets at work today.

    In “Rivers,” a free Jim meets up decades later with his former raftmate Huckleberry Finn; “An Outtake” chronicles an escaped slave’s fate in the American Revolution; “On Brazil, or Dénouement” burrows deep into slavery and sorcery in early colonial South America; and in “Blues” the great poets Langston Hughes and Xavier Villaurrutia meet in Depression-era New York and share more than secrets.

    Who are they? They are him and her. They are you and me. They are rowing to salvage what remains of themselves. They are rowing to remember the fun we’ve had."Michael Seidlinger is a homegrown Calvino, a humanist, and wise and darkly whimsical. His invisible cities are the spires of the sea where we all sail our coffins in search of our stories."--Steve Erickson, author of Zeroville“Melding the static, high-concept premise of two humans floating alone on a coffin in a sea devoid of all else with stark and meditative prose, The Fun We've Had evokes a highly unexpected experience, somewhere between Beckett's most hopeless solipsists and the mysterious energy of a child's Choose Your Own Adventure-era dream.”--Blake Butler, author of There Is No Year and Three Hundred Million“It is obvious that Michael J Seidlinger had a great deal of fun writing The Fun We've Had. What more could a reader ask for?”--Michael Kimball, author of Big Ray“The best poets are writing poetry no matter what they are writing, creating entirely new and weird spaces. There is no doubt Seidlinger has made one of the weirdest spaces we will ever inhabit. In The Fun We’ve Had, every visible thing is a love of disturbing tremors, keeping ahead of our ever-curious eyes, hoping to savor every line. What a magnificent book.”--CAConrad, author of The Book of Frank"Seidlinger’s imagination is a sea unto itself, the reader riding these rollicking waves. This book will have you clutching pages as though they’re life vests. Fans of Calvino and Shelley Jackson will dig the slow submerge into this crazy romp."--Joshua Mohr, author of Damascus"Michael J Seidlinger writes with the kind of weird, wonderful, joyful abandon that reminds the reader that world is still the great unknown. In The Fun We’ve Had, he examines the long blank space between life and death, fills it with love and loss and boats made of coffins, with people clinging to life and using the weight of the past as ballast. This is a fun read, true; but it's also a true read, and that's what makes it so beautifully sad."--Amber Sparks, author of The Desert Places and May We Shed These Human Bodies“Ready for an analogy? Here goes: When you need to give a dog a pill, you don’t just jam it down his throat, you wrap that pill in something yummy, like, say, ham. Michael J Seidlinger understands that this principle extends to people and books. So he’s got this pill he wants you to swallow, right? That pill is the truth about love and death and strife and, more generally, the messy mysterious business of being human, and also of being nothingness. Pretty heavy, right? Big old horse pill. But then Seidlinger, no fool, wraps it in the yummy slow-smoked maple goodness of his humor. He obviously had a fine time writing this book, which is precisely the reason you’ll have a fine time reading it.”–Ron Currie Jr., author of Flimsy Little Plastic Miracles

    Availing herself of a single character, Lispector transforms a banal situation—a woman at home, alone—into an amphitheater for philosophical investigations. The first-person narration jousts with language, playfully but forcefully examining the ambiguous nature of words, with results ranging from the profound to the pretentious: "Prehuman divine life is a life of singeing nowness" or "The world interdepended with me, and I am not understanding what I say, never! never again shall I understand what I say. For how will I be able to speak without the word lying for me?" These linguistic games frame existential and experiential crises that Lispector savors and overcomes. Although this idiosyncratic novel will not have wider appeal, those with academic or markedly erudite tastes should find much to savour.

    With a different die-cut on every page, Tree of Codes explores previously unchartered literary territory. Initially deemed impossible to make, the book is a first — as much a sculptural object as it is a work of masterful storytelling. Tree of Codes is the story of an enormous last day of life — as one character's life is chased to extinction, Foer multi-layers the story with immense, anxious, at times disorientating imagery, crossing both a sense of time and place, making the story of one person’s last day everyone’s story. Inspired to exhume a new story from an existing text, Jonathan Safran Foer has taken his "favorite" book, The Street of Crocodiles by Polish-Jewish writer Bruno Schulz, and used it as a canvas, cutting into and out of the pages, to arrive at an original new story told in Jonathan Safran Foer's own acclaimed voice.

    . . mystical, carnal, reflective, wry.”—San Francisco ReviewThis book-length sequence of ecstatic, visionary lyrics recalls Rumi in its search for the beloved and its passionate belief in the healing qualities of art and beauty.Concerning the Book that is the Body of the Beloved is an incantatory celebration of the “Book,” an imaginary and self-gathering anthology of all the lyrics—both poems and songs—ever written. Each poem highlights a distinct aspect of the human condition, and together the poems explore love, loss, restoration, the beauty of the world, the beauty of the beloved, and the mystery of poetry. The purpose and power of the Book is to help us live by reconnecting us to the world and to our emotional lives.I put the beloved In a wooden coffin. The fire ate his body; The flames devoured her. I put the beloved In a poem or song. Tucked it between Two pages of the Book. How bright the flames. All of me burning, All of me on fire And still whole.There is nothing quite like this book—an “active anthology” in the best sense—where individuals find the poems and songs that will sustain them. Or the poems find them.Gregory Orr is the author of eight books of poetry, four volumes of criticism, and a memoir. He has received numerous awards for his work, most recently the Academy Award in Literature from the American Academy of Arts and Letters. Orr has taught at the University of Virginia since 1975 and was, for many years, the poetry editor of The Virginia Quarterly Review. He lives with his family in Charlottesville, Virginia.

    Prompted by the prophecies of three mysterious witches and goaded by his ambitious wife, the Scottish thane Macbeth murders Duncan, King of Scotland, in order to succeed him on the throne. This foul deed soon entangles the conscience-stricken nobleman in a web of treachery, deceit and more murders that ultimately spells his doom.

    Includes the stories "Where I Live," "Harrison Bergeron," "Who Am I This Time?," "Welcome to the Monkey House," "Long Walk to Forever," "The Foster Portfolio," "Miss Temptation," "All the King's Horses," "Tom Edison's Shaggy Dog," "New Dictionary," "Next Door," "More Stately Mansions," "The Hyannis Port Story," and "D.P."

    Often on these walks of meditation and reflection, he finds himself making notes for poems. Some years he has accomplished as many as fifteen or twenty poems from those walks, while in other years only half a dozen. The resultant work has been published in collections of Sabbath Poems, a precursor to which was The Window Poems.The Window Poems were composed while Berry looked out of the multi-paned window of his writing studio, “The Long-Legged House.” The house is near the renovated farmhouse where Berry and his wife raised their children and continue to live. These poems contemplate Berry's personal life as much as they ponder the seasons he witnesses through the window. This beautiful book was first designed, composed, and printed on a Washington handpress by Bob Barris, at the Press on Scroll Road, with wood engravings by Wesley Bates. Including an introduction by James Baker Hall, this early sequence of poems signals and celebrates the groundwork of Berry's life.

    This particularly delicious guide--filled with lovely line drawings and illuminating commentary about that most mysterious and compelling species--offers a fitting tribute to the animal that provokes the imagination and touches the spirit more deeply than any other on Earth. As subtle and sly and often as funny as cats themselves.--Alice Adams.

    Prayer, among other things, has become a private practice for those of us who don't congregate for spiritual purposes. Our language for connection to something greater than ourselves has become truncated to basic iterations and generalized affirmations. Perhaps this is so that no one will be offended by our approach, or so our spiritual personalities- who we are when we talk to and reach for God- can remain under a cloak of mystery and intrigue. Maybe it has something to do with our collective intolerance for vulnerability.Prayers of Honoring is an expression of creative, environmental, energetic and spiritual possibilities. When we're open to receive the heart's intelligence, we offer acceptance to ourselves and others and shift our patterns of isolation and loneliness. The challenge is to share ourselves and our words without fearing we're doing it wrong.Prayer is very much still a sullied concept. To some ears, the word "prayer" results in triggersome memories whether personal or cultural/collective. The bitter taste of yesterday's experiences of over-organized religions, forced practice, penance, rigid disciplines bearing harsh consequences, and heavy-handed authorities on the laws of God, leave little room for welcoming prayer back into the heart, home and psyche.Prayers of Honoring can help an individual overcome prayer trauma and begin to speak the words of spirit from the heart out loud again.