Among the highlights are the seminal Rolling Stone interviews -- anthologized here for the first time -- by Jann Wenner, Jonathan Cott, Kurt Loder, and Mikal Gilmore, as well as Nat Hentoff's legendary 1966 Playboy interview. Surprises include Studs Terkel's radio interview in 1963 on WFMT in Chicago, the interview Dylan gave to screenwriter Jay Cocks when he was a student at Kenyon College in 1964, a 1965 interview with director Nora Ephron, and an interview Sam Shepard turned into a one-act play for Esquire in 1987. Dylan expert Jonathan Cott writes an introduction to this must-have collection of the artist in his own words.

    A small collection of short stories, sold as part of the boxed set "One Hundred and Forty Five Stories in a Small Box: Hard to Admit and Harder to Escape, How the Water Feels to the Fishes, and Minor Robberies"

    These poems tell the story of a life at risk of spilling over the edge of the page, from Seuss’s working-class childhood in rural Michigan to the dangerous allures of New York City and back again. With sheer virtuosity, Seuss moves nimbly across thought and time, poetry and punk, AIDS and addiction, Christ and motherhood, showing us what we can do, what we can do without, and what we offer to one another when we have nothing left to spare. Like a series of cels on a filmstrip, frank: sonnets captures the magnitude of a life lived honestly, a restless search for some kind of “beauty or relief.” Seuss is at the height of her powers, devastatingly astute, austere, and—in a word—frank.

    The miracle in the mundane.One day, while browsing an antique store in Helena, Montana, photographer Tyler Knott Gregson stumbled upon a vintage Remington typewriter for sale. Standing up and using a page from a broken book he was buying for $2, he typed a poem without thinking, without planning, and without the ability to revise anything.He fell in love.Three years and almost one thousand poems later, Tyler is now known as the creator of the Typewriter Series: a striking collection of poems typed onto found scraps of paper or created via blackout method. Chasers of the Light features some of his most insightful and beautifully worded pieces of work—poems that illuminate grand gestures and small glimpses, poems that celebrate the beauty of a life spent chasing the light.

    "While the new sentence--the prose wing of Language writing--strips narrative down to pointed sets of shifting referents, Lu, in her debut, knowingly resuscitates it, creating a precise and humorous elegy to the self, and to its self-subversions. This quasi-bildungsroman charts the emergence of an 'I' (not 'P' and not 'Pamela, ' though the three characters do appear together) into a 20-something Bay Area, with memories of a suburban childhood close on her heels.... This is a book of extraordinary philosophical subtlety and clarity, one that manages to tell a beautiful story in spite of itself"--Publishers Weekly.

    With a gift for delicate, violent imagery, Ashe invites us to lose ourselves in her world. Wrong Side of a Fistfight feels like getting lost in the woods, with someone holding your hand promising to guide you home. This is the second book of poems by Ashe Vernon, spoken word poet and author of the blog Late Night Corner Store.

    Rod McKuen's most personal book of poetry.

    As the title implies, this is certainly not a novel -- not in the general sense of the term. And yet a reader who follows the flow will gradually notice certain novelistic conventions insinuating themselves. Writer -- as the narrator refers to himself -- is tired of inventing characters and subjecting them to the rigors of plot development. Instead, historical personages from Dickens to Beethoven recur throughout the book: They re born, create, speak fondly or acidly of their own work and the work of others, and then die. (Death, in fact, is a major concern of Writer.) Works of art interlock and interrelate; diary entries, attributions, and critical comments jostle for position. But what at first appear to be random bits of historical trivia ultimately come together with a narrative logic: a beginning, middle, and end. So while Markson has jettisoned the standard conflict-and-resolution pattern of a novel, he nevertheless fashions a literary journey that gets somewhere. Indeed, the book s conclusion will come as an intensely moving surprise to those who reach it. Does Writer even exist in a book without characters? the narrator wonders. Passing through a period of aging and self-doubt, Writer looks deeply inside himself over the course of the book and worries about his very purpose. The real question hovering in the margins of this beguiling work is, Why do I write? Many an artist suffers under the burdens of posterity, the sinking feeling that words and works will fade with the passage of time. Eventually, though, this particular Writer answers in a qualified affirmative, for he realizes himself to be the main character in his own life. That which is not a novel, he implies, is life itself; creating art is what the artist does to live. In the end, out of a shared sense of mortality and its frailties and beauties, we can only agree. (Jonathan Cook)

    African American Studies. "The publication of Amiri Baraka's SOMEBODY BLEW UP AMERICA & OTHER POEMS makes one more mark in the development in modern Black radical & revolutionary cultural reconstruction... Readers of course will want as quick as possible to read for them-self the now controversial title poem..., but check-out, among the others, "In Town"--pure-pure dark post-Plantation molasses..."--Kamau Brathwaite.

    Little has changed there. Her father's silk ties still hang limply in the closet even though he left years ago, and Hanako busies her days in relentless pursuit of all things European--especially opera. But when Hanako returns from a Pavarotti concert proclaiming that the opera star himself has promised to visit their home, Emily is amused. Until Hanako hires Alex, an aging, widowed carpenter to renovate the house for Pavarotti's imminent arrival--provoking Emily to seriously question her mother's sanity.As the remodeling consumes Hanako's every waking moment, along with a growing friendship with Alex, Emily grows suspicious of the handyman and the home improvements that her mother haphazardly pours her money into. But as Emily charts the course of her mother's odd preoccupation, and begins to wonder if Pavarotti will indeed make an appearance, she inadvertently finds herself learning some of life's most profound lessons. . . .

    While focusing on the words from the project, new photography launches each section which speaks to the reader's journey through the world: Love Found, Being In Love, Love Lost, Hope, Despair, Living and Dying.

    Nobody comes out looking good. The slippery self, surveilled yet ready with her mask, performs a peep show—booth opens wide, yet somehow the dancer isn't there. She's in character. She's "cut off the head to let the humors hose through.

    At once melancholic and jubilant, Jackson considers the journey of humanity, with all its foibles, as a sacred pattern of discovery reconciled by art and the imagination. From “The Absurd Man at Fourteen”He punched her again, a woman called the house,some yelling then us out the door leavingthe kitchen phone cord swinging.

    Here Wright adds to his third trilogy (Chickamauga [1995], Black Zodiac [1997], and Appalachia [1998]) a section of new poems that suggest new directions in the work of this sensuous, spirit-haunted poet.