As the river of life dries up, with each passing moment, our dreams of childhood give way to the reality of life, which is not always pleasant or fair. There is so much we don’t control and can’t change. In these difficult and lonely moments, we wonder if there is anyone in this world or any other whom we can count on. If faith moves mountains, then how do we build such faith and how do we know it will work for us? What is faith, anyway? From a physicist to a physician, an injured bird to an erudite Brahmin, people from different walks of life and religions share their incredible stories of rapid transformation, all united by the common thread of faith in one person – Om Swami. Every story makes you think and dares you to see the world differently. The Book of Faith is unlike anything ever written in the modern times.NAVJOT GAUTAM is a postgraduate in Journalism and Mass Communication from Punjabi University, Patiala. She has worked with top organizations in the fields of health, education, IT and hospitality.SADHVI VRINDA OM is an award-winning poet and author. She graduated from Sophia College, Ajmer, and went on to pursue an MBA. The turning point of her life though was to pen a mesmerizing non-fiction, Om Swami: As We Know Him. It has been hailed transformational by readers.

    Predator, the debut collection by Michael Robbins, became one of the hottest and most celebrated works of poetry in the country, winning acclaim for its startling freshness and originality, and leading critics to say that it was the most likely book in years to open up poetry to a new readership.   Robbins’s poems are strange, wonderful, wild, and irrationally exuberant, mashing up high and low culture with “a sky-blue originality of utterance” (The New York Times). The thirty-six new poems in The Second Sex carry over the music, attitude, hilarity, and vulgarity of Alien vs. Predator, while also working deeper autobiographical and political veins.

    Packed full of zingers and hilarious illustrations, if this doesn't put a smile on your face, nothing will. What's not to like:The other day someone left a piece of plasticine in my dressing room. I didn't know what to make of it. I'm against hunting. I'm actually a hunt saboteur. I go out the night before and shoot the fox. I saw this bloke chatting up a cheetah. He was trying to pull a fast one. Black holes. I don't know what people see in them. So I fancied a game of darts with my mate. He said, 'Nearest the bull goes first.' He went 'Baah' and I went 'Moo'. He said 'You're closest.' Velcro. What a rip-off. Black Beauty. He's a dark horse. I've got a sponge front door. Hey, don't knock it.

    It’s a narrative, the story of an American innocent’s descent into hell and his excruciating return to life on the surface. Weigl may have written the best novel so far about the Vietnam War, and along the way a dozen truly memorable poems.” — Russell Banks

    It is our turn," writes Conrad Black in this scintillating manifesto for how Canada can achieve an exalted role in world affairs. For over 400 years we have toiled in the shadows of our potential and achieved an indifferent recognition among other nations. Chipper, patient, and courteous, we have pursued an improbable destiny as a splendid nation in the northern section of the new world, a demi-continent of relatively good and ably self-governing people, but most would agree we have neither developed a vivid national personality nor realized our true potential. Our main chance, writes Black, is now before us and it is not in the usual realms of military or economic dominance. With the rest of the West engaged in a sterile and platitudinous left-right tug of war, Canada has the opportunity to lead the advanced world to its next stage of development in the arts of government. By transforming itself into a controlled and sensible public policy laboratory, it can forge new solutions to the tiresome problems besetting welfare, education, health care, foreign policy, and other governmental sectors the world over, and make an enormous contribution to the welfare of mankind. Canada has no excuse not to lead in this field, argues Black, who offers nineteen visionary policy proposals of his own. "This is the destiny, and the vocation, Canada could have, not in the next century, but in the next five years of imaginative government.

    African American Studies. Music. California Interest. THE FEEL TRIO is Cecil Taylor, Tony Oxley and William Parker. Or is it that THE FEEL TRIO are Cecil Taylor, Tony Oxley and William Parker? See, that's the amazing problem and chance, right there! In the wake and air and light of THE FEEL TRIO, what it bears and what propels them, which is everything in particular, THE FEEL TRIO tries to put some things together. Alabama runs through those things like nobody's business. I kept trying to visit the uncounted space James Brown forms around the one. To celebrate the varieties of black devotion. But coalition can't be too easy; it's in our nature not to come naturally lyrically, beautifully violently. The organizing principles, in our extramusical tailor's retrofit of fitting, sharp as a tack from the tone worlds of east by southeast of Sheffield, the Bronx's compassionate project/s and fly, flaired, flared Corona: listen to everything, relax the shape, approach with love, be worthy of a lovely t!

    John Branion was found guilty of murdering his wife in their posh Chicago home. After exhausting his appeals, he evaded authorities by fleeing to Africa. He was finally captured in 1983—but his case was far from over. It would take another seven years for Dr. Branion to finally win his freedom—and for those who prosecuted him to admit that he could not have committed the murder, and that they knew it all along.Acclaimed mystery writer Barbara D'Amato was drawn to this story two decades after the murder, as Dr. Branion languished in prison, ill and without hope. Her meticulous research repeatedly led her to one startling conclusion: that it was impossible for Donna Branion's murder to have unfolded the way the police alleged. In this award-winning account, D'Amato deftly explores the intriguing facts of this shocking case—from the tragic blunders made by authorities to Branion's arrest, conviction, and years practicing medicine in Africa as a fugitive from justice. The result is a damning indictment of our criminal system—and the vindication of an innocent man.The Doctor, The Murder, The Mystery by Barbara D'Amato won the Anthony and Agatha Awards for Best True Crime. She is also the author of the highly acclaimed Cat Marsala mysteries, including Hard Case and Hard Christmas. She lives in Chicago.The 1992 Anthony Award for Best True Crime and the 1993 Agatha Award for Nonfiction for The Doctor, the Murder, the Mystery

    October is a masterpiece."—Mark StrandLouise Glück is the author of nine books of poetry. Her many honors include a National Book Critics Circle Award, a Bobbitt National Poetry Prize, a Pulitzer Prize, the first annual New Yorker Magazine’s Readers Award, an Ambassador’s Award, a William Carlos Williams Award, a Lannan Literary Award, a PEN/Martha Albrand Award for Nonfiction and a Bollingen Prize for Poetry.

    Divided into three sections—"Braid," "Fray," and "Nub" (one referent Mackey notes in his stellar Introduction: "the imperial, flailing republic of Nub the United States has become, the shrunken place the earth has become, planet Nub")—Splay Anthem weaves together two ongoing serial poems Mackey has been writing for over twenty years, "Song of the Andoumboulou" and "Mu" (though "Mu no more itself / than Andoumboulou").In the cosmology of the Dogon of West Africa, the Andoumboulou are progenitor spirits, and the song of the Andoumboulou is a song addressed to the spirits, a funeral song, a song of rebirth. "Mu," too, splays with meaning: muni bird, Greek muthos, a Sun Ra tune, a continent once thought to have existed in the Pacific. With the vibrancy of a Mira painting, Mackey's poems trace the lost tribe of "we" through waking and dreamtime, through a multitude of geographies, cultures, histories, and musical traditions, as poetry here serves as the intersection of everything, myth's music, spirit lift.

    After being impregnated in a fertility ritual of ancient ofigin, she leaves Mexico to work in the Rio Grande Valley of Texas as a housemaid for Mrs. Eddie Hatch, a woman with a strong will and a narrow worldview. Their complex relationship-by turns mystical and pragmnatic, serious and comic-reveals the many ways human beings can wound one another, the nautre of love and sacrifice, and the possibility of forgiveness.The River Beyond the World is a 1996 National Book Award Finalist for Fiction.

    Hall's new poems further the themes of love, death, and mourning so powerfully introduced in his WITHOUT (1998), but from the distance of passed time. A long poem, "Daylilies on the Hill 1975 - 1989," moves back to the happy repossession of the poet's old family house and its history - a structure that "persisted against assaults" as its generations of residents could not. These poems are by turns furious and resigned, spirited and despairing - "mania is melancholy reversed," as Hall writes in another long poem, "Kill the Day." In this book's fourth and final section, "Ardor," the poet moves toward acceptance of new life in old age; eros reemerges.

    From Hurricane Sandy to the murder of Sandra Bland to the massacre at Sandy Hook, from the sand in the gizzards of birds to the desertified mountains of Haiti, from Attar's Conference of the Birds to Chaucer's Parliament of Fowls to Twitter, a sand book is about change and quantification, the relationship between catastrophe and cultural transmission. It moves among houses of worship and grocery stores, flitters between geological upheaval and the weird weather of the Internet. In her long-awaited follow-up to Mercury, Reines has written her most ambitious work to date, but also her most visceral and satisfying.

    Although he has edited several anthologies of his favorite poems, this volume forges a new path for him, as a poet of light verse. He writes—with his characteristic combination of humor and insight—on love, modernity, nostalgia, politics, religion, and other facets of daily life. Keillor’s verses are charming and playful, locating sublime song within the humdrum of being human.