A thoughtful dog grants an interview. A caterpillar offers life advice. Amy Gerstler’s newest collection of poetry, Dearest Creature, marries fact and fiction in a menagerie of dramatic monologues, twisted love poems, and epistolary pleadings. Drawing on sources as disparate as Lewis Carroll and Mary Shelley’s Frankenstein, as well as abnormal psychology, etiquette, and archaeology texts, these darkly imaginative poems probe what it means to be a sentient, temporary, flesh-and-blood beast, to be hopelessly, vividly creaturely.

    Daffy Duck enters the Valley of the Eternals. Faulkner and bell-bottoms cling to beauty's evanescence.Even in single poems, Young's tone and style vary. No one feeling or idea takes precedence over another, and their simultaneity is frequently revealed; sadness may throw a squirrelly shadow, joy can find itself dressed in mourning black. As in the agitated "Whirlpool Suite": "Pain / and pleasure are two signals carried / over one phoneline."In taking up subjects as slight as the examination of a signature or a true/false test, and as pressing as the death of friends, Young's poems embrace the duplicity of feeling, the malleability of perception, and the truth telling of wordplay.

    In R's Boat, she brings us to the crossroads of poetry, theory, the body, and cultural criticism. These poems bring fresh vehemence to Robertson's ongoing examination of the changing shape of feminism, the male-dominated philosophical tradition, the daily forms of discourse, and the possibilities of language itself.Praise for Lisa Robertson's The Men:"In The Men, as in much of her work, Robertson makes intellect seductive; only her poetry could turn swooning into a critical gesture."-Village Voice"Robertson writes both from within and against the tradition-splitting, seeding, and suturing the cracks in each ideational edifice. . . . Her occupations with past forms lead not to a backward-looking poetry but forward to a fresh field of inquiry, an imaginatively created utopia."-Boston Review

    Where Many Rivers Meet: Poems

    Among them: Suheir Hammad, Beau Sia, Steve Colman, Stacyann Chin, Mayda del Valle, Georgia Me, Poetri, and other well-established and up-and-coming Slam artists who have forever changed the face of poetry and offer a fresh, exuberant, insightful, and comedic look at who we are as Americans today.

    Suddenly, like a gunshot in the very-near distance, you find yourself traipsing though a full-blown love story that you can’t find your way out of because the story is actually the landscape underneath your feet. It’s okay though, you won’t get lost– you won’t go hungry. Azra shakes every tree along the way so their fruit blankets the ground before you. She picks up pieces & hands them to you but not before she shows you how she can love you so gently it will feel like she’s unpeeling you carefully from yourself. She tells you that it isn’t about the bite but the warm juice that slips from the lips down chin. She holds your hand when you’re trudging through the messier parts, shoes getting stuck in the muck of it all, but you’ll keep going with the pulp of the fruit still stuck in-between your teeth, the juice will dry in the crooks of your elbows & in the lines on your palms. You’ll taste bittersweet for days.

    H. Auden’s Selected Poems adds twenty poems to the hundred in the original edition, broadening its focus to better reflect the enormous wealth of form, rhetoric, tone and content in Auden’s work. Newly included are such favorites as “Funeral Blues” and other works that represent Auden’s lighter, comic side, giving a fuller picture of the range of his genius. Also new are brief notes explaining references that may have become obscure to younger generations of readers and a revised introduction that draws on recent additions to knowledge about Auden.As in the original edition, the new Selected Poems makes available the preferred original versions of some thirty poems that Auden revised later in life, making it the best source for enjoying the many facets of Auden’s art in one volume.

    They encourage us to be more present, more attentive and compassionate, in the living of our days. They grant us a taste of being good enough, just as we are, in this world, just as it is.Poetry of Presence ($21.95; dimensions 6″ x 9″) is a collection of more than 150 mindfulness poems, mostly by contemporary or recent poets. These poems call us to the Here and Now, and help us to dwell there. The Here and Now is all that truly belongs to us, and as the poets say, it’s enough.This is a book for the times we live in. An inspiring read for lovers of beautiful, accessible poetry, it’s also a valuable resource for literature teachers, spiritual directors, meditators, interfaith clergy, mindfulness trainers, social workers, counselors, poetry therapists, hospice and grief workers, and medical personnel.Anthologized poets include Yehuda Amichai • Margaret Atwood • Ellen Bass • Wendell Berry • Robert Bly • Billy Collins • Mahmoud Darwish • Thich Nhat Hanh • Joy Harjo • Tony Hoagland • Miroslav Holub • Marie Howe • Erica Jong • Kabir • Galway Kinnell • Ted Kooser • Howard Nemerov • Kathleen Norris • Mary Oliver • Rainer Maria Rilke • Rumi • May Sarton • William Stafford • David Wagoner • Alice Walker and many more."I’ll keep this by my side to read one poem a day to return to a state of mindfulness, breathing language through the heart. If you choose one anthology, I say let it be this one for the amazement⎯for the voices that, surprisingly, will speak to what you want to find in yourself.”⎯ Grace Cavalieri, Host and Producer, “The Poet and the Poem from the Library of Congress”“The poems in this book, arranged gently and creatively, are an invitation to mindful presence and to a world where words and phrases initiate us, wake us up, and guide us home.”⎯ Kelly Boys, Host of The Year of Mindfulness and mindfulness consultant to the United Nations Foundation“These poems remind us to live `undefended.’ To stand, deliberately and consciously, as witnesses of the present moment. To gaze upon existence from the place of Divine Intimacy. To reach out from that place to those who suffer. Living this way takes lots of practice. Poetry of Presence will be a companion and guide, leading us into deeper communion with the world.”⎯ Fr. Richard Rohr, Founder of the Center for Action and Contemplation, and The Naked Now: Learning to See as the Mystics See“After reading just a poem or two in Poetry of Presence, I started quieting down, breathing easier. The poems had already begun to do their work. What a gift! This will be a book I will return to again and again to find the peaceful presence I need to face the day.”⎯ Megan Scribner, Co-author of Teaching with Heart: Poetry that Speaks to the Courage to Teach “Especially in times of challenge, I turn to poetry in my life, and in my work. Poetry expresses the ineffable⎯that which is beyond logic and linear thinking⎯like God, or love or presence. In my mindfulness teaching, poetry is always present and I look forward to using the poems in this beautiful collection on a regular basis.”⎯ Rabbi Jill Berkson Zimmerman, Founder of the Jewish Mindfulness Network“This collection of poems is an invitation toward ‘being’ with the present moment, through the written word. I am moved, inspired and surprised by the powerful and clear voices in these poems: both new gems, and old friends. In teaching Mindfulness-Based Stress Reduction, I know Poetry of Presence will be a regular resource, as it speaks directly to the heart of being fully human.”⎯ Holly Nelson-Johnson, MBSR Mentor for the University of California-San Diego Mindfulness-Based Professional Training Institute, and president of Mindfulness for Living“Phyllis Cole-Dai and Ruby Wilson have collected an extensive anthology of exquisite poetry that can open the minds and hearts of readers to the richness and vastness of the present moment. As a Mindfulness-Based Stress Reduction teacher, I find this collection to be a true gift, with poems that I will share with the participants in my classes for years to come.”⎯ Diane Reibel, Ph.D., Director of the Mindfulness Institute at Thomas Jefferson University Hospital and coauthor of Teaching Mindfulness: A Practical Guide for Clinicians and Educators

    Clover fuses formal control, a solid grounding in poetic tradition (his allusions range from Shakespeare to Dickinson to John Cale), and sheer visionary exhilaration into a technical, moral, aesthetic, and imaginative lexicon that irradiates each page.The eerie cyberglow of Clover's lines illuminates a pageant of blurred and fragmented desolation: the Bomb, death camps, the Persian Gulf War, the beating of Rodney King, the whole numbing litany of modern horrors. Clover is a master of poetic shorthand, of the stark, unnerving image as immediate as yellow tape at a crime scene.Madonna anno domini is a sacrament for the twilight of the atomic age, a hellish Interzone with "God in abeyance" where dazed speakers search through the vertigo of negation for love and belief. And here. in this utterly convincing vision of a world whose center has long since lost its hold, we see the life on whose brink we, at the end of the millennium, find ourselves poised.

    This volume consists of new translations edited by Deepak Chopra to evoke the rich mood and music of Rumi's love poems. Exalted yearning, ravishing ecstasy, and consuming desire emerge from these poems as powerfully today as they did on their creation more than 700 years ago.'These poems reflect the deepest longings of the human heart as it searches for the divine. They celebrate love. Each poetic whisper is urgent, expressing the desire that penetrates human relationships and inspires intimacy with the self, silently nurturing an affinity for the Beloved. Both Fereydoun Kia, the translator, and I hope that you will share the experience of ravishing ecstasy that the poems of Rumi evoked in us. In this volume we have sought to capture in English the dreams, wishes, hopes, desires, and feelings of a Persian poet who continues to amaze, bewilder, confound, and teach, one thousand years after he walked on this earth' - Deepak Chopra

    Included here is some of the most celebrated verse in modern literature-”The Love Song of J. Alfred Prufrock,” “Gerontion,” “The Waste Land,” “The Hollow Men,” and “Ash Wednesday”-as well as many other fine selections from Eliot’s early work.

    Tate's signature style draws on a marvelous variety of voices and characters, all of which sound vaguely familiar, but are each fantastically unique, brilliant, and eccentric.Yet, as Charles Simic observed in the New York Review of Books, "With all his reliance on chance, Tate has a serious purpose. He's searching for a new way to write a lyric poem." He continues, "To write a poem out of nothing at all is Tate's genius. For him, the poem is something one did not know was there until it was written down. . . . Just about anything can happen next in this kind of poetry and that is its attraction. . . . Tate is not worried about leaving us a little dazed. . . . He succeeds in ways for which there are a few precedents. He makes me think that anti-poetry is the best friend poetry ever had."

    Now, The Lost Spells, a book kindred in spirit and tone, continues to re-wild the lives of children and adults.The Lost Spells evokes the wonder of everyday nature, conjuring up red foxes, birch trees, jackdaws, and more in poems and illustrations that flow between the pages and into readers’ minds. Robert Macfarlane’s spell-poems and Jackie Morris’s watercolour illustrations are musical and magical: these are summoning spells, words of recollection, charms of protection. To read The Lost Spells is to see anew the natural world within our grasp and to be reminded of what happens when we allow it to slip away.

    The result is a poetry that upends the deeply and dangerously assumed concepts of such a culture—that new knowledge is always better knowledge, that history is a steady progress, that humans are in control of the natural order. Nick Lantz’s poems hurtle through time from ancient theories of physics to the CIA training manual for the practice of torture, from the history of the question mark to the would-be masterpieces left incomplete by the deaths of Leonardo da Vinci, Nikolai Gogol, Bruce Lee, and Jimi Hendrix. Selected by Linda Gregerson for the esteemed Bakeless Prize for Poetry, We Don’t Know We Don’t

    Her poems are lit with magic and stark with truth: whether they speak from the imagined dwelling of her “Abandonarium,” or from habitats where animals are farmed and harmed “humanely,” or even from the surreal confines of death row, they find a voice like no other—dazzling, intimate, startling, heartbreaking. Eddying between the theater of the lavish and the enigmatic, between the gaudy and the unadorned, Brock-Broido’s verse scours America for material to render unflinchingly the here and now. Grandeur devolves into a comic irony: “We have come to terms with our Self / Like a marmoset getting out of her Great Ape suit.” She dares the unexplained: “The wings were left ajar / At the altar where I’ve knelt all night, trembling, leaning, rough / As sugar raw, and sweet.” Each poem is a rebellious chain of words: “Be good, they said, and so too I was / Good until I was not.” Strange narratives, interior and exterior, make a world that is foreign and yet our own; like Dickinson, Brock-Broido constructs a spider-sibling, commanding the “silk spool of the recluse as she confects her eventual mythomania.” And why create the web? Because: “If it is written down, you can’t rescind it.”