Real people. Real stories.

    They are truly delightful and robustly original—a poetic joy."—Tony HoaglandSelected by Bernadette Mayer for the National Poetry Series, these poems engage the structures of family and intimacy, exposing the viscera of the everyday, all its frailties and familiarity rendered absurd and remade through language.Outside there's a world where every love-scenebegins with a man in a doorway;he walks over to the woman and says "Open your mouth."Hannah Gamble has received fellowships from Rice University, The University of Houston, and The Edward F. Albee Foundation. She teaches literature and writing at Prairie State College and is the poet-in-residence at Children's Memorial Hospital in Chicago, Illinois.

    Winner of the Whitbread Book of the Year in 1985, these poems were written after the death of Douglas Dunn's first wife in March 1981.

    So when she meets Lloyd AKA Black, a rich street king who ruthlessly runs Atlanta and everything in it, she has no problem shedding her good girl image to be his coke-addicted ride or die. But there is one problem---his wife Dior who Lloyd is NOT divorcing although he tells Keisha a different story. After a turn of events that almost ends in bloodshed for Lloyd and Dior at her hands, Keisha swears to never do coke again, goes back to the stripclub, and takes back her job as a bartender. And it is there that she meets Trigga...Trigga is a boss nigga with an attitude. He's all business and making money but he has a mean, sexy swag that makes him effortlessly attract women. One night, he's in Pink Lips when he sees Keisha, but he's not there for pleasure...he's there for business. And his business involves putting a bullet straight through Lloyd's skull. What he soon finds is that Lloyd won't be an easy mark and one mistake ends up placing him and Keisha in the hospital fighting for their lives. When Trigga wakes up, the first person on his mind is Keisha--the woman he met who he now feels obligated to protect. And Kiesha is all too ready to allow him to do so as long as she can keep her best kept secrets regarding Lloyd underwraps.Dior Mitchell-Evans has been cheated on one to many times by her husband, Lloyd, and she decides once and for all that she won't continue to take it lying down. So she enlists the only man she knows just might love her more than Lloyd to help her with her plans...Lloyd's cousin, Kenyon. Although Kenyon and Lloyd were raised like brothers, Kenyon can't hide the fact that he's loved Dior throughout the years and he won't stand by idly any longer as Lloyd continues to use and abuse her.Love and betrayal sometimes fall hand in hand. But when you fall in love in the streets, you can guarantee that betrayal will soon come. This isn't the typical 'good girl meets thug' tale. This is classic romance meets thug love and it will leave you wanting more.

    

    

    In her second book, Sierra DeMulder examines her childhood in a small town, heartache, loss, and the possibility of transcending suffering, aided by the voice of her own genius. His character appears throughout the book, providing charming commentary and biting insight on the young author's creative process and emotional path.

    Man versus monster; conflict versus conversation; age versus youth; humanity versus its environment; utopia versus what we're living through now. This is a combative and moving book and an answer to anyone who's ever accused poetry of receding into irrelevance.

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    If the poetic sequence is the main mode of Maggot, it certainly isn't your father's poetic sequence. Taking as a starting point W. B. Yeats's remark that the only fit topics for a serious mood are "sex and the dead," Muldoon finds unexpected ways of thinking and feeling about what it means to come to terms with the early twenty-first century. It's no accident that the centerpiece of Maggot is an outlandish meditation on a failed poem that draws on the vocabulary of entomological forensics. The last series of linked lyrics, meanwhile, takes as its subject the urge to memorialize the scenes of fatal automobile accidents. The extravagant linkage of rot and the erotic is at the heart of not only the title sequence but also many of the round songs that characterize Maggot, and has led Angela Leighton, writing in The Times Literary Supplement, to see these new poems as giving readers "a thrilling, wild, fairground ride, with few let-ups for the squeamish."

    until he gets a call from his missing sister! It takes him on a journey where he meets a young hooker, hillbillies, truckers, and a crazy church. He also meets someone he never knew: himself.

    This work is light, deft, dangerous. There are perfect poems here, such as “The End”, which enacts a simple, startling twist on the hoary injunction to “Walk towards the light.” See, everything you know is wrong. You really have to read this book. -Rae AmrantroutI've always found Kendal Frey's poems fascinating to the point of transfix—they make compelling reading: I've never started one I didn't finish, something I can say of very few other poets' work. Her first full-length collection surely places her among the most brilliant of today's young poets. The Grief Performance commands and rewards the mind's richest attendance.--Bill KnottEmily Kendal Frey’s The Grief Performance is a book that condenses a journey of finding and re-finding loss into beautiful packages. The packages are the poems and they sit shiny and new on every page of this fabulous and generous book. I want to go into the world that these poems create, just so that I can be given these terrifying presents again and again. I know you will, too. See you there.--Dorothea LaskyEmily Kendal Frey's poems are made of words that can fake out death, trick abandonment into a bed, turn love into hands. They are rich with sound, brave with secrets, funny (tragic), and open ( ). She will twist up your heart into your next heart. Settle in. There are three dead people in her.--Zachary Schomburg