For I saw Fionnuala,"The Gem of the Roe," "The Flower of Sweet Strabane,"when a girl reached down into a freezer binto bring up my double scoop of vanilla.-"White Shoulders"Seamus Heaney has called his colleague Paul Muldoon "one of the era's true originals." While Muldoon's previous book, The Annals of Chile, was poetry at an extreme of wordplay and formal complexity, Hay is made up of shorter, clearer lyric poems, retaining all of Muldoon's characteristic combination of wit and profundity but appealing to the reader in new and delightful ways. His eighth book, it is also his most inviting-full of joy in language, fascination with popular culture, and enthusiasm for the writing of poetry itself. This is the first of his books to really capture the effect of America on his poetic sensibility, which is like a magnet for impressions and the miscellany of the culture.

    The poems follow an unlikely character named Miss Peach, an unpredictable, cartoonish shapeshifter, who emerges onto the page dragging the myth of the individual, various gender scripts, and the grand tradition of the poetic persona along with her. She becomes an outsider, a hero, an intruder, a rock star. The town around her, Gold River, is also always in flux—part center and part mirage. The Stranger Manual celebrates the fractious nature of self and society in poems that are fabulist, speculative, and alluring.

    The 2009 Sawtooth Poetry Prize, selected by Rae Armantrout, is Julie Carr's provocative 100 NOTES ON VIOLENCE. Carr obsessively researches intimate terrorism, looking everywhere from Whitman and Dickinson to lists of phobias and weapon-store catalogs for answers. This book is a dream-document both of light and innocence babies and the urge to protect them and of giving in to a wrenching darkness, where despair lies in the very fact that no single factor is to blame."

    Personal and strong, these stories present an evocative new view of the shaping of California and the lives of Indians during the Mission period in California. The result is a work of literary art that is wise, angry and playful all at once.

    Torn between two races, he is propelled across the vast, unexplored Northwest wilderness of the early 1800s in a desperate mission to defend his adopted people from invasion by ruthless white fur traders.

    By turns moving and witty, sharp-eyed and impressionistic, Gabbert writes with technical sophistication and keen intelligence. This is a terrific book"--Kevin Prufer.

    On the strength of three letters she has traveled by railroad, riverboat and stagecoach to meet her new life out west. Grady McGuire, her intended and the author of those letters, though formally dressed and still holding a bouquet of wilted prairie flowers, is unfortunately passed out drunk in a buckboard behind the saloon.That new life isn’t beginning quite as she envisioned it. As she attempts to salvage the promises they made to each other, she finds herself involved with others in town with their own stories to tell:Addison Pruitt, Sarah’s saving grace, owns the very fine Russell Hotel and keeps the irritating John Russell close as she spends his money.Diego, the Mexican hotel cook possessed of an exquisite repertoire of French dishes, has a secret that he hopes he never has to tell.Jim, Booker and the boy Abraham, Grady’s long-suffering hands, are her new family. They run the ranch Grady didn’t intend to inherit and love him even though they can’t keep him out of trouble.Ellen, Grady’s strong-willed mother, lies under a headstone out by the river, but won’t quite stay dead.Last but not least, there is Elijah Blue, a member of the tribes, shotgun rider and horse trainer, who drove cattle with Grady from the time they were barely out of childhood, and is now waiting to see if his friend can make amends with the woman from the East, the one in the black traveling dress covered with dust, the one that he noticed the minute she stepped down off the stage.

    Her doting parents want her to make a good match with a worthy gentleman and live a respectable life. She is beautiful and intelligent and she comes with a hefty dowry. There is no reason that she shouldn’t be able to find an eligible man and settle down.Tessa herself is the reason. The men who are attempting to court her are, in her opinion, boring and conceited. Not only that, Tessa craves excitement and adventure, of which there is little in her social circles. By chance, she comes across an advertisement for a bride brokerage company seeking eligible women of good breeding to go west and find husbands.One man on the list catches her eye and she begins corresponding with him, eventually agreeing to go to Montana to meet him. She can’t resist the possibility of finding someone different and even if she doesn’t, the adventure itself would be worth her time. Tessa makes a successful escape and sets out to make a new life in Montana.Dean Samuels is a Montana rancher who is in over his head. His ranch is struggling and his two children are unruly and in need of a caretaker. It’s clear to his younger brother, Marcus, that he needs help. He tells Dean about a mail order bride service and convinces him that he should utilize it to find a wife.After his wife, Sarah, had passed away, Dean never intended to marry again. His ranch and his children became his life. However, it becomes apparent that Sadie, his daughter, and his son, Jack, need stability and love. The demands of raising his children and keeping his head above water financially have taken a toll and Dean grudgingly gives in to Marcus’ idea.Sarah had been the love of his life and Dean doesn’t intend to let any other woman into his heart. He’s locked those kinds of emotions deep inside, not wanting to take the chance of getting hurt like that again. Because Dean has trouble expressing his feelings in writing, his younger brother Marcus agrees to help write the letters to Tessa. Dean is happy to leave that part up to him.When Dean and Tessa meet, sparks fly between the two strong willed people. Tessa is disappointed that Dean isn’t the romantic, sophisticated man she was lead to believe he was in the letters she received. Dean is aggravated that she isn’t a meek woman who is easily managed. Never mind the fact that she has no idea of how to take care of children and keep a home.Dean and Tessa struggle to find common ground and make their marriage work. Will they each take the risk and open their hearts to one another? Can their marriage survive and will they find love and contentment in each other? Their future happiness hangs in the balance under the Montana skies.

    An elderly widower who has lived through three wars and fought in two of them, the captain enjoys his rootless, solitary existence.In Wichita Falls, he is offered a $50 gold piece to deliver a young orphan to her relatives in San Antonio. Four years earlier, a band of Kiowa raiders killed Johanna’s parents and sister; sparing the little girl, they raised her as one of their own. Recently rescued by the U.S. army, the ten-year-old has once again been torn away from the only home she knows.Their 400-mile journey south through unsettled territory and unforgiving terrain proves difficult and at times dangerous. Johanna has forgotten the English language, tries to escape at every opportunity, throws away her shoes, and refuses to act “civilized.” Yet as the miles pass, the two lonely survivors tentatively begin to trust each other, forming a bond that marks the difference between life and death in this treacherous land.Arriving in San Antonio, the reunion is neither happy nor welcome. The captain must hand Johanna over to an aunt and uncle she does not remember—strangers who regard her as an unwanted burden. A respectable man, Captain Kidd is faced with a terrible choice: abandon the girl to her fate or become—in the eyes of the law—a kidnapper himself.

    Originally an important hunting ground for the Ojibway, the city of Minneapolis draws from nearby reservations many Native people, people who infuse the city with a strong and ongoing Native presence as well as a potent indigenous past. This story brings to life the people who live in or around this midwestern city. And like a modern city itself, it portrays people of all backgrounds and is a mixture of vibrant cultures and ideas. But also like a modern city, it has an edge, troubled by violence."New York Times" bestselling author Louise Erdrich has twice won the National Magazine Award and her work has been included in both the O. Henry and the Best American collections several times.

    In A Short History of the Shadow, Wright's return to the landscapes of his early work finds his art resilient in a world haunted by death and the dead.

    Poems confront craving, control, the constant battle of alcoholism and sobriety, and the questioning of the self and its instincts within the context of this never-ending fight.“In Calling a Wolf a Wolf, Kaveh Akbar exquisitely and tenaciously braids astonishment and atonement into a singular lyric voice. The desolation of alcoholism widens into hard-won insight: ‘the body is a mosque borrowed from Heaven.’ Doubt and fear spiral into grace and beauty. Akbar’s mind, like his language, is perpetually in motion. His imagery—wounded and resplendent—is masterful and his syntax ensnares and releases music that’s both delicate and muscular. Kaveh Akbar has crafted one of the best debuts in recent memory. In his hands, awe and redemption hinge into unforgettable and gorgeous poems.” —Eduardo C. Corral

    With poems in the leading journals of the day -- American Poetry Review, Grand Street, Conjunctions, The Boston Review, to name just a few -- Gander plumbs the erotic depths of human interaction with the land. The poems in Science Steepleflower test this relationship with what Publisher's Weekly has called "an inbred (and often haunting) spirituality", bringing us to new vistas of linguistic and perceptive grace.

    Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality.Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

    Moving between dramatic and interior monologue, and moving through intersecting histories, the ambiguities of inwardness and the eros of wakeful existence, these poems search for relationships with self, others, the world and God that are authentic—however quirky or strange."This is poetry of a rare fine delicacy. Its very modesty testifies to a great ambition—to overcome by the quietest of means."—Donald JusticeIn Tennessee I Found a FireflyFlashing in the grass; the mouth of a spider clungto the dark of it: the legs of the spiderheld the tucked wings close,held the abdomen still in the midst of callingwith thrusts of phosphorescent light—When I am tired of being human, I try to rememberthe two stuck together like burrs. I try to place themcentral in my mind where everything else mustsurround them, must see the burr and the barb of them.There is courtship, and there is hunger. I supposethere are grips from which even angels cannot fly.Even imagined ones. Luciferin, luciferase.When I am tired of only touching,I have my mouth to try to tell youwhat, in your arms, is not erased"This is poetry of a rare fine delicacy. Its very modesty testifies to a great ambition—to overcome by the quietest of means."—Donald Justice