Those who turn to poetry to become confidants for another's stories and secrets will not be disappointed.”—Publishers Weekly“In her fifth book of poetry, Bass addresses everything from Saturn’s rings and Newton’s law of gravitation to wasps and Pablo Neruda. Her words are nostalgic, vivid, and visceral. Bass arrives at the truth of human carnality rooted in the extraordinary need and promise of the individual. Bass shows us that we are as radiant as we are ephemeral, that in transience glistens resilient history and the remarkable fluidity of connection. By the collection’s end—following her musings on suicide and generosity, desire and repetition—it becomes lucidly clear that Bass is not only a poet but also a philosopher and a storyteller.”—BooklistEllen Bass brings a deft touch as she continues her ongoing interrogations of crucial moral issues of our times, while simultaneously delighting in endearing human absurdities. From the start of Like a Beggar, Bass asks her readers to relax, even though "bad things are going to happen," because the "bad" gets mined for all manner of goodness.From "Another Story":After dinner, we're drinking scotch at the kitchen table.Janet and I just watched a NOVA specialand we're explaining to her motherthe age and size of the universe—the hundred billion stars in the hundred billion galaxies.Dotty lives at Dominican Oaks, making her way down the long hall.How about the sun? she asks, a little farmshit in the endlessness.I gather up a cantaloupe, a lime, a cherry,and start revolving this salad around the chicken carcass.This is the best scotch I ever tasted, Dotty says,even though we gave her the Maker's Markwhile we're drinking Glendronach...Ellen Bass's poetry includes  Like A Beggar (Copper Canyon Press, 2014), The Human Line  (Copper Canyon Press, 2007), which was named a Notable Book by the San Francisco Chronicle, and Mules of Love (BOA, 2002), which won the Lambda Literary Award.  She co-edited (with Florence Howe) the groundbreaking No More Masks! An Anthology of Poems by Women (Doubleday, 1973). Her work has frequently been published in The New Yorker, American Poetry Review, The New Republic, The Sun  and many other journals. She is co-author of several non-fiction books, including The Courage to Heal: A Guide for Women Survivors of Child Sexual Abuse (HarperCollins, 1988, 2008) which has sold over a million copies and been translated into twelve languages. She is part of the core faculty of the MFA writing program at Pacific University.

    Herter Norton offer Rilke's work to the English-speaking world in an accurate, sensitive, modern version.

    The author approaches Marian's death from the viewpoints of the people that touched her life including her lover, her best friend, and even her enemies.

    Desperate for something solid to believe in, Capps still mistrusts authority, feeling disenchanted with God, family, eros, even her own impulsive self. And yet while the absence of faith hints at despair, these poems often achieve, almost inspite of themselves, an odd buoyancy. Playful, fearless, wary, there's a dazzling resilience in this book. One poem can make a grand and eccentric claim, "I forgive the afterlife," while another takes as its title something humbler and more poisonous, "God Bless Our Crop-Dusted Wedding Cake." No matter how adrift this poet may feel, poetry itself remains her anchor and lifeline.

    The best-selling author of "How to Read a Poem and Fall in Love with Poetry selects and introduces the work of a still-underappreciated 20th century genius.

    (Nancy Pearl)

    In Blacker Than a Thousand Midnights, she fulfills the promise of the earlier book, and reintroduces readers to the inhabitants of fictional Rio Seco, California. This is the story of Darnell Tucker, and black firefighter and workingman trying to work the toughest turf of all: the straight and narrow. As his friends disappear around him - victims of the streets, of police dogs, of drugs, of an addiction to cheap thrills and guns - Darnell struggles to establish his own business, facing a thousand midnights before he's home free, with a job that supports his young family. Yet even as he gains a tentative sense of self, Darnell Tucker is drawn to the destructive beauty of fires, and to the wilder, untamed forces beyond the structure of domesticity. This search for balance in a dangerous world propels the quiet heroism of a beautifully evoked and very moving story.

    Beth Carroll, a wealthy old lady cared for by her gay houseboy David and by Phidias, the overseer of the estate and her lover for fifty years, has died before signing her will which will protect her magnificent property from being sold to developers, Phidias enlists David's aid, and David calls in his old lover Rick and the latter's famous friend, the Dietrich-esque chanteuse Madeleine Cosquer, who in turn brings in her agent, Aldo, a hip L.A. queen. Together they develop an impossible plan to fulfill Mrs. Carroll's last wish.

    

    Yet despite the distinctive differences from poem to poem, Bernstein's characteristic explorations of how language both limits and liberates thought are present throughout. Modulating the comic and the dark structural invention with buoyant soundplay, these challenging works give way to poems of lyric excess and striking emotional range. This is poetry for poetry's sake, as formally radical as it is socially engaged, providing equal measures of aesthetic pleasure, hilarity, and philosophical reflection. Long considered one of America's most inventive and influential contemporary poets, Bernstein reveals himself to be both trickster and charmer.

    The 12 tales in this book vary in setting from a Polaris base in Scotland to a frail remnant of hippy "happiness" in Tasmania, and in subject-matter from male gynaecologists' interference with female organs to a rich woman confessing to the night sea that she has lied and cheated and "murdered".

    Poems in English and Spanish that discuss what it means to be Puerto Rican in the United States today.

    The semi-autobiographical book is divided into two parts and takes place between two countries; Part I, “is a cloud a living thing?”, takes place during the Author’s tumultueuse teen years with tropical Florida as a backdrop. Part II, “Inside my Shell”, explores themes of transformation as the Author creates a new life in Paris, France. ​The poems in this collection explore the surreal rollercoaster of youth, the performance of identity, being an outsider and the tension between romantic idealism and the dystopic world in which the author finds herself. Her approach to her work as a visual artist is mirrored in her poetry style, which is accompanied by all original illustrations by the Author.

    The sound / of a bell / still reverberating. Or a blackbird / calling / from a corner / of a / field. Asking you / to wake / into this life / or inviting you / deeper / to one that waits. Either way / takes courage, / either way wants you / to be nothing / but that self that / is no self at all.

    Rudolfo Anaya returns to the deeply spiritual themes of his hugely popular Bless Me, Ultima with this insightful tale of a prophet and his message to save humankind from itself.