D. A. Powell What is it about the poems in Red Sugar, Jan Beatty's astonishing third collection, that brings to mind the incomparable music of Miles Davis? 'It's just that I can't play like anybody else... I can't do anything like anybody else, ' Davis insisted. These poems go their own sure way, making their own fierce music, charting 'the fluid stages of / empire & slavery' in the human body, yours and mine, as we rehearse our sometimes sorry but always necessary seductions. Jan Beatty is the author of Boneshaker and Mad River, winner of the 1994 Agnes Lynch Starrett Poetry Prize. She is the recipient of the Pablo Neruda Prize for Poetry and two fellowships from the Pennsylvania Council on the Arts

    He can have his tawdry mistress. She intends to devote herself to the serious business of raising her two children in proper Tory fashion. Then tragedy strikes: the children die, and Sophia, in despair, finds her way to Paris, arriving just in time for the revolution of 1848. Before long she has formed the unlikeliest of close relations with Minna, her husband’s sometime mistress, whose dramatic recitations, based on her hair-raising childhood in czarist Russia, electrify audiences in drawing rooms and on the street alike. Minna, “magnanimous and unscrupulous, fickle, ardent, and interfering,” leads Sophia on a wild adventure through bohemian and revolutionary Paris, in a story that reaches an unforgettable conclusion amidst the bullets, bloodshed, and hope of the barricades.Sylvia Townsend Warner was one of the most original and inventive of twentieth-century English novelists. At once an adventure story, a love story, and a novel of ideas, Summer Will Show is a brilliant reimagining of the possibilities of historical fiction.

    In Life of the Party, she weaves together her own coming of age with an investigation into our culture's romanticization of violence against women. In precise, searing language—at times blistering and riotous, at times soulful and exuberant—she explores the boundary between what is real and what is imagined in a life saturated with fear. How does one grow from a girl to a woman in a world wracked by violence? Where is the line between perpetrator and victim? What is the meaning of bravery? Visceral and haunting, this multifaceted collection illustrates that what happens to our bodies makes us who we are.

    

    The first section of this collection pays homage to the poet's roots in a place where the world hands you nothing and promises less, so you are left to invent yourself or disappear. From there these poems both recount and embody repeated acts of defiant self-creation in the face of despair, loss, and shame, and always in the shadow of annihilation.With darkly raucous humor and wrenching pathos, Seuss burrows furiously into liminal places of no dimension—state lines, lakes' edges, the space "between the m and the e in the word amen." From what she calls "this place inbetween" come profane prayers in which "the sound of hope and the sound of suffering" are revealed to be "the same music played on the same instrument."Midway through this book, a man tells the speaker that beauty is that which has not been touched. This collection is a righteous and fierce counterargument: in the world of this imagination, beauty spills from that which has been crushed, torn, and harrowed. "We receive beauty," Seuss writes, "as a nail receives / the hammer blow." This is the poetry that comes only after the white dress has been blown open—the poetry of necessity, where a wild imagination is the only hope.

    H. Auden (1907-73) came to prominence in the 1930s among a generation of outspoken poets that included his friends Louis MacNeice, Stephen Spender and C. Day Lewis. But he was also an intimate and lyrical poet of great originality, and a master craftsman of some of the most cherished and influential poems of the past century.Other volumes in this series: Betjemen, Eliot, Plath, Hughes and Yeats.

    How can a childhood passion disappear in a puff of smoke...or a woman's beauty and intelligence mask her wounds and her capacity to betray? Is it possible to find a love that satisfies both the longings of the heart and the hungers of the flesh - and are there unseen forces guiding Jude through it all? Five Minutes in Heaven takes up the histories of Molly, Jude's brave, indomitable childhood friend; Sandy, a gay man with a taste for danger; Anna, an infinitely desirable married woman; and Jasmine, a quintessentially elegant and enigmatic Parisienne. With Molly, Jude experiences the tumults of childhood passion for a friend - a love that proves more fragile than anyone might have suspected. In New York City as a graduate student, she discovers barriers to intimacy she has tried to ignore. Stung, she finds refuge in love for a woman. Jude's journey finally takes her to Paris, down the twisting corridors of her own psyche, and finally to a richer understanding of herself.

    . .Julieanne Gillis's family collects them. An advice columnist for a local newspaper, Julie dispenses wisdom to her readers, but somehow missed the signs that something was wrong in her own home. Devoted to being a good mother and keeping her twenty-year marriage fresh and exciting, she is shocked by her husband's surprise announcement that he needs a "sabbatical" from their life together -- and devastated when he disappears, leaving Julie with no funds to raise two teenagers and a small daughter alone. But it is the discovery that Julieanne suffers from a serious illness that truly crumbles her family's foundation -- setting her children on a dangerous, quixotic journey to locate their missing father . . . before it's too late.

    Her daughter Cathy would rather be singing Country & Western than selling cars, while Benny Catchprice, sixteen and seriously psychopathic, wants to transform a failing auto franchise into an empire—and himself into an angel. Out of the confrontation between the Catchprices and their unwitting nemesis, a beautiful and very pregnant agent of the Australian Taxation Office, Peter Carey, author of Oscar and Lucinda, creates an endlessly surprising and fearfully convincing novel.

    Animals populate its pages—owl, groundhog, fox, each with its own inimitable survival skills—and the poet who so meticulously observes their behaviors has accumulated a lifetime’s worth of skills herself: she too has survived. The power of these extraordinary poems lies in their recognition that all our experience is ultimately useless—that human beings are at every moment beginners, facing the earth as if for the first time. "Don’t you think I’m doing better," asks the first poem. "You got sick you got well you got sick," says the last.Eschewing punctuation, forgoing every symmetry, the poems hurl themselves forward, driven by an urgent need to speak. Headwaters is a book of wisdom that refuses to be wise, a book of fresh beginnings by an American poet writing at the height of her powers.

    Sledge artfully draws from Bishop's lifelong correspondences and biography to imagine the poet's intensely private world, revealing the literary genius who lived in conflict with herself both as a writer and as a woman.A seemingly idyllic existence in Soares's glass house in the jungle gives way to the truth of Bishop's lifelong battle with alcoholism, as well as her eventual status as one of modernism's most prominent writers. Though connected to many of the most famous cultural and political figures of the era, Soares too is haunted by her own demons. As their secrets unfold, the sensuous landscape of Rio de Janeiro, the rhythms of the samba and the bossa nova, and the political turmoil of 1950s Brazil envelop Bishop in a world she never expected to inhabit. The More I Owe You is a vivid portrait of two brilliant women whose love for one another pushes them to accomplish enduring works of art.

    Nonetheless, she traveled from Rhode Island to El Santuario de Chimayo in New Mexico to bring home a miracle for her dying father. Ultimately, Ann Hood discovered the courage to accept what had come her way, and an appreciation for the faith in miracles. Do Not Go Gentle is a profound journey into the nature of miracles, and one woman's revelatory reflection upon her spiritual heritage.

    LIndbergh's poems are a joy for their clarity and restraint and for the feeling which so swiftly flows from the word to the listener.'- Edward Weeks, Atlantic Monthly.

    When her poems first emerged from the Civil Rights and Black Arts Movements of the 1960s, she immediately became a celebrated and controversial literary figure. One of the most commanding voices to grace America's political and poetic landscape, Nikki Giovanni's poems embody the fearless passion and spirited wit for which she is beloved and revered.From the sublime "Ego Tripping" to the tender "My House," Nikki Giovanni's mind-speaking, truth-telling poems compassionately evoke our nation's past, present, and future.Read by Nikki Giovanni.

    They have shaped her writing just as they have shaped her life. In these seventy-five autobiographical poems, Alvarez’s clear voice sings out in every line. Here, in the middle of her life, she looks back as a way of understanding and celebrating the woman she has become.