Pure Drivel is a collection of pieces, most of them written for the New Yorker, that demonstrate Martin's playful way with words and his unerring ability to create a feeling of serendipitous improvisation even on the printed page. Here's a passage from a piece that announces a shortage of periods in the Times Roman font: "Most vulnerable are writers who work in short, choppy sentences," said a spokesperson for Times Roman, who continued, "We are trying to remedy the situation and have suggested alternatives, like umlauts, since we have plenty of umlauts--and, in fact, have more umlauts than we could possibly use in a lifetime! Don't forget, umlauts can really spice up a page with their delicate symmetry--resting often midway in a word, letters spilling on either side--and not only indicate the pronunciation of a word but also contribute to a writer's greater glory because they're fancy, not to mention that they even look like periods, indeed, are indistinguishable from periods, and will lead casual readers to believe that the article actually contains periods!" Although some of these pieces flirted with topicality when they first appeared, Martin is most successful when he leaves the real world behind and gives his wit free rein. This collection preserves the best (so far) of his glorious improvisations. --Simon Leake

    Compiled by her sister after the poet's death and originally published in 1956, this is the definitive edition of Millay, right up through her last poem, Mine the Harvest.

    Michael Martone is its own appendix, comprising fifty “contributors notes,” each of which identifies in exorbitant biographical detail the author of the other forty-nine. Full of fanciful anecdotes and preposterous reminiscences, Martone’s self-inventions include the multiple deaths of himself and all his family members, his Kafkaesque rebirth as a giant insect, and his stints as circus performer, assembly-line worker, photographer, and movie extra. Expect no autobiographical consistency here. A note revealing Martone's mother as the ghost-writer of all his books precedes the note beginning, “Michael Martone, an orphan . . . “ We learn of Martone’s university career and sketchy formal education, his misguided caretaking of his teacher John Barth’s lawn, and his impersonation of a poor African republic in political science class, where Martone's population is allowed to starve as his more fortunate fellow republics fight over development and natural resource trading-cards. The author of Michael Martone, whose other names include Missy, Dolly, Peanut, Bug, Gigi-tone, Tony's boy, Patty's boy, Junior's, Mickey, Monk, Mr. Martone, and “the contributor named in this note," proves as Protean as fiction itself, continuously transforming the past with every new attribution but never identifying himself by name. It is this missing personage who, from first note to last, constitutes the unformed subject of Michael Martone.

    No single volume better conveys the scope of Faulkner's vision than The Portable Faulkner. Edited by Malcolm CowleyContents:The Old PeopleThe UnvanquishedThe Last WildernessThe PeasantsThe End of an OrderMississippi FloodModern TimesThe Undying Past

    Miłosz provides a preface to each of these poems, divided into thematic (and often beguiling) sections, such as “Travel,” “History,” and “The Secret of a Thing,” that make the reading as instructional as it is inspirational and remind us how powerfully poetry can touch our minds and hearts. "

    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.

    Attempting to imagine the unimaginable and see the unseen, Armantrout evokes a "next life" beyond the current, and too often degraded, one. From the new physics to mortality, Armantrout engages with the half-seen and the half-believed. These poems step into the dance of consciousness and its perennial ghost partner--"to make the world up/of provisional pairs." At a time when our world is being progressively despoiled, Armantrout has emerged as one of our most important and articulate authors. These poems push against the limit of knowledge, that event-horizon, and into the echoes and phantasms beyond, calling us to look toward the "next life" and find it where we can.

    John of the Cross. He continues with a long multilingual poem examining the syncretic geological and cultural history of the U.S. border with Mexico. The poems of the third section—a moving transcription of Gander’s efforts to address his mother dying of Alzheimer’s—rise from the page like hymns, transforming slowly from reverence to revelation. Gander has been called one of our most formally restless poets, and these new poems express a characteristically tensile energy and, as one critic noted, “the most eclectic diction since Hart Crane.”

    *Shortlisted for the Forward Prize for Best First Collection 2019*Jay Bernard’s extraordinary debut is a fearlessly original exploration of the black British archive: an enquiry into the New Cross Fire of 1981, a house fire at a birthday party in south London in which thirteen young black people were killed.Dubbed the ‘New Cross Massacre’, the fire was initially believed to be a racist attack, and the indifference with which the tragedy was met by the state triggered a new era of race relations in Britain.Tracing a line from New Cross to the ‘towers of blood’ of the Grenfell fire, this urgent collection speaks with, in and of the voices of the past, brought back by the incantation of dancehall rhythms and the music of Jamaican patois, to form a living presence in the absence of justice.A ground-breaking work of excavation, memory and activism – both political and personal, witness and documentary – Surge shines a much-needed light on an unacknowledged chapter in British history, one that powerfully resonates in our present moment.

    "Wired" magazine sent him to Singapore to report on one of the world's most buttoned-up states. "The New York Times Magazine" asked him to describe what was wrong with the Internet. Rolling Stone published his essay on the ways our lives are all "soundtracked" by the music and the culture around us. And in a speech at the 2010 Book Expo, he memorably described the interactive relationship between writer and reader.These essays and articles have never been collected-until now. Some have never appeared in print at all. In addition, "Distrust That Particular Flavor" includes journalism from small publishers, online sources, and magazines no longer in existence. This volume will be essential reading for any lover of William Gibson's novels. "Distrust That Particular Flavor" offers readers a privileged view into the mind of a writer whose thinking has shaped not only a generation of writers but our entire culture.

    But do you know the rest of the verse, or even the rest of the poem?An anthology to warm the coldest heart or charm the least romantic soul, this is a collection of poems (or in some cases, extracts) that are not only memorable, but lend themselves to being learned by heart.This is the perfect book for anyone with even the vaguest interest in poetry, providing a wonderful opportunity to revisit those much-loved lines remembered from earlier days.

    It tells in a brilliant braid of voices the story of an unnamed narrator who traces, before our rapt eyes, his memories of work, adventure, and travel as he undergoes medical tests and treatments for a condition that is rendering him more and more dependent on the loved ones who are caring for him. The narrator’s memories and preoccupations often echo those of our current moment—for here are stories of immigration and community, inclusion and exclusion, suspicion and trust. But at the book’s core, and his, is family—his relationships with those he loved, and with the natural world around him. Vivid, haunting, and deeply moving, Spy of the First Person takes us from the sculpted gardens of a renowned clinic in Arizona to the blue waters surrounding Alcatraz, from a New Mexico border town to a condemned building on New York City’s Avenue C. It is an unflinching expression of the vulnerabilities that make us human—and an unbound celebration of family and life.

    The Washington Post said of the 2017 edition, “The poems...have a wonderful cohesion and flow, as if each contributes to a larger narrative about life today…While readers may question some of the selections—an annual sport with this series—most will find much that resonates, including the insightful author notes at the back of the anthology.” The state of the world has inspired many to write poetry, and to read it—to share all the rage, beauty, and every other thing under the sun in the way that only poetry can. Now the foremost anthology of contemporary American poetry returns, guest edited by Major Jackson, the poet and editor who, “makes poems that rumble and rock” (poet Dorianne Laux). This brilliant 2019 edition includes some of the year’s most defining, striking, and innovative poems and poets.

    The book showcases many different styles of writing, from fiction to short humor to essays to comedy sketches to poetry. Featured writers include F. Scott Fitzgerald, Conan O'Brien, Lorrie Moore, Paul Feig, Jonathan Franzen, Alice Munro, and many more. Proceeds from the book will go to 826 National, a nonprofit tutoring, writing, and publishing organization with locations in eight cities across the country.

    Spanning five decades and comprising 868 poems (nearly 300 of which have never before appeared in book form), this magnificent volume is the definitive sampling of a writer who has been called the poet laureate of African America--and perhaps our greatest popular poet since Walt Whitman.  Here, for the first time, are all the poems that Langston Hughes published during his lifetime, arranged in the general order in which he wrote them and annotated by Arnold Rampersad and David Roessel.Alongside such famous works as "The Negro Speaks of Rivers" and Montage of a Dream Deferred, The Collected Poems includes the author's lesser-known verse for children; topical poems distributed through the Associated Negro Press; and poems such as "Goodbye Christ" that were once suppressed.  Lyrical and pungent, passionate and polemical, the result is a treasure of a book, the essential collection of a poet whose words have entered our common language.