Now, with Goldenrod, the award-winning poet returns with a powerful collection of poems that look at parenthood, solitude, love, and memory. Pulling objects from everyday life—a hallway mirror, a rock found in her son’s pocket, a field of goldenrods at the side of the road—she reveals the magic of the present moment. Only Maggie Smith could turn an autocorrect mistake into a line of poetry, musing that her phone “doesn’t observe / the high holidays, autocorrecting / shana tova to shaman tobacco, / Rosh Hashanah to rose has hands.”​

    K. Williams breaks down stereotypes, sexism, relationship roles, and brings awareness to mental health, grief, anxiety, depression, how to move forward, how to love in a healthy way, and, most of all, how to love yourself when it feels impossible.

    The year 1895 was filled with memorable historical events: the Dreyfus Affair divided France; Booker T. Washington gave his Atlanta address; the United States expanded the effects of the Monroe Doctrine to cover South America; and Oscar Wilde was tried and convicted for gross indecency under Britain's recently passed law that made sex between males a criminal offense. When news of Wilde's conviction went out over telegraphs worldwide, it threw a small Nevada town into chaos. This is the story of what happened when the lives of its citizens were impacted by the news of Oscar Wilde's imprisonment. It is a chronicle of hatred and prejudice with all its unintended and devastating consequences, and how love and friendship bring strength and healing. All profits are going to Santa Paula Animal Rescue Center, Ventura County, CA. (the first and only no-kill animal shelter in Ventura County). For further info please contact the author on Facebook. Buy a book; save a life.

    A schoolboy. A CEO. A UPS delivery driver. A retired schoolteacher. A computer gamer. A hunter. They are just everyday people with nothing in common.No ransom is demanded. No one knows why they are taken. And no one could possibly imagine the horrors they've been chosen to face. Given no instructions, totally isolated from the outside world, all they find is ice.From the moment they awaken, the ice begins to melt and their terrifying struggle for survival begins. The ice will push them beyond their limits of endurance. It will reveal their personal secrets. It will torture them in ways they hadn't imagined possible, but it is also their only hope of escape.As cryptic patterns emerge, the ice reveals its rules. Rules they must obey or die. Thrust into the most horrifying ordeal of their lives, seven strangers must band together to survive. But as the ice melts, what they find inside begins to tear their group apart.They will learn terrible things about each other. They will learn their own personal limits. Scariest of all, they will learn what humans are capable of when pushed to the edge of sanity.

    Now discover the first three Hundred Oaks books for one low price: Catching Jordan, Stealing Parker and Things I Can't Forget-featuring new bonus material that includes: � Character interviews � A new short story based on Catching Jordan � A sneak peek at Racing Savannah...and more! "A must-read!" —Simone Elkeles, New York Times bestselling author of the Perfect Chemistry series"Kenneally's books have quickly become must-reads."—VOYA About the Books in This Bundle 1. Catching JordanJordan Woods isn't just surrounded by gorgeous jocks-she leads them as the captain and quarterback of her high school football team. She's seen as one of the guys and that's just fine, as long as she gets her athletic scholarship to college. But everything she's ever worked for is threatened when Ty Green arrives. Not only is he an amazing QB, but he's also amazingly hot. And for the first time, Jordan's feeling vulnerable. Can she keep her head in the game while her heart's on the line? 2. Stealing ParkerParker Shelton pretty much has the perfect life. She's on her way to becoming valedictorian, she made the all-star softball team, and she has plenty of friends. Then her mother's scandal rocks their small town and suddenly no one will talk to her. So she quits softball, drops twenty pounds, and she figures why kiss one guy when she can kiss three? And why limit herself to high school boys? But how far is too far before she loses herself completely?3. Things I Can't Forget Kate has always been the good girl-although the people at school have no idea the guilty secret she carries. But this summer, she's a counselor at Cumberland Creek summer camp, and she wants to put the past behind her. Matt is back as a counselor too. He's the first guy she ever kissed, and he's gone from geeky songwriter to buff lifeguard and loves to flirt...with her. Kate used to think the world was black and white. Turns out, life isn't that easy...

    Whether writing as son of a dying father or as father of a daughter about to be wed, Berry plumbs the complexities of conflict, grief, loss, and love. He celebrates life from the domestic to the eternal, finding in the everyday that which is everlasting.

    In a section called “Over the Bright and Darkened Lands,” canonical poems are torqued into new shapes. “Except Thou Ravish Me,” reimagines John Donne’s famous “Batter my heart, Three-person’d God” as told from the perspective of a victim of domestic violence. Like Pablo Neruda, Addonizio hears “a swarm of objects that call without being answered”: hospital crash carts, lawn gnomes, Evian bottles, wind-up Christmas creches, edible panties, cracked mirrors. Whether comic, elegiac, or ironic, the poems in Mortal Trash remind us of the beauty and absurdity of our time on earth.From “Scrapbook”:We believe in the one-ton roseand the displaced toilet equally. Our bluesassume you understandnot much, and try to be alive, just as we do,and that it may be helpful to hold the handof someone as lost as you.

    It is both difficult and challenging but in confronting her own fears she finds a way through that illuminates her life and friendships.Meeting Rose, and seeing that there is another world out there, enables her to live her own life fully and gives her the knowledge that she is both beautiful and worth it.

    He wrote about the things we can feel; with our whole being—the senselessness of war, the need for love among men on earth, the presence of God in man, the love for a beloved woman, social injustice and the continual resurgence of the beautiful in life.

    The poems take shape in the space where public and private mourning converge, finding there magic and music alongside brutality and trauma. Griffiths braids a moving narrative of identity and its possibilities for rebirth through image and through loss.A photographer as well as a poet, Griffiths accompanies the fierce rhythm of her verses with a series of ghostly, imaginative self-portraits, blurring the body’s internal wilderness with landscapes alive with beauty and terror. The collision of text and imagery offers an associative autobiography, in which narratives of language, absence, and presence are at once saved, revised, and often erased. Seeing the Body dismantles personal and public masks of silence and self-destruction to visualize and celebrate the imperfect freedom of radical self-love.

    Littlefoot, the eighteenth book from one of this country's most acclaimed poets, is an extended meditation on mortality, on the narrator's search of the skies for a road map and for last instructions on "the other side of my own death." Following the course of one year, the poet's seventieth, we witness the seasons change over his familiar postage stamps of soil, realizing that we are reflected in them, that the true affinity is between writer and subject, human and nature, one becoming the other, as the river is like our blood, "it powers on, / out of sight, out of mind." Seeded with lyrics of old love songs and spirituals, here we meet solitude, resignation, and a glad cry that while a return to the beloved earth is impossible, "all things come from splendor," and the urgent question that the poet can't help but ask: "Will you miss me when I'm gone?

    This is the poetry of a beautiful life.

    The collection's eponymous poem, Harlem Shadows, portrays the struggle of sex workers in 1920s Harlem. In If We Must Die, McKay calls for justice and retribution for Black people in the face of racist abuse.Juxtaposing the cruel noise of New York City with the serene beauties of Jamaica, McKay urges us to reckon with the oppression that plagues a long-suffering race, which he argues has no home in a white man's world. Poems of Blackness, queerness, desire, performance, and love are infused with a radical message of resistance in this sonorous cry for universal human rights. Simultaneously a love letter to the spirit of New York City and a list of grievances with its harsh cruelty, Harlem Shadows is a stunning collection that remains all too relevant one hundred years after its original publication.