Our companions are an aging poet, who is sad because he can no longer write—he has lost the joy he used to have in simply being alive–and a young, mischievous female donkey, who is sad because she can't run and play—she has a touch of arthritis. . . . There is a moral, of course, but any moral looks dull next to the simple happiness of the old poet and his long-eared muse."—The New Yorker

    A potpourri of musings assembled with a hint of practical spirituality, to be savoured passably as an oracle of hearts to the many answers, whose questions our minds are yet to comprehend. Ivory Gleam is split into three chapters of learning, longing and loving. Each chapter is a journey traversing a different road to the ultimate destination of self-reflection.

    Chickamauga is also a virtuoso exploration of the power of concision in lyric poetry--a testament to the flexible music of the long line Wright has made his own. As a reviewer in Library Journal noted: "Wright is one of those rare and gifted poets who can turn thought into music. Following his self-prescribed regimen of purgatio, illuminato, and contemplatio, Wright spins one lovely lyric after another on such elemental subjects as sky, trees, birds, months, and seasons. But the real subject is the thinking process itself and the mysterious alchemy of language: 'The world is a language we never quite understand.'"

    

    The book is categorized into four parts, LOST, FOUND, HOPE and Short Stories. In an age of lesser readers and short attention spans, she hopes this book could stir ideas in the most efficient way possible; through really short, melodious writing. Awards- Award-Winning Finalist in the “Poetry” category of the 2017 International Book Awards- Award-Winning Finalist in the “Best Cover Design: Fiction” category of the 2017 International Book Awards- MPH Best Paperback Fiction Nominee 2016Get it on Amazon Kindle:http://amzn.to/2AHkNzT

    No one will say for sure how it got that way, but it’s the reason the whole town gathers every Decoration Day to honor the dead.But this year, there are two fresh graves up on Cemetery Hill, a stranger’s come to town, and the mountain’s song is filled with dark warnings.The good people of Moon Hollow are about to learn that some secrets are too painful to bear, and some spirits are too restless to stay buried.

    To enter into these poems one must be fully committed, as the poet is, to seeing this world as it is, to staying with it, moment by moment, day by day. Yet these poems hold a dark promise: this is how you can do it, but you must be fully engaged, which means you must be fully awake, you must wake up inside it. As we proceed, the how-to of the beginning poems subtly transform, as the animals (or, more specifically, the livestock) we are engaging begin to, more and more, become part of us, literally and figuratively we enter inside of that which we devour.--Nick FlynnThis is the book you want with you in the cellar when the tornado is upstairs taking your house and your farm. It's the book you want in the bomb shelter, and in the stalled car, in the kitchen waiting for the kids to come home, in the library when the library books are burned. Its instructions are clear and urgent. Rebecca Gayle Howell has pressed her face to the face of the actual animal world. She remembers everything we have forgotten. Read this! It's not too late. We can start over from right here and right now.--Marie HoweIn every one of these haunting and hungry poems, Howell draws a map for how to enter the heat and dew of the human being, naked and facing the natural world, desperate to feel. I did not realize while reading RENDER how deeply I was handing everything over.--Nikky Finney

    Jeanann Verlee's award-winning debut collection is a series of narratives, prayers, and conjurings which address gender, sex, race, poverty, heartbreak, and survival with such stark intimacy, you will find yourself living inside. These poems cannot possibly be about you, yet they are. They cross boundaries and reclaim hope. They are as the opening poem suggests, nothing short of communion.

    In The Galleons, he widens his scope, contextualizing the immigrant journey of his Filipino-American family in the larger history and aftermath of colonialism.These poems are engaged in the work of recovery, making visible what is often intentionally erased: the movement of domestic workers on a weekday morning in Brooklyn; a veteran of the war in Afghanistan, fondly sharing photos of his dog; the departure and destination points of dozens of galleons between 1564 and 1815, these ships evoking both the vast movements of history and the individual journeys of those borne along by their tides. "Her story is a part of something larger, it is a part / of history," Barot writes of his grandmother. "No, her story is an illumination // of history, a matchstick lit in the black seam of time."With nods toward Barot's poetic predecessors--from Frank O'Hara to John Donne--The Galleons represents an exciting extension and expansion of this virtuosic poet's work, marrying "reckless" ambition and crafted "composure," in which we repeatedly find the speaker standing and breathing before the world, "incredible and true."

    33 poems, over 70 minutes, very high quality recording on cassette or CD.

    Confident. Powerful.” takes the reader on an emotive journey of empowerment through life’s countless triumphs and tribulations. Above all else, it inspires one to tap into their infinite potential so they can overcome any obstacle that appears on their unique path. Through heartfelt storytelling, alliterative diction, and soul-awakening themes, this empathic poetess instills each reader with an unwavering sense of perseverance, courage, and compassion. This uplifting book is more than a mere collection of poetic musings, it serves as a powerful tool of self-love and personal transformation that belongs on every fierce soul’s bookshelf—or better yet, on their nightstand for their daily dose of inspiration each time they rise. The collection offers poems for women and men urging us to stretch and grow to our fullest potential. The empowering prose offers encouraging words with a call to action to harness our self-confidence to achieve the goals we were destined to shatter.

    She speaks of sexual politics and family in a fierce, determined tone voracious in its opinions about freedom and responsibility.    The author engages in mythology and art history, musically wooing the reader with texture and voice. As she references such disparate cultural figures as filmmaker Lars Von Trier, Annie from the film Annie Get Your Gun, Nabokov’s Lolita, facebook entries and Greek gods, they appear as part of the poet’s cultural critique.    Phrases such as “the caustic domain of urchins” and “the gelatin shiver of tea’s surface” take the poems from lyrical images to comic humor to angry, intense commentary. On writing about “downgrading into human,” she says, “Then what? Amorality, osteoporosis and not even a marble estuary for the ages.”     Giménez Smith’s poetic arsenal includes rapier-sharp wordplay mixed with humor, at times self-deprecating, at others an ironic comment on the postmodern world, all interwoven with imaginative language of unexpected force and surreal beauty. Revealing a long view of gender issues and civil rights, the author presents a clever, comic perspective. Her poems take the reader to unusual places as she uses rhythm, images, and emotion to reveal the narrator’s personality. Deftly blending a variety of tones and styles, Giménez Smith’s poems offer a daring and evocative look at deep cultural issues.

    Following Pulitzer Prize finalist Ron Padgett's 2013's Collected Poems (winner of the Los Angeles Times Book Prize and the William Carlos Williams Prize) Alone and Not Alone offers new poems that see the world in a clear and generous light.From "The World of Us":Don't go around all daythinking about life—doing so will raise a barrierbetween you and its instants.You need those instantsso you can be in them,and I need you to be in them with mefor I think the world of usand the mysterious barricadesthat make it possible.

    It still startles, and is just as iconoclastic as ever.These poems occupy all at once the intimate, the political, and the mythic. Here Atwood makes us realize that we may think our own personal dichotomies are unique, but really they are multiple, universal. Clear, direct, wry, unrelenting -- Atwood's poetic powers are honed to perfection in this important early work.

    Oceanic is both a title and an ethos of radical inclusion, inviting in the grief of an elephant, the icy eyes of a scallop, “the ribs / of a silver silo,” and the bright flash of painted fingernails. With unmatched sincerity, Oceanic speaks to each reader as a cooperative part of the natural world—the extraordinary neighborhood to which we all belong. This is a poet ecstatically, emphatically, naming what it means to love a world in peril.