These prophetic, osmotic poems wage a daily battle for normalcy, seeking structure in the quotidian while grappling with the absence of forgetting.

    Where clumps of evergreens meet wild ponies, oyster-shell roads, tumble-down houses, unwanted pregnancies, murder, storm-making and dark magic in the marshes. . . Situated off the coast of Virginia's Chesapeake Bay, the group of islands known as the Shore has been home to generations of fierce and resilient women. Sanctuary to some but nightmare to others, it's a place they've inhabited, fled, and returned to for hundreds of years. From a half-Shawnee Indian's bold choice to flee an abusive home only to find herself with a man who will one day try to kill her to a brave young girl's determination to protect her younger sister as methamphetamine ravages their family, to a lesson in summoning storm clouds to help end a drought, these women struggle against domestic violence, savage wilderness, and the corrosive effects of poverty and addiction to secure a sense of well-being for themselves and for those they love.Together their stories form a deeply affecting legacy of two barrier island families, illuminating 150 years of their many freedoms and constraints, heartbreaks, and pleasures. Conjuring a wisdom and beauty all its own, The Shore is a richly unique, stunning novel that will resonate with readers long after turning its final pages, establishing Sara Taylor as a promising new voice in fiction.

    Set in a rural southern landscape as vivid as its indelible characters, As a Friend tells the story of Les, a gifted man and land surveyor, whose impact on those around him (his friend Clay, his girlfriend Sarah) provokes intense self-examination and an atmosphere of dangerous eroticism. With poetic insight, Gander explores the nature of attraction, betrayal, and loyalty. What he achieves is brilliant in style and powerfully unsettling.

    Edited by Cid Corman. The section headings in this book of poems are all vintage Niedecker, but they stake out the poems in three large masses. The earlier work-apprentice to Zukofsky but finding her voice; the central work--when she discovers her range and depth; the final work--much of it known posthumously--showing how she was probing other voices into a larger plenum. One's first impulse, after awe, on reading THE GRANITE PAIL is a double dose of shame: shame at not being more familiar with her work; shame at ever having complained of the narrowness of one's life--Carolyn Kizer.

    Pushing the bounds of fiction and form, Barthelme subverts the classic tale, prompting The New York Times to call him “a splendid practitioner at the peak of his power” and inspiring a new generation of authors including Charles Baxter, Dave Eggers, and David Gates.

    It is the story of Robert Grainier, a day laborer in the American West at the start of the twentieth century---an ordinary man in extraordinary times. Buffeted by the loss of his family, Grainer struggles to make sense of this strange new world. As his story unfolds, we witness both his shocking personal defeats and the radical changes that transform America in his lifetime. Suffused with the history and landscapes of the American West, this novella captures the disappearance of a distinctly American way of life.

    The enigmatic and powerful man known only as the Commodore has ordered it, and his henchmen, Eli and Charlie Sisters, will make sure of it. Though Eli doesn't share his brother's appetite for whiskey and killing, he's never known anything else. But their prey isn't an easy mark, and on the road from Oregon City to Warm's gold-mining claim outside Sacramento, Eli begins to question what he does for a living - and whom he does it for.With The Sisters Brothers, Patrick deWitt pays homage to the classic Western, transforming it into an unforgettable comic tour de force. Filled with a remarkable cast of characters - losers, cheaters, and ne'er-do-wells from all stripes of life - and told by a complex and compelling narrator, it is a violent, lustful odyssey through the underworld of the 1850s frontier that beautifully captures the humor, melancholy, and grit of the Old West, and two brothers bound by blood, violence, and love.

    Call Us What We Carry is Gorman at her finest. Including “The Hill We Climb,” the stirring poem read at the inauguration of the 46th President of the United States, Joe Biden, and bursting with musical language and exploring themes of identity, grief, and memory, this lyric of hope and healing captures an important moment in our country’s consciousness while being utterly timeless.The breakout poetry collection by #1 New York Times bestselling author and presidential inaugural poet Amanda Gorman.

    Against the Technicolor unreality of Florida's finest tourist attractions, the Drummonds stumble into every illicit activity under the tropical sun-kidnapping, blackmail, gunplay, and black market negotiations, to name a few. But even as the Drummonds' lives spin out of control, Coupland reminds us of their humanity at every turn, hammering out a hilarious masterpiece with the keen eye of a cultural critic and the heart and soul of a gifted storyteller. He tells not only the characters' stories but also the story of our times--thalidomide, AIDS, born-again Christianity, drugs, divorce, the Internet-all bound together with the familiar glue of family love and madness.

    There is the sense of the speaker as a cartographer of familiar spaces, of land he has never left or relationships that have stayed with him for years, and always with the newness of an alien or stranger. Acutely attuned to the heritage of Greco-Roman myth, Wilson writes through characters such as the Basilisk and the Minotaur, emphasizing the intense loneliness these characters experience from their uniqueness. For the racially ambiguous speaker of these poems, who is both black and not black, who has lived between the American South and the Midwest, there are no easy answers. From the fields of Kentucky to the pigeon coops of Chicago, identities and locations blur―the pastoral bleeds into the Afrofuturist, black into white and back again.

    In addition to including many more pieces, Tomlinson has organized the whole in chronological order.It isn't what he [the poet] says that counts as a work of art," Williams maintained, "it's what he makes, with such intensity of purpose that it lives with an intrinsic movement of its own to verify its authenticity.

    Haunted by their childhoods of material and emotional poverty, Jimmy and Rita float through days in urban San Francisco.

    In such classics as "The Beekeeper's Daughter," "The Disquieting Muses," "I Want, I Want," and "Full Fathom Five," she writes about sows and skeletons, fathers and suicides, about the noisy imperatives of life and the chilly hunger for death. Graceful in their craftsmanship, wonderfully original in their imagery, and presenting layer after layer of meaning, the forty poems in The Colossus are early artifacts of genius that still possess the power to move, delight, and shock.

    He’s drawn into the streets of New York, onto an elusive case that’s more puzzling and more deeply-layered than anything he might have written himself. In Ghosts, Blue, a mentee of Brown, is hired by White to spy on Black from a window on Orange Street. Once Blue starts stalking Black, he finds his subject on a similar mission, as well. In The Locked Room, Fanshawe has disappeared, leaving behind his wife and baby and nothing but a cache of novels, plays, and poems.This Penguin Classics Deluxe Edition includes an introduction from author and professor Luc Sante, as well as a pulp novel-inspired cover from Art Spiegelman, Pulitzer Prize-winning graphic artist of Maus and In the Shadow of No Towers.

    In this virtuosic array of poems, lists, shards, and sequences, Sharif assembles her family’s and her own fragmented narratives in the aftermath of warfare. Those repercussions echo into the present day, in the grief for those killed, in America’s invasions of Afghanistan and Iraq, and in the discriminations endured at the checkpoints of daily encounter.At the same time, these poems point to the ways violence is conducted against our language. Throughout this collection are words and phrases lifted from the Department of Defense Dictionary of Military and Associated Terms; in their seamless inclusion, Sharif exposes the devastating euphemisms deployed to sterilize the language, control its effects, and sway our collective resolve. But Sharif refuses to accept this terminology as given, and instead turns it back on its perpetrators. “Let it matter what we call a thing,” she writes. “Let me look at you.”