But in the more than twenty years that followed, the three had moved on with their lives, settled in different cities, and found successful careers and new roles as mothers and wives. By chance, each would find herself alone for a few weeks one summer, wrestling with the present and the past. At a sprawling ranch in the foothills of Wyoming's Grand Teton Range, the three women come together and find courage, healing, and truth, and reach out to each other once again.Despite the honesty they once shared, now pretense between them runs high. Mary Stuart Walker, married for twenty-two years to a Manhattan lawyer, kept herself busy with volunteer work, and now masks the loneliness that consumes her life. A year has past, and Mary Stuart still hasn't gotten over the guilt, or the fear that her husband will never forgive her for their son's death... Tanya Thomas, an award winning singer and rock star, enjoys all the trappings of fame and success--a mansion in Bel Air, legions of fans, and a broken heart. All the Grammy awards in the world can't make up for the children she wanted but never had, the men who have taken advantage of her, and just gone along for the ride, and still are... Dr. Zoe Phillips has her hands full as a single mother to an adopted two-year-old, and as a doctor at an AIDS clinic in San Francisco. Predictably, as they all know, she is as liberal as she ever was, and marriage was never a dream she coveted or shared with them. Tending to her patients is a full-time job that leaves Zoe little time for herself--until unexpected news forces her to reevaluate both her future, and her current life.But despite the changes in their lives, their friendship is still a bond they all treasure and share. For each of the women, a few weeks at the ranch will bring healing and release, as old hurts are buried, ancient secrets revealed, and love replaced or renewed. In The Ranch, bestselling novelist Danielle Steel brings reality to the meaning of friendship, with dramas whose truths we all share.From the Paperback edition.

    Here, though, the poet's electric narratives and portraits extend beyond the working class streets of urban New Jersey. Modeling poems on the kundiman, a song of unrequited love sung by Filipinos for their country in times of oppression, he professes his conflicted feelings for America, while celebrating and lamenting his various heritageswhether by chatting up St. Patrick, riffing on race relations, or channeling Lapu Lapu in a rejoinder to Magellan. Passionate, provocative, and irrepressible throughout, My American Kundiman further establishes Rosal as a poet to be reckoned with.

    "STARS OF THE NIGHT COMMUTE haunts in three dimensions, knit by a below-words rumble in the sure rhythm of dreams"—Annie Finch. "Bozicevic's poetry has everything—a mastery of language, a distinct and singular voice and a worldview so visionary and all-encompassing, so as to both terrify and astound"—Noelle Kocot. "How does she do it?"—Eileen Myles. "Absolutely anything can happen next but whatever it is, it will be perfect.... She is able to stretch language to its most ineffable and musical limits while maintaining a masterful grasp of the colloquial.... She is able to perceive with the eyes of language—then render with lyrical immediacy—the experience of our collective sleepwalking soul, who may well soon awaken to discover that its terror was not a dream"—Franz Wright.

    So she decided to get an artificial insemination, but when a mix up occurs at the clinic where she had the procedure done her life is changed forever.Pierce Fabrizio is shocked to find out that the sperm he thought was destroyed had been used to impregnate a woman who is now seven month pregnant with his child.Now all he had to do was get her to agree to marry him right after he got her to sign the baby contract.

    Yeah, right. Kate Meadows, a successful San Francisco artist, is this close to giving up on finding a nice, solid man with whom to spend her life. So when not one, but two eligible bachelors enter her orbit in rapid succession, it seems too good to be true. And it may be. Michael Palmier, a nationally-known makeup artist, is actually flirting with Kate, rather than her physically flawless housemate. Trouble is, he seems more intent on doling out the business cards of beauty professionals and plastic surgeons than discovering Kate’s inner beauty. Is he trying to stamp out every last bit of self-esteem she has? As for Clive Alexander, the good doctor sends Kate’s pulse skittering every time he’s near. Too bad the man is only interested in her work—and doesn’t think she’s much to look at. It’s enough to send a girl running for her paint-splattered, relaxed-fit jeans and swearing off men altogether. But after undergoing a makeover from Michael’s staff, Kate suddenly finds herself the recipient of admiring glances. Maybe she should try contacts, consider some fancy dental work, and—you know—that mole really could stand to go. The question is, what kind of work will Kate do on herself? And who is she really trying to please?

    With these metaphors in place, he makes clear his difficult poetic task: to delve into the past, both personal and historic, while remaining ever mindful of the potentially fatal power of language.Born and raised in Northern Ireland, where any hint of Gaelic tradition in one's speech was considered a political act, Heaney is all too aware of the dire consequences of speaking one's mind. Indeed, during times of crisis, he has been expected to appear on television and dispense political wisdom. Most often, however, he stays out of the fray and opts for a supreme sense of empathy to guide his words. As excavator--of earth, of his beloved Gaelic, of his own life--Heaney is unmatched. In "Bone Dreams", the archaeologist's task is synonymous with reaching for a cultural past: I push back through dictions, Elizabethan canopies, Norman devices, the erotic mayflowers of Provence and the ivied Latins of churchmen to the scop's twang, the iron flash of consonants cleaving the line.And in early poems like "Blackberry Picking", Heaney's images--deftly, delightfully--carry us back to childhood fields: At first, just one, a glossy purple clot Among others, red, green, hard as a knot. You ate that first one and its flesh was sweet Like thickened wine: summer's blood was in it Leaving stains upon the tongue and lust for Picking. Then red ones inked up and that hunger Sent us out with milk cans, pea tins, jam pots Where briars scratched and wet grass bleached our boots. Round hayfields, cornfields and potato drills We trekked and picked until the cans were full... Opened Ground is a pleasure and a triumph. These three decades of work confirm Heaney as one of the most important poets of his time. --Martha Silano

    With her marriage shattered, Erin Belieu sifts the wreckage for the black box, the record of disaster. Propelled by a blistering and clarifying rage, she composed at fever pitch and produced riveting, unforgettable poems, such as the ten-part sequence “In the Red Dress I Wear to Your Funeral”:I root through your remains,looking for the black box. Nothing leftbut glossy chunks, a pimp’s platinumtooth clanking inside the urn. I play youover and over, my beloved conspiracy,my personal Zapruder film—look. . .When Belieu was invited by the Poetry Foundation to keep a public journal on their new website, readers responded to the Black Box poems, calling them “dark, twisted, disturbed, and disturbing” and Belieu a “frightening genius.” All true.

    Iron Word, a book that pulls at the strings of our beliefs about the nature of love until they unravel.Through the bravado of his writing and the painstaking clarity of his voice, Iron Word has crafted a work of art that encompasses how love has the power to transform and transcend us all.

    She was a teacher, and it was morning on the first day of school. In this haunting new collection of poems, Taylor Mali, once a teacher himself, explores her life and their love as well as the shape and texture of his own guilt and resilience.

    Using the events of his life as starting points, Gerald Stern deals with time and loss, with the dichotomy of light and darkness, and—always—with the possibility of joy. This stunning collection moves from autobiography to the visionary in surges of memory and language that draw the reader from one poem to the next.

    Written between the ages of sixteen and eighteen, with examinations of anxiety, death, first loves, and first lusts, Graffiti extends a hand to those undergoing the trials and uncertainty of teenagehood, and assures them they're not alone.

    In his second collection he engages love, mortality, and life in New York City after 9/11. The title piece, a prose-poem synopsis of an unwritten novel, turns all literary forms upon themselves with savvy and flair, while the elegy cycle “Twenty Poems for Noelle” is a compassionate song for a suffering friend.Noelle, somewhere in an apartmentsymphony number twolistens to you breathing.Broken glass in the street.What was once unglowing glows. . . The Pajamaist is an intimate book filled with sly wit and an ever-present, infectious openness to amazement. Zapruder’s poems are urbane and constantly, curiously searching.

    When Robert Creeley died in March 2005, he was working on what was to be his final book of poetry. In addition to more than thirty new poems, many touching on the twin themes of memory and presence, this moving collection includes the text of the last paper Creeley gave—an essay exploring the late verse of Walt Whitman. Together, the essay and the poems are a retrospective on aging and the resilience of memory that includes tender elegies to old friends, the settling of old scores, and reflective poems on mortality and its influence on his craft. On Earth reminds us what has made Robert Creeley one of the most important and affectionately regarded poets of our time.

    Drake wrote this book for those who have lost someone in death and in life. This book is a collection of memories and experiences Drake lived after the death of one of his brothers. He promised he would write him a few words after he failed to complete the task while his brother was alive. This book is everything… this book is for all who are breathing and for all who are no longer here. This book is for you.

    There is no Table of Contents. Instead, there is a "Track List," making it easy to refer to them to your friends with a, "Hey did you read track seven?!" There are no chapters. Instead, the book is divided into two parts, or as one would say in the 90's, two "sides." Side A holds poetry that touches on all aspects of the human condition like life, death, love, moving on, evolving, growing up, hometowns, family dynamic, life after trauma, and make-ups and breakups. Side B holds the "remixes" of these poems, in the form of blackout poetry, also known as "found poetry." Side B gives the material a fresh twist by creating new poetry out of Side A. There is also a very special surprise at the end of each track. Alicia decided to self publish this effort after leaving her publishing house. She views this book as her "independence" and official separation from that venture. She also drew the front and back cover herself. Alicia is a contributing writer for many blogs and news outlets, including the Huffington Post and multiple Gannett Publications. She writes regularly on drug addiction and how it directly affects families. Because of this, she has chosen to donate 100% of royalties to the Willow Tree Center in New Jersey. www.willowtree.org. Follow Alicia on Instagram: @thealiciacook or check out her website: www.thealiciacook.com.