These poems are written with the authority of classical myth, yet sound utterly contemporary: the poet's gaze - whether on the natural world or the details of his own life - is unflinching and clear, its utter seriousness leavened by a wry, dry and disarming humour. Alongside fine translations from Neruda and Montale and dynamic (and at times horrific) retellings of stories from Ovid, the poems in "The Wrecking Light" pitch the power and wonder of nature against the frailty and failure of the human. Ghosts sift through these poems - certainties become volatile, the simplest situations thicken with strangeness and threat - all of them haunted by the pressure and presence of the primitive world against our own, and the kind of dream-like intensity of description that has become Robertson's trademark. This is a book of considerable grandeur and sweep which confirms Robertson as one of the most arresting and powerful poets at work today.

    He's hoping that three months researching an old cable station in a remote village on the south-west coast of Ireland will help him and his traumatised son finally move on from the accident that killed his wife.Meanwhile local hotel owner's daughter Annie Sullivan has communication problems of her own to deal with. Home on sabbatical from her life in London, she's keeping a secret from her dysfunctional family and trying to save them and the hotel from their latest drama.As summer draws to a close in Ballyanna, both Dan and Annie are forced to confront the pasts they've been escaping. But will they be able to grasp the future that lies ahead? The Summer Visitors is a heart-warming story about love, second chances and moving on.

    Art teacher Angie Newcastle’s life is all monotone.She wasn’t always this dull. She’d been an up-and-coming artist with the world at her feet. But after contracting the Wrong Man Syndrome and spending years doubting herself, she no longer recognizes herself.When she loses her job, she can’t afford to keep ignoring the obvious: her life needs a serious overhaul. And she knows exactly where to start: in Ireland, teaching art classes to her ex-pat cousin’s village community.Angie expected the golden fields beside her ancient Irish cottage to inspire her. She didn’t expect them to be populated by sheep sprayed with uplifting words. And she certainly didn’t expect anyone like their owner, reclusive sheep baron Carrick Fitzgerald, or the matchmaking ghost determined to bring them together.Neither want to find love—especially Angie, who’s on a self-imposed man-fast because she doesn’t want her life to take another nosedive. Only she slowly realizes that Carrick is the most unexpected of Prince Charmings and that he might help her make all her dreams come true.

    With poems in the leading journals of the day -- American Poetry Review, Grand Street, Conjunctions, The Boston Review, to name just a few -- Gander plumbs the erotic depths of human interaction with the land. The poems in Science Steepleflower test this relationship with what Publisher's Weekly has called "an inbred (and often haunting) spirituality", bringing us to new vistas of linguistic and perceptive grace.

    The Holy Forest, now spanning five decades, is Blaser's highly acclaimed lifelong serial poem. This long-awaited revised and expanded edition includes numerous published volumes of verse, the ongoing "Image-Nation" and "Truth Is Laughter" series, and new work from 1994 to 2004. Blaser's passion for world making draws inspiration from the major poets and philosophers of our time—from friends and peers such as Robert Duncan, Jack Spicer, Charles Olson, Charles Bernstein, and Steve McCaffery to virtual companions in thought such as Hannah Arendt, Maurice Merleau-Ponty, Michel Foucault, and Jacques Derrida, among others. This comprehensive compilation of Blaser's prophetic meditations on the histories, theories, emotions, experiments, and countermemories of the late twentieth century will stand as the definitive collection of his unique and luminous poetic oeuvre.

    These are the engines, like poetry, that propel both our comprehension and misunderstanding. "If you're lucky," Harvey writes, "after a number of / revolutions, you'll / feel something catch."

    A map, a tracing of connections and a guide to looking at things from different angles. How do you tell the story of life that is no one thing? How do you tell the story of a life in a body, as it goes through sickness, health, motherhood? And how do you tell that story when you are not just a woman but a woman in Ireland? In these powerful and daring essays, Sinead Gleeson does that very thing. In doing so she delves into a range of subjects: art, illness, ghosts, grief, and our very ways of seeing. In writing that is in tradition of some of our finest writers such as Olivia Laing, Maggie O'Farrell, and Maggie Nelson, and yet still in her own spirited, warm voice, Gleeson takes us on a journey that is both personal and yet universal in its resonance.

    In his sixth book of poems, James Galvin writes from a deep, philosophical engagement with the landscape and faces a "vertigo of solitude" with his marriage dissolved, his only daughter grown and gone, and the log house he built by hand abandoned. "What did I love that made me believe it would last?" he asks.Something has to be true enough to beTaken for granted.In the hospital I sawAn old manCaressing the face of an old woman.This same man, young, caressed her faceIn just that way.That’s the stillnessAt the center of change—A sadness worth dying for, I swear—There is no other.—from "Dying into What I’ve Done""James Galvin has a voice and a world, perhaps the two most difficult things to achieve in poetry."—The Nation"In James Galvin we have a superior poet."—American Book Review"Galvin’s poems have the virtues of precise observation and original language, yes, but what he also brings to the table is a rigor of mind and firmness of phrasing which make the slightest of his poems an architectural pleasure."—Harvard ReviewJames Galvin has published five collections of poetry, most recently Resurrection Update: Collected Poems 1975–1997, which was a finalist for the Los Angeles Times Book Award and the Lenore Marshall/The Nation Prize. He is also the author of the critically acclaimed prose book, The Meadow and a novel, Fencing the Sky. He lives in Laramie, Wyoming, where he works as a rancher part of each year, and in Iowa City, where he is a member of the permanent faculty of the University of Iowa Writers’ Workshop.

    Fleeing her fanatical republican family, Molly O’Dowd arrives nearly penniless in London at the end of the nineteenth century. Plunged into the world of East End gambling houses and brothels, Molly invests what little money she has in a typing course, her only way out. This investment will lead her on the path to establishing herself as a woman of power and means.From the rough-and-tumble world of the London docks to the luxurious hotels and restaurants of the fashionable West End, Molly captures the temper of the times – the unrest of the labouring classes, the courage of the suffragette movement, the ravages of the First World War. Molly wins and loses in the tempestuous world of the capital but her energy and determination never flag and tides change when she meets a man who could match her in business… and in love. This rags-to-riches historical romance is perfect for fans of Lily Graham, Natalie Meg Evans and Fiona McIntosh.

    He had been savagely beaten to death with a baseball bat and brick while his children slept nearby. For his sister, Tracey Corbett-Lynch, and the rest of his family in Ireland it was just the beginning of the nightmare that would involve a custody battle for his orphaned children, an online hate campaign by Molly Martens and, ultimately, the gripping trial that would lead to her conviction, alongside her father, for his murder.My Brother Jason is the story of how this seemingly all-American girl from a picture-perfect family targeted the widowed Jason Corbett, becoming nanny to his children in a desperate bid to create the family and security she craved, thus setting in motion a series of events that would lead to Jason’s brutal killing by the woman he had once loved.Here, for the first time, Tracey Corbett-Lynch tells her family’s side of the story in a book that contains shocking revelations about Molly Marten’s history of strange behaviour and the lengths she was willing to go to in order to get custody of Jason’s children.With full access to Jason’s letters, emails, keepsakes and photographs, it is the story of how an ordinary, loving family was torn apart by the brutal murder of their beloved brother.

    Among the poems he left behind are a particularly unsettling four that feature the mysterious Robinson: both a prototypical member of the smart set—masking his desperation with urbane savoir-faire—and an alter ego for the troubled Kees himself.In ROBINSON ALONE, Kathleen Rooney performs a bold act of literary mediumship, conjuring Kees through his borrowed character to sketch his restless journey across locales and milieus—New York, San Francisco, the highways between—and to evoke his ambitions, his frustrations, and his skewed humor. The product of a decade-long engagement with Kees and his work, this novel in poems is not only a portrait of an under-appreciated genius and his era, but also a beam flashed into haunted boiler-rooms that still fire the American spirit, rooms where energy and optimism are burnt down to ash.

    Hejinian's characteristic linguistic intensity and philosophical approach are present in this book- length poem. "Reading Lyn Hejinian's HAPPILY can make one imagine a second, somewhat happier Stein telling stories in single long or short lines that are aware of one another as they go about their own affairs."--Bob Perelman "HAPPILY"...is a series of aphoristic statements interrogating 'hap' or, more prosaically, one's lot in life, one's fortune. This notion of chance as it is expressed through its root form, as in to happen, happenstance, happenings, haphazard, happenchance, happily, and happy happiness, becomes the generator that enlivens this ontological exploration of language's relationship to experience."--Claudia Rankine

    My heart is broken and my failure is total.A bomb is born, lives and dies in a rural secondary school; Ireland becomes a dumping ground for corpses; one family’s genealogy begins in tragedy in 1574 and ends in something far worse in 2111; a strange tribal matriarchy on the banks of the River Boyne is threatened with extermination.Over the course of these stories, the world breaks down in an endless cycle of hunger, desperation, violence and domination, and we find a humanity left tender, collapsed, and full of a beautiful, primeval innocence.Fagan’s raw blend of verve, humour, imagination and warmth surges through these pages, revealing a world rendered both hopeful and disturbing, human and other, that is at once familiar and extraordinary.

    The poems are mercilessly recursive, placing pressure on the lyric as a mode of both the elegiac and the ecstatic. The result is an enforced silence, urgent with grief.

    Moving between dramatic and interior monologue, and moving through intersecting histories, the ambiguities of inwardness and the eros of wakeful existence, these poems search for relationships with self, others, the world and God that are authentic—however quirky or strange."This is poetry of a rare fine delicacy. Its very modesty testifies to a great ambition—to overcome by the quietest of means."—Donald JusticeIn Tennessee I Found a FireflyFlashing in the grass; the mouth of a spider clungto the dark of it: the legs of the spiderheld the tucked wings close,held the abdomen still in the midst of callingwith thrusts of phosphorescent light—When I am tired of being human, I try to rememberthe two stuck together like burrs. I try to place themcentral in my mind where everything else mustsurround them, must see the burr and the barb of them.There is courtship, and there is hunger. I supposethere are grips from which even angels cannot fly.Even imagined ones. Luciferin, luciferase.When I am tired of only touching,I have my mouth to try to tell youwhat, in your arms, is not erased"This is poetry of a rare fine delicacy. Its very modesty testifies to a great ambition—to overcome by the quietest of means."—Donald Justice