Brown. Brown is the winner of the Texas Book of The Year Prize, 2013. The New York Times calls his work a rekindling of the faith in the shocking, weird and beautiful power of words. Brown finally sold the ship, The Sea Section, upon which he lived for years in the Long Beach harbor, after which he took to hunting for a city that was affordable and had a bustling writer s community. He landed in Austin, Texas and when the progress of that town got to be intense, he moved to the nearby countryside in Elgin, Texas, and from that pastoral setting came unfurling this new collection of his most personal work to date. Brown has been known as one of the most touring, well travelled living poets in America. He has based his whole writing career on changing peoples minds about poetry and he feels a quality, unforgettable live experience can achieve that. Brown told himself he needed a 10-year hiatus from writing poetry when he felt the well of creativity had dried up. 2 years ago, he wrote a one-hour long poetic play called Strange Light, commissioned by The Noord Nederlands Dans Group in Holland. The piece was performed by 14 dancers and accompanied by a live orchestra using music composed by fellow Americans, Emily Wells and Timmy Straw. While he was working on a new libretto for Wayne State University in Detroit, he was set up in a seemingly pastoral country setting, where, as Brown says, an incredible war broke out inside and out, such bright, massive storms, snakes, guns, howling wind, hard sun: all kinds of poems gushed forth. I gave in to the process and my best work to date was born, this will be my 5th book. Our Poison Horse touches on more autobiography than the romantic and fantastical that was so present in his past work. In Derrick Brown s words: I found a poetry in the real events that shaped or broke me. Every morning, I would quiet down, stare out into the field where we were watching our neighbors horse, a horse that was poisoned with pesticide by some local boys, a horse with massive scars all down its body from it s skin peeling from the poison sprayed upon it maliciously by some bastard kids. I watched the horse heal and finally come to me, and trust me and eat carrots. Something about that horse, Lacey, about it not trusting me and then warming up pulled something out of me that I didn t know I was ready for. There is a theme that in beautiful places, you will"

    Why do we act this way? Johnson asks. How should we act? His best poems are examples of what the finest poetry can do: bring us closer to ourselves and at the same time put us in touch with something larger.

    It is a recipe for womanhood that changes with the whim of the seasons and the political climate. It is a feverish fistful of musings, a comedy of errors, an instruction manual, a compass, an overheard conversation in the ladies' loo, whispered secrets over a (second) bottle of wine. It is a lamentation, an homage to fellow women, at once a celebration of things to come and a mourning of things lost. It is a redefinition of what it is to be magical and otherwordly. It exposes the complex and contradictory impulses of the human spirit, the ugly tangle of emotions we must deal with in ourselves and also as a wider society. With frankness, humour and a decided fuck-you to fear, Vanessa digs deeper than she ever has to find something resembling sorcery.

    One cannot categorize these poems simply as confessional, narrative, or lyrical. They are all these things at once. They move beyond usual explorations of childhood or family to blend themes and influences that range from Neruda to Coltrane, Fat Albert to Orpheus, John Shaft to Gershwin. This book gives us an almost Whitmanesque account of an America, and an African American, replete with grace and imperfection. Moreover, it gives us a voice that does not sacrifice truth for music or music for accessibility. At the end of a poem that includes Bill Strayhorn, Andrew Carnegie, and Dante, Hayes says, "I know one of the rings of hell is reserved for men who refuse to weep. So I let it come. And it does not move from me." These lines reflect what is always at the core of Hayes's poetry: a faithfulness, not to traditional forms or themes, but to heart and honesty. It is a core bounded by and cradled by a passion for the music in all things.

    Everything you need to hear, but already know.

    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.

    Battered but never beaten, this narrator finds salvation in ecstatic communion with the gods of jazz and especially boxing: “O Tommy Hearns, O blood come down,” she prays. “Find your way to Hungerford where my/father glowers over me. Show him/how the bag does penance.” In such prayers she finds the strength to survive the home she has to leave and, once she does, the strength to face the fires she finds flaring the country over, from Los Angeles to Laramie. Apocalyptic Swing is a work of unbelievable force, a devastating and glorious testimony about America—its lore, disappointments, and promise.

    This is where I come from. Everyone I love still lives there." Widely known for her performance poetry, author Brenna Twohy offers an intimate portrait of loss, abuse, and the messy ways that we heal. Often funny and always honest, Zig-Zag Girl is about grief, strength, and the magic of holding on.

    Women's Studies. INDICTUS re-imagines various creation myths to bear the invisible and unsaid assaults of women. In doing so, it subverts notions of patriarchal power into a genre that can be demolished and set again. INDICTUS is a Latin word, from which other words like "indict" and "indicate" are born. It translates literally as "to write the unsaid." There is an effort in this book to create the supernatural through the utterance of violence, because jurisdiction fails in real time. That sexual assault can so easily become a science fiction when power is rearranged to serve the victim speaks to the abject lack of control within victims to ever be redeemed. Crimes resolve to misdemeanors. In a world without my abusers, how can I soon become myself? Combining the mythological and autobiographical, this book attempts to indict us, so that the wounded might one day be free.

    With its pioneering introduction, this collection provides a comprehensive history of the development of the prose poem up to its current widespread appeal. Half critical study and half anthology, The Field Guide to Prose Poetry is a not-to-be-missed companion for readers and writers of poetry, as well as students and teachers of creative writing.

    Each year, this series presents essential American verse and the poets who create it. Truly the “best” American poetry has appeared in this venerable collection for over twenty-five years. A poet of decided brilliance since his 1981 debut collection, For the Sleepwalkers, Edward Hirsch curates a thoughtful selection of poetry for 2016 and an Introduction to be savored. Jumpha Lahiri said of Hirsch, “The trademarks of his poems are…to be intimate but restrained, to be tender without being sentimental, to witness life without flinching, and above all, to isolate and preserve those details of our existence so often overlooked, so easily forgotten, so essential to our souls.” Hirsch’s choices for this collection reflect the soul of poetry in America. As ever, series editor David Lehman opens this year’s edition with an insider’s guide and a thoughtful contemplation of poetry today.

    His first collection, set in the Midwest, alternately features a childhood Wisconsin farm, the record-breaking storm that destroyed it, and the turbulent marriage that recalls it. Love and wonder mingle in these lines.

    The title poem confronts a human ritual of marriage from the standpoint of a wedding photographer. Within the tedium and alienation of the ceremony, the speaker grapples with a strange human hopefulness. In this vein, Stone explores our everyday patterns and customs, and in doing so, exposes them for their complexities. Drawing on the neurological, scientific, psychological, and even supernatural, this collection confronts the difficulties of love and family. Stone rankles with a desire to understand, but the questions she asks are never answered simply. These poems stroll along the abyss, pointing towards the absurdity of our choices. They recede into the imaginative in order to understand and translate the distressing nature of reality. It is a bittersweet question this book raises: Why we are like this? There is no easy answer. So while we look down at our hands, perplexed, Someone Else’s Wedding Vows raises a glass to the future.

    The language here is at once disruptive and familiar, political and sensual, and tinged by the melancholy of loss and the discomforting radiance of redemption. A strong debut." —Chris AbaniThe best way to hide is in plain sight. In this politically-charged and candid debut, we follow the chronicles of an undocumented immigrant speaker over a twenty-year span as she grows up in the foreign and forbidding landscape of America.From "Ivan, Always Hiding":I strained for the socketas you pulled me,my bare legs against your legs in the windowless dark. The room,snuffed out, could have been nolarger than a freight car,no smaller than a box van; we couldn't tell anymore, the glintsin the shellacked floor, too, were dulled. This is like death, you said,always joking. I slid my headinto the crook of your neck, and didn't disagree. Raised in the Philippines and California, Janine Joseph holds an MFA from New York University and a PhD from the University of Houston. Her poems have appeared in the Kenyon Review Online, Best New Poets, Hayden's Ferry Review, and elsewhere. Her libretto "From My Mother's Mother" was performed as part of the Houston Grand Opera's "Song of Houston: East + West" series. A Kundiman and Paul and Daisy Soros Fellow, she is an assistant professor of English at Weber State University.

    It can be, as it is here, apparently as light as a feather: The Lumberjack’s Dove is, in its manner, a folktale; it is also a meditation on attachment, on loss, on transformation. Like its less humble relatives, myth and parable, it is pithy, magical, its many insights, its cautions and clarifications, unfolding in a chain of brief scenes and koan-like revelations. This is a book of unexpected lightness and buoyancy, as necessary in our tense period as the more urgent confrontations.” --Louise Gluck A boldly original and visceral debut collection from the winner of the 2017 National Poetry Series Competition, selected by Louise GluckIn the ingenious and vividly imagined narrative poem The Lumberjack’s Dove, GennaRose Nethercott describes a lumberjack who cuts his hand off with an axe—however, instead of merely being severed, the hand shapeshifts into a dove. Far from representing just an event of pain and loss in the body, this incident spirals outward to explore countless facets of being human, prompting profound reflections on sacrifice and longing, time and memory, and—finally—considering the act of storytelling itself. The lumberjack, his hand, and the axe that separated the two all become participants in the story, with unique perspectives to share and lessons to impart. “I taught your fathers how to love,” Axe says to the acorns and leaves around her. “I mean to be felled, sliced to lumber, & reassembled into a new body.”Inflected with the uncanny enchantment of modern folklore and animated by the sly shifting of points-of-view, The Lumberjack’s Dove is wise, richly textured poetry from a boundlessly creative new voice.