That time is long gone now... Nowadays Roddy pursues a lonely and nomadic life as a trapper in the wilderness of the Wet mountains. He wants nothing more than to stay invisible, far away from the memories and the tragedies of his past.He has nothing to fear since he has already lost everything, hasn’t he?Zadie Smallwood is a saloon girl that gets kidnapped by road agents in the service of a mysterious, wealthy man. She manages to escape but is terrified they will find her again. When she crosses paths with Roddy, he appears to be her only hope to escape her kidnappers and survive these treacherous, snow-covered mountains.Will Zadie manage to find the strength inside her, when she won’t have Roddy to rely on?As winter blows in full force, Roddy vows to do whatever it takes to help Zadie, while forcing himself to keep his emotions in check. The two of them will find courage in the bond that grows between them, but whether it can withstand the danger and the forces of power and greed is far from certain in this wild, unpredictable land...A pulse-pounding drama, which will make you turn the pages with bated breath until the very last word. A must-read for fans of Western action and romance."A Trapper's Infallible Instinct" is a historical adventure novel of approximately 80,000 words. No cliffhangers, only pure unadulterated action.

    Proposing models of hybridity, each of the book's major sequences develops a unique subject, rhythm, and form. Bringing to light the molten potential at the core of personality, the poems illuminate ways that language, as history read by anthropologists, discourse between lovers, gestures between parent and child, graffiti in temples, or even language as an event in itself (the very experience of words at play), incarnates presence. Addressing father and son relationships, and venerating erotic love, Gander's poems surge with vitality: the energy of active discovery.

    They celebrate the wonders of nature and explore the nature of love and friendship.

    

    Written as a catharsis in the months following the loss of her father in late 2016, Jessica has taken pen to page to say things he and others will never read, either because they can't, or just won't. Containing entirely new works, this is a can't miss release.

     If he carries through with the plan, his sister will die first. His ex will die next, and he will die last. In between, he’ll take out as many people as he can. Students. Security guards. Teachers. First responders. They are all fair game. Who will live, and who will die? How will those who live go on when their world is shattered by unthinkable tragedy? *** Contains scenes of graphic violence. Reader discretion advised.

    Charles Bernstein here proves them alive and well in poems elegiac, defiant, and resilient to the point of approaching song. Heir to the democratic and poetic sensibilities of Walt Whitman and Allen Ginsberg, Bernstein has always crafted verse that responds to its historical moment, but no previous collection of his poems so specifically addresses the events of its time as Girly Man, whichfeatures works written on the evening of September 11, 2001, and in response to the war in Iraq. Here, Bernstein speaks out, combining self-deprecating humor with incisive philosophical and political thinking. Composed of works of very different forms and moods—etchings from moments of acute crisis, comic excursions, formal excavations, confrontations with the cultural illogics of contemporary political consciousness—the poems work as an ensemble, each part contributing something necessary to an unrealizable and unrepresentable whole. Indeed, representation—and related claims to truth and moral certainty—is an active concern throughout the book. The poems of Girly Man may be oblique, satiric, or elusive, but their sense is emphatic. Indeed, Bernstein’s poetry performsits ideas so that they can be experienced as well as understood. A passionate defense of contingency, resistance, and multiplicity, Girly Man is a provocative and aesthetically challenging collection of radical verse from one of America’s most controversial poets.

    

    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.

    It’s a book with the flow of poetry but the ebb of short stories – rightfully called “Shoetry”. This creation takes you to the roots of humanity - stripping back the veneers of life, society and interaction to see people and their ways in an entirely new light.

    The book features raw, blunt, and in your face poems depicting the darker side of relationships. Readers will find themes such as lies, cheating, and heartache abundant in much of this collection. Midnight Milkshakes, being the second volume of Ray's Ice Cream And Suicide, is great for returning readers to the series. The book focuses on much of the same style and mood that is common in his writings.

    But when Clay meets the gorgeous city gal he's hired to play his wife, he's tempted to make this marriage real. He soon learns Gaby's as mismatched to ranch life as his ex-wife Jill. And he won't marry another woman who doesn't love the ranch, no matter how much she tempts him.Can Gaby and Clay resist the attraction pulling them together? Will they turn this farce of a marriage into the forever kind?

    Disappointing lovers surface in the bedroom; in the bathroom, "the drained tub ticks with mollusks & lobsters;" revenge fantasies and death lurk in the basement where they rightly belong. With lush imagery and au courant asides, Hothouse surprises and delights.Karyna McGlynn is the author of I Have to Go Back to 1994 and Kill a Girl and three chapbooks. She is currently a Visiting Assistant Professor of Creative Writing and Translation at Oberlin College.

    

    A thoughtful dog grants an interview. A caterpillar offers life advice. Amy Gerstler’s newest collection of poetry, Dearest Creature, marries fact and fiction in a menagerie of dramatic monologues, twisted love poems, and epistolary pleadings. Drawing on sources as disparate as Lewis Carroll and Mary Shelley’s Frankenstein, as well as abnormal psychology, etiquette, and archaeology texts, these darkly imaginative poems probe what it means to be a sentient, temporary, flesh-and-blood beast, to be hopelessly, vividly creaturely.