Gatlin is a dead-ringer for Jim Walker, who, like Cary, wants control of the XY. Gatlin is thrown into a situation in which all he can do is fight for his life. Seventeen-year-old Shandy Gamble in "Gamble of the KT" is in Perigord with plans to buy a new saddle and bridle with the $500 in reward money he had received for catching two horse thieves, but instead he gets conned out of the money. He returns to the KT Ranch never mentioning what happened. But when he learns the con man is back and hanging out with the June gang, he decides it's time to get his money back and even the score. Always a fighting man, both for the US Army and in battles across the ocean, Tom Kedrick in "Showdown Trail" has been hired to help run off the squatters and outlaws occupying a strip of land claimed to be unusable swamp. When he learns that he is being misled by his new bosses and that the squatters are honest and hardworking settlers, including one of his father's old friends, he has to determine which side he will fight for.Louis L'Amour is the most decorated author in the history of American letters, and his stories are loved the world over.

    Originally published with Current 93's 1997 album of the same name.

    To enter into these poems one must be fully committed, as the poet is, to seeing this world as it is, to staying with it, moment by moment, day by day. Yet these poems hold a dark promise: this is how you can do it, but you must be fully engaged, which means you must be fully awake, you must wake up inside it. As we proceed, the how-to of the beginning poems subtly transform, as the animals (or, more specifically, the livestock) we are engaging begin to, more and more, become part of us, literally and figuratively we enter inside of that which we devour.--Nick FlynnThis is the book you want with you in the cellar when the tornado is upstairs taking your house and your farm. It's the book you want in the bomb shelter, and in the stalled car, in the kitchen waiting for the kids to come home, in the library when the library books are burned. Its instructions are clear and urgent. Rebecca Gayle Howell has pressed her face to the face of the actual animal world. She remembers everything we have forgotten. Read this! It's not too late. We can start over from right here and right now.--Marie HoweIn every one of these haunting and hungry poems, Howell draws a map for how to enter the heat and dew of the human being, naked and facing the natural world, desperate to feel. I did not realize while reading RENDER how deeply I was handing everything over.--Nikky Finney

    They are stories about the woods, houses hidden in the gaps between mountains. Behind them, the skeletons of old and powerful machines rust into the slate and leaves. Water red with iron leeches from the empty mines and pools near a stone foundation. The boy there plays in the bones because he is a child and this will be his childhood. He watches while winter comes falling slowly down over the road. Sometimes he remembers a girl, her hair and the perfume she wore. These are stories about her and where she might have gone. He waits for sleep because in the next story he will leave. The boy watches an airplane blink red past his window. From here, you can't hear its violence.

    The paintings are in brilliant color and each features the Japanese parasol.Matsuo Basho (1644 - 1694) was born Matsuo Kinsaku during the early Edo period in Japan. During his lifetime, Basho was recognized for his work in a poetic form that was a precursor to the haiku. Over the course of time, Basho became recognized as an unparalleled master of the haiku. His work is internationally renowned, and his poems are reproduced at many historical sites in Japan.

    Edited by Lee Ann Brown. SONNETS, first published in 1989 as Tender Buttons Number 1 is widely considered to be one of the most generative and innovative works of contemporary American poetry, radically rethinking the traditional sonnet form. This expanded 25th Anniversary edition includes a new preface by Bernadette Mayer, an editor's note by Tender Buttons Press publisher Lee Ann Brown, and a selection of previously unpublished archival material including the Skinny Sonnets, described as Hypnogogic Word Playing in Reporters' Notebooks which further expand our map of Bernadette Mayer's ground- breaking works of writing consciousness.

    “The collection of poems speaks like a journey through each formative moment we’d forgotten we had: the monster under the bed and the intricate rules about how to overcome its powers; the ability to talk to girls or boys we liked; the fear of being bullied; our first experience with real anguish.” – Litlive.ca Please note: This is not a young adult title. Some works include language not suitable for some readers.

    The poems in this book are polyphonic: they juxtapose the discourses of science and religion, Hollywood and the occasional psychotic stranger. The title poem, which appears in Best American Poetry 2002, leads off with a "sphinx" asking "Does a road / run its whole length / at once? / Does a creature / curve to meet / itself?" Armantrout's work, with its careful syntax bordering on plain speech and meticulously scored short lines, is always struggling with the problem of consciousness, its blindspots and double-binds. The poems whirl like shifting and scattered pieces of the present moment. They attempt to "make sense" of our lives while acknowledging the depth of our self-deception and deception.

    Most particularly if she writes poems about death and violence. Or at least that is the lesson that the posthumous careers of Anne Sexton and Sylvia Plath seen to teach us.Reading this new volume of Sexton's previously uncollected poems, one has to wonder what will happen when there are no more half-finished poems left to be published. Will her grocery lists be next?I'm sure that the editor of this volume, Sexton's daughter Linda Gray Sexton, acts out of the desire to complete her mother's oeuvre, and apparently Anne Secton did leave instructions for at least some of her work, the section called "Letters for Dr. Y," to be published after her death. And in all fairness to Linda Gray Sexton I should mention that she and her co-editor Lois Ames did an excellent job of annotating and editing Anne Sexton's collected letters, putting together in A Self-Portroit in Letters (1977) a picture of a remarkably courageous woman and talented artist who fought her madness for many years.The heart of Anne Sexton's work lies in her earliest books - To Bedlam and Part Way Back, Live or Die, All My Pretty Ones. Here searing images take one by surprise, and the poems combine virtuoso technical skill with highly personal material is a way no one dies had ever done before. Yet as she grow older, worn down by her recurring bouts with insanity , Sexton's work grew sloppier, more self-indulgent , repetitive and heavy-handed. Her obsession with death and violence became more and more a part of some personal psychotic heil, more and more distorted each time she wrote, like a drawing one can't quite get right and finally ruins by constant erasure. The poems and the three horror stories in Words for Dr. Y are no exception.I would like to remember Anne Sexton for what I consider to be those extraordinary poems written in the face of great odds - poems like "Music Swims Back to Me," "You, Dr. Martin," "Her Kind." But the continuing publication of her inferior work tends to obscure her real achievement. [susan wood]

    He journeys to five physical islands: Iceland, Madagascar, Molokai, Isla Mujeres, and Mallard Island. And he travels to conceptual islands, including the Necessary Island of the Imagination, the whimsical Piano Island (located in a man-made lake under the atrium of an upscale hotel in the far interior of China), and the acute isolation of the Island of Pain. Writing with the mind-set of a 19th-century traveler for whom the journey is as important as the destination, Holm appeals to the traveler and the philosopher in everyone.

    . . is strikingly different. Michael's poems are interior, fragmentary, and austere, often stripped down to single-word lines; they seethe with incipient violence. Matthew's are effusive, ecstatic, and all-embracing, spilling over with pop-cultural references and exuberant carnality." —The New YorkerIdentical twins Michael and Matthew Dickman once invented their own language. Now they have invented an exhilarating book of poem-plays about the fifty states. Pointed, comic, and surreal, these one-page vignettes feature unusual staging and an eclectic cast of characters—landforms, lobsters, and historical figures including Duke Ellington, Sacajawea, Judy Garland, and Kenneth Koch, the avant-garde spirit informing this book introduced by playwright John Guare."Lucky in Kansas"Judy Garland: This is always the worst partTin Man: The coming backJudy Garland: Yes, it fucking sucks, it's depressing as shitThe Lion: Well, we're lucky to still be employed at this farmStraw Man: I wouldn't call it luckyThe Lion: We were lucky to get backStraw Man: That's not really lucky either I don't think you know what lucky meansJudy Garland: It's funny what you missTin Man: The runningJudy Garland: The flyingTin Man: The flying monkeysJudy Garland: The beautiful flying monkeys above the endless emeralds the unbelievably green worldMichael Dickman and Matthew Dickman are identical twins who were born and raised in Portland, Oregon. Michael received the 2010 James Laughlin Award for his second collection Flies (Copper Canyon Press, 2011). Matthew won the prestigious APR/Honickman Award for his debut volume, All-American Poem.

    However, Poe’s poetic works have since become as well-known as his famous stories, and reflect similar themes of mystery and the macabre. “Tamerlane” is one of Poe’s earliest works and gave its name to his first published book—Tamerlane and Other Poems.

    This collection takes you through a night of insomnia, ruminating on ideas of self-doubt, loss, and hope for the future.

    It can often seem like there's no way things will ever get better. I wrote this book to remind you that it will, and to give you some comfort and hope along the way. May you find the healing and love your heart deserves. -Illiana Cenjur

    While Hall’s devoted readers will recognize many of his long-standing preoccupations—baseball, the family farm, love, sex, and friendship—what will strike them as new is the fierce, pitiless poignancy he reveals as his own life’s end comes into view. The Back Chamber is far from being death-haunted but rather is lively, irreverent, sexy, hilarious, ironic, and sly—full of the life-affirming energy that has made Donald Hall one of America’s most popular and enduring poets.