No Matter the Wreckage presents readers with new and beloved work that showcases Kay's knack for celebrating family, love, travel, history, and unlikely love affairs between inanimate objects ("Toothbrush to the Bicycle Tire"), among other curious topics. Both fresh and wise, Kay's poetry allows readers to join in on her journey of discovering herself and the world around her. It's an honest and powerful collection.

    Armed with a ruthless reputation and a capsule wardrobe, she glides through the courtrooms and salons of the Manhattan elite with ease. What’s her secret? Liddy will tell you: “I don’t do guilt!” This is the last thing literature professor Peter James wants to hear. Devastated by his divorce from Liddy six years earlier, the two have a tangled history his new partner, Rose, is only just sorting out. But Rose is a patient woman with faith in a well-timed miracle and she’s determined to be sympathetic to Peter’s plight. Together, Liddy, Peter, and Rose have formed a modern family to raise Liddy and Peter’s truculent teen and Liddy’s darling, if fatherless, six-year-old.But when Rose announces she’s pregnant, Liddy’s nanny takes flight, the bill for a roof repair looms, and a high-profile divorce case becomes too personal, Liddy realizes her days as a guilt-free woman might be over. Following a catastrophic primetime TV interview, she carts her sons back to Ireland to retrace their family’s history. But marooned in the Celtic countryside things are still far from simple, and Liddy will have to come to terms with much more than a stormy neighbor and an unorthodox wedding if she ever hopes to rediscover the real Liddy James.Fun, fearless, and full of heart, The Real Liddy James takes a fresh look at the balancing act every family performs. With the deft characterization and sharp wit that made her first novel an international bestseller, Anne-Marie Casey invites us into the ambitions, passions, and misadventures of this extraordinary heroine.

    It's all the things we all hold onto, all the things we let anchor onto us, and all the things that leave us vacant.

    This unabashed sequence speaks directly from Hirsch’s heart to our own, without sentimentality. From its opening lines—“The funeral director opened the coffin / And there he was alone / From the waist up”—Hirsch’s account is poignantly direct and open to the strange vicissitudes and tricks of grief. In propulsive three-line stanzas, he tells the story of how a once unstoppable child, who suffered from various developmental disorders, turned into an irreverent young adult, funny, rebellious, impulsive. Hirsch mixes his tale of Gabriel with the stories of other poets through the centuries who have also lost children, and expresses his feelings through theirs. His landmark poem enters the broad stream of human grief and raises in us the strange hope, even consolation, that we find in the writer’s act of witnessing and transformation. It will be read and reread.

    Lindy, the wild one, left home, carved out a new life in the city and never looked back. Delia, the sister who stayed, became a mother herself, raising her daughters and running the family shop in their small Pennsylvania hometown on the shores of Lake Erie.But now, with their mother's ailing health and a rebellious teenager to rein in, Delia has no choice but to welcome Lindy home. As the two sisters try to put their family back in order, they finally have the chance to reclaim what's been lost over the years: for Delia, professional dreams and a happy marriage, and for Lindy, a sense of home and an old flame--and best of all, each other. But when one turbulent night leads to a shocking revelation, the women must face the past they've avoided for a decade. And there's nothing like an old secret to bring the McAvoy women back together and stronger than ever.With warm affection and wry wit, Molly Fader's The McAvoy Sisters Book of Secrets is about the ties that bind family and the power of secrets to hold us back or set us free.

    In this virtuosic array of poems, lists, shards, and sequences, Sharif assembles her family’s and her own fragmented narratives in the aftermath of warfare. Those repercussions echo into the present day, in the grief for those killed, in America’s invasions of Afghanistan and Iraq, and in the discriminations endured at the checkpoints of daily encounter.At the same time, these poems point to the ways violence is conducted against our language. Throughout this collection are words and phrases lifted from the Department of Defense Dictionary of Military and Associated Terms; in their seamless inclusion, Sharif exposes the devastating euphemisms deployed to sterilize the language, control its effects, and sway our collective resolve. But Sharif refuses to accept this terminology as given, and instead turns it back on its perpetrators. “Let it matter what we call a thing,” she writes. “Let me look at you.”

    In THE TREES THE TREES, the follow-up to Heather Christle's acclaimed first collection, THE DIFFICULT FARM, each new line is a sharp turn toward joy and heartbreak, and each poem unfolds like a bat through the wild meaninglessness of the world.

    Gatwood's poems deftly deconstruct traditional stereotypes. The focus shifts from childhood to adulthood, gender to sexuality, violence to joy. And always and inexorably, the book moves toward celebration, culminating in a series of odes: odes to the body, to tough women, to embracing your own journey in all its failures and triumphs.

    Michael Dickman's poems bring us back to the wonder and violence of childhood, and the desire to connect with a power greater than ourselves.What you want to rememberof the earthand what you end uprememberingare often twodifferent thingsMichael Dickman was born and raised in Portland, Oregon. His first book of poems, The End of the West, appeared in 2009 and became the best-selling debut in the history of Copper Canyon Press. His poems appear frequently in The New Yorker, and he teaches poetry at Princeton University.

    The poems’ subject is the natural world, but their images would never occur in nature. This book is serious and funny at the same time, like a big grave with a clown lying in it.

    That place gives its name to Louise Glück's tenth collection: in a landscape turned irretrievably to winter, it is a gate or passageway that invites traffic between worlds while at the same time resisting their reconciliation. Averno is an extended lamentation, its long, restless poems no less spellbinding for being without conventional resoltution or consolation, no less ravishing for being savage, grief-stricken. What Averno provides is not a map to a point of arrival or departure, but a diagram of where we are, the harrowing, enduring present.Averno is a 2006 National Book Award Finalist for Poetry.

    . . . Poetry busts guts." —Frank StanfordThe poetry publishing event of the season, this six-hundred-plus page book highlights the arc of Frank Stanford's all-too-brief and incandescently brilliant career.Despite critical praise and near-mythic status as a poet, Frank Stanford's oeuvre has never fully been unified. The mystery and legend surrounding his life—and his suicide before the age of thirty—has made it nearly impossible to fully and accurately celebrate his body of work. Until now.This welcome and necessary volume includes hundreds of previously unpublished poems, a short story, an interview, and is richly illustrated with draft poems, photographs, and odd ephemera.As Dean Young writes in the Foreword to the book: "Many of these poems seem as if they were written with a burnt stick. With blood in river mud... Frank Stanford, demonically prolific, approaches the poem not as an exercise of rhetoric or a puzzle of signifiers but as a man 'looking for his own tongue' in a knife-fight with a ghost."When It's After DarkI stealall the light bulbsand hide them like eggsin a basketgoing to some outlawI put on the best I can findI cover them with a swatchof somethingthat swells like a bitethat bleeds greencloth that smellsof a feed storebut looksto of been wornI go over to nasty willy's bridgeand throw them into the creekthere in the shade I listenfor themto make nests to escapeagony and burst

    A faceless figure. A disturbing, thought-provoking exploration of simple, yet unsettling facts of everyday life. The taboos we, as social beings, have chosen to hide under irrational, complex layers of linguistics.By taking full advantage of their author's lack of identity and extreme levels of introspection, The Unwords cut straight through the pretenses and the fallacies in our language as they unleash a full-scale attack on all fronts of cultural and social decay.Words are meant to be spoken. In a dishonest world, what remains unspoken can only be the truth. In a dishonest world... all words can go to hell.

    Rather, she distilled her grief during a feverish two weeks by writing scores of poetic obituaries for all she lost in the world. In Obit, Chang writes of "the way memory gets up after someone has died and starts walking." These poems reinvent the form of newspaper obituary to both name what has died ("civility," "language," "the future," "Mother's blue dress") and the cultural impact of death on the living. Whereas elegy attempts to immortalize the dead, an obituary expresses loss, and the love for the dead becomes a conduit for self-expression. In this unflinching and lyrical book, Chang meets her grief and creates a powerful testament for the living.

    Alyssa has a job she loves, working as Cinderella at her favorite theme park; a fantastic group of friends; and a boyfriend who will no longer be long distance. But as the summer progresses, her prince becomes less charming and more distant, and Alyssa's perfect summer falls apart.Forced to acknowledge that life is not always a fairy tale, Alyssa starts working to pull her herself back together. Fortunately, she doesn't have to do it alone. With her friend Miller's support, she's determined to prove that she's more than just a pretty princess. And with his help, maybe she's finally ready for something better than dreams. Maybe she's ready for something real.