The Appendix shows Wilde's original ordering, constructed with great care around a "musical" arrangement of themes. The poems reveal unexpected aspects of a literary chameleon usually identified with sparkling wit and social comedy.

    She rose above shattering personal defeats to write with honesty, clarity of vision and nobility of utterance. Her poetry reflects - with naked candour - the harsh realities of her tragic inner struggle, which was eventually to lead to her suicide in 1941.

    It's also too smart for bullshit and too graceful to be mean about the bullshit: a marvelous debut. I love it."Juliet Escoria, author of Black Cloud, says: "Imagine bodies within bodies eating a feast, spilling over with their own secrets and hopes and dreams and fears and brutality and witchery. That is the party you will find in this book — a modern-day, literary equivalent of a Bosch painting.Mike Young, author of Sprezzatura, says: "These poems list the real shit. These poems melt the hard fat of life into tallow candles, then reach up and light themselves.Salt Is For Curing is the lush and haunting full-length debut by Sonya Vatomsky. These poems, structured as an elaborate meal, conjure up a vapor of earthly pains and magical desires; like the most enduring rituals, Vatomsky’s poems both intoxicate and ward. A new blood moon in American poetry, Salt Is For Curing is surprising, disturbing, and spookily illuminating.

    In such poems as ‘Ode to My Sister’, ‘Ode of Broken Loyalty’, ‘Ode to My Whiteness’, ‘Blow Job Ode’, ‘Ode to the Last 38 Trees in New York City Visible from This Window’, Olds treats us to an intimate self-examination that, like all her work, is universal and by turns searing and charming in its honesty. From the early bodily joys and sorrows of her girlhood to the recent deaths of those dearest to her – the ‘Sheffield Mountain Ode’ for Galway Kinnell is one of the most stunning pieces here – Olds shapes her world in language that is startlingly fresh, profound in its conclusions, and life-giving for the reader.

    With a sense of humor and an ability to find glimmers of the absurd in the profound, she uses the lyric essay like a koan to provoke the reader’s reflection—unsettling the role of truth and interrogating the “I” in both literary and daily life: “The future isn’t anywhere, so we can never get there. We can only disappear.” (from the publisher's website)

    I hope that this book makes everyone feel what I felt while writing it, and that love is a universal thing, and my story is not unique. And I hope that this makes them see that there is a beyond and that they can come out happy and clean. And, that this makes them braver than they already are, and gives them that little extra push and strength that they probably need

    K. Chesterton, the "Prince of Paradox," is at his witty best in this collection of twenty essays and articles from the turn of the twentieth century. Focusing on "heretics" — those who pride themselves on their superiority to Christian views — Chesterton appraises prominent figures who fall into that category from the literary and art worlds. Luminaries such as Rudyard Kipling, George Bernard Shaw, H. G. Wells, and James McNeill Whistler come under the author's scrutiny, where they meet with equal measures of his characteristic wisdom and good humor.In addition to incisive assessments of well-known individuals ("Mr. Rudyard Kipling and Making the World Small" and "Mr. H. G. Wells and the Giants"), these essays contain observations on the wider world. "On Sandals and Simplicity," "Science and the Savages," "On Certain Modern Writers and the Institution of the Family," "On Smart Novelists and the Smart Set," and "Slum Novelists and the Slums" reflect the main themes of Chesterton's life's work. Heretics roused the ire of some critics for censuring contemporary philosophies without providing alternatives; the author responded a few years later with a companion volume, Orthodoxy. Sardonic, jolly, and generous, both books are vintage Chesterton.He is criticizing those who hold incomplete and inadequate views about "life, the universe, and everything." He is, in short, criticizing all that host of non-Christian views of reality, as he demonstrated in his follow-up book Orthodoxy. The book is both an easy read and a difficult read. But he manages to demonstrate, among other things, that our new 21st century heresies are really not new because he himself deals with most of them.

    Organized in six parts (Childhood; Youth; Early Marriage and Bachelorhood; Teaching and Work; Fiction; Politics, Religion, Movies, Books, Cities; The Style of Middle Age) Getting Personal tells two stories: the development of Lopate's career as a writer and the story of his life.

    In this remarkable book, Shakespeare scholar James Shapiro explains when and why so many people began to question whether Shakespeare wrote his plays. Among the doubters have been such writers and thinkers as Sigmund Freud, Henry James, Mark Twain, and Helen Keller. It is a fascinating story, replete with forgeries, deception, false claimants, ciphers and codes, conspiracy theories—and a stunning failure to grasp the power of the imagination. As Contested Will makes clear, much more than proper attribution of Shakespeare’s plays is at stake in this authorship controversy. Underlying the arguments over whether Christopher Marlowe, Francis Bacon, or the Earl of Oxford wrote Shakespeare’s plays are fundamental questions about literary genius, specifically about the relationship of life and art. Are the plays (and poems) of Shakespeare a sort of hidden autobiography? Do Hamlet, Macbeth, and the other great plays somehow reveal who wrote them?Shapiro is the first Shakespeare scholar to examine the authorship controversy and its history in this way, explaining what it means, why it matters, and how it has persisted despite abundant evidence that William Shakespeare of Stratford wrote the plays attributed to him. This is a brilliant historical investigation that will delight anyone interested in Shakespeare and the literary imagination.

    . . a contemporary genius with the language itself . . . There is simply no contemporary poet like him.” —David Baker, The Kenyon Review Albert Goldbarth has created an unmistakable signature style—learned, copious, hilarious, and heartbreaking—which has so far spanned an award-winning career of thirty-five years. The Kitchen Sink brings together forty new poems with a rich selection of earlier poetry, ranging from the brief, flickering lyric to the long, narrative sequence. In both forms, Goldbarth exerts a wild showmanship and an ever-widening scope to illustrate the complex character and interconnectedness of humanity, history, and art. The Kitchen Sink is the definitive book by one of America’s most original and entertaining poets.

    Webber explains the postures, the Christian year, the colors we use during various seasons, and all the elements in the Service of the Eucharist.As in Webber's very popular Welcome to the Episcopal Church, the tone of the easy-to-read book is conversational, making it useful for parish study.

    Culture is a garden to be cultivated."Many bemoan the decay of culture. But we all have a responsibility to care for culture, to nurture it in ways that help people thrive. In Culture Care artist Makoto Fujimura issues a call to cultural stewardship, in which we become generative and feed our culture's soul with beauty, creativity, and generosity. We serve others as cultural custodians of the future.This is a book for artists, but artists come in many forms. Anyone with a calling to create—from visual artists, musicians, writers, and actors to entrepreneurs, pastors, and business professionals—will resonate with its message. This book is for anyone with a desire or an artistic gift to reach across boundaries with understanding, reconciliation, and healing. It is a book for anyone with a passion for the arts, for supporters of the arts, and for "creative catalysts" who understand how much the culture we all share affects human thriving today and shapes the generations to come.

    Yum! I hope you like it.

    Boyd adds another counterintuitive and provocative thesis to his corpus. While conservative scholars and pastors have struggled for years to show that the Bible is without errors, Boyd considers this a fool's errand. Instead, he says, we should embrace the mistakes and contradictions in Scripture, for they show that God chose to use fallible humans to communicate timeless truths. Just as God ultimately came to save humanity in the form of a human, God chose to impart truth through the imperfect medium of human writing. Instead of the Bible's imperfections being a reason to attack its veracity, these "problems" actually support the trustworthiness of Christian Scripture. Inspired Imperfection is required reading for anyone who's questioned the Bible because of its contradictions.

    The pervasiveness of images of torture, horror, and war has all but demolished the twentieth-century hope that such imagery might shock us into a less alienated state, or aid in the creation of a just social order. What to do now? When to look, when to turn away?Genre-busting author Maggie Nelson brilliantly navigates this contemporary predicament, with an eye to the question of whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture (Kafka to reality TV), the visual to the verbal (Paul McCarthy to Brian Evenson), and the apolitical to the political (Francis Bacon to Kara Walker), Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo, and permissibility.