Amari Soul's "Reflections Of A Man" series (following the release of the inspirational best seller "Reflections Of A Man") will help you to get past your pain, get rid of the self-doubt and help you to see yourself in a new light... a light which illuminates through all of the darkness and shines through to the Beautiful, Strong Woman inside of you.

    They dominate the look of its art and commodities as well as our discourse about the ambivalent feelings these objects often inspire. In this radiant study, Sianne Ngai offers a theory of the aesthetic categories that most people use to process the hypercommodified, mass-mediated, performance-driven world of late capitalism, treating them with the same seriousness philosophers have reserved for analysis of the beautiful and the sublime.Ngai explores how each of these aesthetic categories expresses conflicting feelings that connect to the ways in which postmodern subjects work, exchange, and consume. As a style of performing that takes the form of affective labor, the zany is bound up with production and engages our playfulness and our sense of desperation. The interesting is tied to the circulation of discourse and inspires interest but also boredom. The cute’s involvement with consumption brings out feelings of tenderness and aggression simultaneously. At the deepest level, Ngai argues, these equivocal categories are about our complex relationship to performing, information, and commodities.Through readings of Adorno, Schlegel, and Nietzsche alongside cultural artifacts ranging from Bob Perelman’s poetry to Ed Ruscha’s photography books to the situation comedy of Lucille Ball, Ngai shows how these everyday aesthetic categories also provide traction to classic problems in aesthetic theory. The zany, cute, and interesting are not postmodernity’s only meaningful aesthetic categories, Ngai argues, but the ones best suited for grasping the radical transformation of aesthetic experience and discourse under its conditions.

    He is “one of the handful of living masters of the American language, as well as a singular historian and philosopher of American experience,” says the New Yorker’s Peter Schjeldahl. Kill All Your Darlings is the first collection of Sante’s articles—many of which first appeared in the New York Review of Books and the Village Voice—and offers ample justification for such high praise. Sante is best known for his groundbreaking work in urban history (Low Life), and for a particularly penetrating form of autobiography (The Factory of Facts). These subjects are also reflected in several essays here, but it is the author’s intense and scrupulous writing about music, painting, photography, and poetry that takes center stage. Alongside meditations on cigarettes, factory work, and hipness, and his critical tour de force, “The Invention of the Blues,” Sante offers his incomparable take on icons from Arthur Rimbaud to Bob Dylan, René Magritte to Tintin, Buddy Bolden to Walker Evans, Allen Ginsberg to Robert Mapplethorpe.

    Throughout, Chabon energetically argues for a return to the thrilling, chilling origins of storytelling, rejecting the false walls around "serious" literature in favor of a wide-ranging affection.Cover art by Jordan Crane.

    R. Ammons at his strongest and most eloquent in the lyric mode. The book is an achievement fully comparable to his Uplands and Briefings. Among the poems likely to assume a permanent place in the Ammonsian (and American) canon are the majestic title lyric and 'Swells,' 'Easter Morning,' 'Keepsake,' 'Givings,' and 'Persistences.' Again Ammons has confirmed his vital continuities with the central Whitmanian tradition of our poetry, and his crucial place in that panoply."

    . . . Each poem adds its incisive particulars to the general stoic wreck; but what startles, then reassures in all this canon of the inconsolable, the unsanctified, the dispossessed, is Hugo’s poetics, the analogy of language to experience. . . . Richard Hugo is such an important poet because the difficulties inherent in his art provide him a means of saying what he has to say. It is no accident that he must develop a negative in order to produce a true image.”

    A lot can happen between the first sip of coffee and the last taste of whiskey, and this book takes a look at the way a single day can change our outlook on everything from relationships with others, to our relationships with ourselves, and everything in between. Ultimately, coffee days, whiskey nights illustrates that no matter how hopeless we may feel at the end of the day, a new one is only a few hours away.

    The personal and political crash into one language here, gothic as it is supple, meditating on visual art and myth, to desire, the practice of lynching and Hurricane Katrina. Always at its center, though, is the poet himself—confessing a double song of pleasure and inevitable pain.

    In this fictional tour de force Jay Griffiths, author of the acclaimed Wild, creates a portrait of the artist Frida Kahlo—her devastating accident and her love for Diego Rivera—that is also a celebration of the spirit of poetry and the art of rebellion.

    Building on the collection originally published in 1998, this new edition features more than thirty-five new songs, new artwork, and an introduction from Patti Smith herself.As relevant, fresh, and searing as when they were originally written, Smith’s lyrics capture her unique voice, raw in beauty, grace, and authenticity. Sharing a message of dedication, love, and compassion that speaks across the ages, Smith’s words empower fans and reveal the strong yet vulnerable heart of woman defined by her art.

    How can recklessness guide the poet, the artist, and the reader into art, and how can it excite in us a sort of wild receptivity, beyond craft? "Poetry is not a discipline," Young writes. "It is a hunger, a revolt, a drive, a mash note, a fright, a tantrum, a grief, a hoax, a debacle, an application, an affect . . ."

    Now you can experience this major work of world literature in a simplified adaptation. This graphic novel pulls no punches. Dante’s harrowing journey through Hell is not for the squeamish. It is a powerful, but ultimately inspiring story of sin, punishment, self-sacrifice, and redemption.

    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

    McLane’s stunning third poetry collection, This Blue. Here are songs for and of a new century, poems both archaic and wholly now. In the middle of life, stationed in our common “Terran Life,” the poet conjures urban pigeons, Adirondack mountains, Genoa, Andalucía, Belfast, Parma; here is a world sounded out, broken, possibly shareable, newly named: “Take it up Old Adam— / everyday the world exists / to be named.” This Blue is a searching and a singing—intricate, sexy, smart.

    Emerging out oa a life in shich, the poet's words, "each day was the only day", Menasches work has a mysterious simplicity, a religious intensity, and a lingering emotional force.