With shocking, unforgettable lyric force, Valzhyna Mort's Music for the Dead and Resurrected confrontsthe legacy of violent death in one family in Belarus. In these letters to the dead, the poet asks: How do we mourn after a century of propaganda? Can private stories challenge the collective power of Soviet and American historical mythology?Mort traces a route of devastation from the Chernobyl fallout and a school system controlled by ideology to the Soviet labor camps and the massacres of World War II. While musical form serves as a safe house for the poet's voice, old trees speak to her as the only remaining witnesses, hosts to both radiation and memory.Valzhyna Mort, born in Belarus and now living in the United States, conjures a searing, hallucinogenic ritual of rhythmic remembrance in a world where appeals to virtue and justice have irrevocably failed.

    Hailed by Kirkus Reviews as “an action-packed treat […] with a relatable heroine facing challenges in a vivid world of magic and mystery,” and called a new classic by readers, The Crowns of Croswald series is a magical romp through a fully formed universe with dragons, magical quills, potions, and mythical creatures.Ivy Lovely is 16 and she has no idea who she is—or what her powers could be. When she crosses a magical boundary, she discovers a whole new world of enchantment and mystery. Making friends that will last a lifetime—and save her life—she steps into her own abilities and discovers more about her hidden past, magical blood, and the power of Croswald’s mystical stones. But all is not well: a dark history and an evil Queen threatens all that is good. Will Ivy’s bravery and wit be enough?Curious and whimsical, both shy and brave, Ivy is a hero that connects with readers of all ages. For those who wished that Narnia, Harry Potter, and Alice in Wonderland could go on forever, Croswald opens a whole new world of magic. Recommended as a read-aloud for families and a first middle-grade fantasy read, The Crowns of Croswald is a four-part series that will carry readers to a whimsical world that they won’t want to leave.

    She almost got it, too: a husband, two kids, a nice house in the suburbs. But Rob fears for her oldest daughter, Callie, who collects tiny bones and whispers to imaginary friends. Rob sees a darkness in Callie, one that reminds her too much of the family she left behind. She decides to take Callie back to her childhood home, to Sundial, deep in the Mojave Desert. And there she will have to make a terrible choice. Callie is worried about her mother. Rob has begun to look at her strangely, and speaks of past secrets. And Callie fears that only one of them will leave Sundial alive…The mother and daughter embark on a dark, desert journey to the past in the hopes of redeeming their future.

    Her poems take us to the flip side of human consciousness, where anything can happen at any time. Tinged with surrealism, her work makes visionary leaps from the quotidian to sudden, surprising epiphanies.

    He begins with a group of light but haunting fables, populated by figures like the King, a tiny creature in ermine who has lost his desire to rule, and by the poet’s own alter ego, who recounts the fetching mystery of the title poem: “I sat on the porch having a smoke / when out of the blue a man and a camel / happened by.” The poet has Arctic adventures and encounters with the bearded figure of Death; in his controlled tone, he creates his bold visions and shows us, like a magician, how they vanish in a blink. Gradually, his fancies give way to powerful scenes of loss, as in “The Mirror,” where the face of a beautiful woman stares past him into a place I could only imagine . . . as if just then I were steppingfrom the depths of the mirror into that white room, breathless and eager,only to discover too latethat she is not there.Man and Camel concludes with a small masterpiece of meditations crafted around the Seven Last Words of Christ. Here, this secular poet finds resonance in the bedrock of Christ’s language, the actual words that have governed so many generations of thought and belief. As always with Mark Strand, the discovery of meaning in the sound of language itself is an act of faith that enlightens us and carries us beyond the bounds of the rational.

    With Hoagland’s trademark humor and social commentary, these poems are exhilarating for their fierce moral curiosity, their desire to name the truth, and their celebration of the resilience of human nature.

    The past year has seen a resurgence of poetry and inspiring quotes--posted on social media, appearing on bestseller lists, shared from friend to friend. Honoring this communal spirit, How Lovely the Ruins is a timeless collection of both classic and contemporary poetry and short prose that can be of help in difficult times--selections that offer wisdom and purpose, and that allow us to step out of our current moment to gain a new perspective on the world around us as well as the world within.The poets and writers featured in this book represent the diversity of our country as well as voices beyond our borders, including Maya Angelou, W. H. Auden, Danez Smith, Rumi, Emily Dickinson, Naomi Shihab Nye, Alice Walker, Adam Zagajewski, Langston Hughes, Wendell Berry, Anna Akhmatova, Yehuda Amichai, and Robert Frost. And the book opens with a stunning foreword by Elizabeth Alexander, whose poem "Praise Song for the Day," delivered at the inauguration of President Barack Obama, ushered in an era of optimism. In works celebrating our capacity for compassion, our patriotism, our right to protest, and our ability to persevere, How Lovely the Ruins is a beacon that illuminates our shared humanity, allowing us connection in a fractured world.Includes poetry, prose, and quotations from: Elizabeth Alexander - Marcus Aurelius - Karen Armstrong - Matthew Arnold - Ellen Bass - Brian Bilston - Gwendolyn Brooks - Elizabeth Barrett Browning - Octavia E. Butler - Regie Cabico - Dinos Christianopoulos - Lucille Clifton - Ta-Nehisi Coates - Leonard Cohen - Wendy Cope - E. E. Cummings - Charles Dickens - Mark Doty - Thomas Edison - Albert Einstein - Ralph Ellison - Kenneth Fearing - Annie Finch - Rebecca Foust - Nikki Giovanni - Stephanie Gray - John Green - Hazel Hall - Thich Nhat Hanh - Joy Harjo - Vaclav Havel - Terrance Hayes - William Ernest Henley - Juan Felipe Herrera - Jane Hirshfield - John Holmes - A. E. Housman - Bohumil Hrabal - Robinson Jeffers - Georgia Douglas Johnson - James Weldon Johnson - Paul Kalanithi - Robert F. Kennedy - Omar Khayyam - Emma Lazarus - Li-Young Lee - Denise Levertov - Ada Limon - Henry Wadsworth Longfellow - Nelson Mandela - Masahide - Khaled Mattawa - Jamaal May - Claude McKay - Edna St. Vincent Millay - Pablo Neruda - Anais Nin - Olga Orozco - Ovid - Pier Paolo Pasolini - Edgar Allan Poe - Claudia Rankine - Adrienne Rich - Rainer Maria Rilke - Alberto Rios - Edwin Arlington Robinson - Eleanor Roosevelt - Christina Rossetti - Muriel Rukeyser - Sadhguru - Carl Sandburg - Vikram Seth - Charles Simic - Safiya Sinclair - Effie Waller Smith - Maggie Smith - Tracy K. Smith - Leonora Speyer - Gloria Steinem - Clark Strand - Wislawa Szymborska - Rabindranath Tagore - Sara Teasdale - Alfred, Lord Tennyson - Vincent van Gogh - Ocean Vuong - Florence Brooks Whitehouse - Walt Whitman - Ella Wheeler Wilcox - William Carlos Williams - Virginia Woolf - W. B. Yeats - Saadi Youssef - Javier Zamora - Howard Zinn

    Those who turn to poetry to become confidants for another's stories and secrets will not be disappointed.”—Publishers Weekly“In her fifth book of poetry, Bass addresses everything from Saturn’s rings and Newton’s law of gravitation to wasps and Pablo Neruda. Her words are nostalgic, vivid, and visceral. Bass arrives at the truth of human carnality rooted in the extraordinary need and promise of the individual. Bass shows us that we are as radiant as we are ephemeral, that in transience glistens resilient history and the remarkable fluidity of connection. By the collection’s end—following her musings on suicide and generosity, desire and repetition—it becomes lucidly clear that Bass is not only a poet but also a philosopher and a storyteller.”—BooklistEllen Bass brings a deft touch as she continues her ongoing interrogations of crucial moral issues of our times, while simultaneously delighting in endearing human absurdities. From the start of Like a Beggar, Bass asks her readers to relax, even though "bad things are going to happen," because the "bad" gets mined for all manner of goodness.From "Another Story":After dinner, we're drinking scotch at the kitchen table.Janet and I just watched a NOVA specialand we're explaining to her motherthe age and size of the universe—the hundred billion stars in the hundred billion galaxies.Dotty lives at Dominican Oaks, making her way down the long hall.How about the sun? she asks, a little farmshit in the endlessness.I gather up a cantaloupe, a lime, a cherry,and start revolving this salad around the chicken carcass.This is the best scotch I ever tasted, Dotty says,even though we gave her the Maker's Markwhile we're drinking Glendronach...Ellen Bass's poetry includes  Like A Beggar (Copper Canyon Press, 2014), The Human Line  (Copper Canyon Press, 2007), which was named a Notable Book by the San Francisco Chronicle, and Mules of Love (BOA, 2002), which won the Lambda Literary Award.  She co-edited (with Florence Howe) the groundbreaking No More Masks! An Anthology of Poems by Women (Doubleday, 1973). Her work has frequently been published in The New Yorker, American Poetry Review, The New Republic, The Sun  and many other journals. She is co-author of several non-fiction books, including The Courage to Heal: A Guide for Women Survivors of Child Sexual Abuse (HarperCollins, 1988, 2008) which has sold over a million copies and been translated into twelve languages. She is part of the core faculty of the MFA writing program at Pacific University.

    The title of her new collection, Scattered at Sea, evokes notions of dispersion, diaspora, sowing one’s wild oats, having one’s mind expanded or blown, losing one’s wits, and mortality. Making use of dramatic monologue, elegy, humor, and collage, these poems explore hedonism, gender, ancestry, reincarnation, bereavement, and the nature of prayer. Groping for an inclusive, imaginative, postmodern spirituality, they draw from an array of sources, including the philosophy of the ancient Stoics, diagnostic tests for Alzheimer’s disease, 1950s recipes, the Babylonian Talmud, and Walter Benjamin’s writing on his drug experiences.

    Included also is "When the Towers Fell," his stunning requiem for those who died in the World Trade Center on 9/11.The book's title derives from Walt Whitman's "Last Invocation": "Strong is your hold O mortal flesh, / Strong is your hold O love."

    A combined edition of the poet's early work, including Lord Weary's Castle, a collection of forty-two short poems, which won the 1947 Pulitzer Prize, and The Mills of the Kavanaughs, a narrative poem of six hundred lines, and five other long poems.

    Ada Limon's first full-length poetry book--startling and funny--Limon is a poet to keep your eye on.

    Set in a rural southern landscape as vivid as its indelible characters, As a Friend tells the story of Les, a gifted man and land surveyor, whose impact on those around him (his friend Clay, his girlfriend Sarah) provokes intense self-examination and an atmosphere of dangerous eroticism. With poetic insight, Gander explores the nature of attraction, betrayal, and loyalty. What he achieves is brilliant in style and powerfully unsettling.

    In the southeast Portland neighborhood of Dickman’s youth, parents are out of control and children are in chaos. With grief, anger, and, ultimately, understanding, Dickman confronts a childhood of ambient violence, well-intentioned but warped family relations, confining definitions of identity, and the deprivation of this particular Portland neighborhood in the 1980s. Wonderland reminds us that, while these neighborhoods are filled with guns, skateboards, fights, booze, and heroin, and home to punk rockers, skinheads, poor kids, and single moms, they are also places of innocence and love.

    With defiance and wild joy, Duan’s poems wrestle with and celebrate ancestry and history, racial consciousness, and the growing pains of girlhood. They explore difficult truths with grace and power. I Wore My Blackest Hair is an honest portrait of a woman in-between—identities, places, languages, and desires—and her quest to belong. The speaker is specific in her self-definition, discovering and reinventing what it means to be a bold woman, what it means to be Chinese American, and what it means to grow into adulthood. Duan moves seamlessly from the personal to the imaginative to the universal, heralding a brilliant new voice in contemporary poetry.