The result easily demonstrated, then as now, the massive achievement of the writer whom Carolyn Kizer called "one of the most passionate, energetic, and honest poets living."

    were written within earshot of David Kirby's Old World masters, Shakespeare and Dante. From the former, Kirby takes the compositional method of organizing not only the whole book but also each separate section as a dream; from the latter, a three-part scheme that gives the book rough symmetry. Long-lined and often laugh-out-loud funny, Kirby's poems are ample steamer trunks into which the poet seems to be able to put just about anything--the heated restlessness of youth, the mixed blessings of self-imposed exile, the settled pleasures of home. As the poet Philip Levine says, "The world that Kirby takes into his imagination and the one that arises from it merge to become a creation like no other, something like the world we inhabit but funnier and more full of wonder and terror. He has evolved a poetic vision that seems able to include anything, and when he lets it sweep him across the face of Europe and America, the results are astonishing."

    From a stunning double crown sonnet, to erasure poetry contained within DNA testing results, the poems in this collection are as wide-ranging in form as they are bountiful in wordplay and truth. In her poem 'The Shop at Monticello,' she writes: 'I’m a black body in this Commonwealth, which turned black bodies/ into money. Now, I have money to spend on little trinkets to remind me/ of this fact. I’m a money machine & my body constitutes the common wealth.' Speaking to history, loss, and injustice with wisdom, innovation, and a scientific determination to find the poetic truth, White Blood plants Petrosino’s name ever more firmly in the contemporary canon.

    Fairchild’s The Art of the Lathe is a collection of poems centering on the working-class world of the Midwest, the isolations of small-town life, and the possibilities and occasions of beauty and grace among the machine shops and oil fields of rural Kansas.

    With titles such as “Stride Piano,” “Gutbucket,” and “Can-Can,” these poems have the sharp completeness of vocalized songs and follow a classic blues trajectory: praising and professing undying devotion (“To watch you walk / cross the room in your black / corduroys is to see / civilization start”), only to end up lamenting the loss of love (“No use driving / like rain, past / where you at”). As Young conquers the sorrow left on his doorstep, the poems broaden to embrace not just the wisdom that comes with heartbreak but the bittersweet wonder of triumphing over adversity at all.Sexy and tart, playfully blending an African American idiom with traditional lyric diction, Young’s voice is pure American: joyous in its individualism and singing of the self at its strongest.From the Hardcover edition.

    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 this stunningly inventive collection—a finalist for the 2001 National Book Award in poetry—Ali excavates the devastation wrought upon his childhood home, Kashmir, and reveals a more personal devastation: his mother's death and the journey with her body back to Kashmir.

    Winner of six Emmys (he was nominated nine times), two Sylvania Awards, on Peabody Award, and one Christopher Award for his teleplays, Serling came as close as anyone to dominating an era that abounded with talented men. His plays "Requiem for a Heavyweight" and "Patterns" are usually the first items on the lips of television aficionados reminiscing about the good old days. Yet as television changed, Rod Serling kept pace. He became producer and chief writer for the famous "Twilight Zone" series. These bizarre and fantastic adventures into the occult and demonic were without doubt one of the most creative, imaginative and successful enterprises in the history of television.Now Rod Serling has applied his prodigious writing talents to a new medium: one in which he is perhaps destined to make his greatest mark. The three novellas that compromise THE SEASON TO BE WARY betray the skillful hand of a master storyteller and prose stylist. Fired with a savage yet disciplined irony, paced with deliberate cadence that rises to a starting denouement, each story explores the theme of a terrible vengeance delivered for terrible deeds performed.In "The Escape Route," ex-Gruppenfuehrer Joseph Strobe - ex-deputy assistant commander of Auschwitz, ex-confidant of Heinrich Himmler - putters about his little rathole in Buenos Aires chewing over the good times he had breaking Jews. Yet his snug little world is turned upside down b the capture of Adolf Eichmann, and Strobe soon finds himself on the wrong end of a terrifying hunt."Color Scheme" recounts the life and times of the great King Connacher, racist and rabble-rouser, who makes his living on the stump, preaching the lynching gospel, only to find himself one summer evening the victim of an extraordinary case of mistaken identity.In "Eyes," Miss Claudia Menlo, who in her fifty lifeless years has been denied nothing that she wanted - except her sight - manipulates people with the same purposeful indifference with which she fondles the expensive bric-a-brac in her lavishly cluttered dwelling. Yet her insistant will is brutally thwarted by the one set of circumstances she cannot control.Serling has infused these simple, forceful tales with an extraordinary richness of character and detail. There is, for example, the Prussian officer Gruber, who cannot stomach the pigs like Strobe he helped create and with whom he is forced to share his guilt. And there is Indian Charlie Hatcher, the most memorable portrait of a burned-out prizefighter since Serling's own justly famous Mountain Rivera.The power, the drive, the complexity and subtlety of these novellas mark Rod Serling as one of the most important and graceful fiction writers. Mr. Serling is a graduate of Antioch College and lives in Southern California with his wife and two children.

    The complete works of an extraordinary poet who consistently refines the notion of what constitutes an American sound.

    While focusing on the words from the project, new photography launches each section which speaks to the reader's journey through the world: Love Found, Being In Love, Love Lost, Hope, Despair, Living and Dying.

    Written in a direct, conversational style, the poems in Sun Bear display full-force why Zapruder is one of the most popular poets in America.From "I Drink Bronze Light":Great American summer lakesright now I am flying above youthrough a rare cloudless transparent skyback to the city where it is alwayscold even in summerthe round hole I press my face againstshows only a blue expansewith white sails belowspeckled exactly the waythe Aegean would have beenthree thousand years agoif one could have seen it from abovemaybe riding in the dark clawof a god who didn't care. . . .Matthew Zapruder is a poet, translator, and editor at Wave Books. He is the author of three collections of poetry, and his book The Pajamaist won the William Carlos Williams Award. His poems, essays, and translations have appeared in many publications, including BOMB, Harvard Review, Paris Review, the New Yorker, McSweeney's, and the Believer. He lives in San Francisco, California.

    These poems reflect the effects of such experience: the lines, and often the images within them, are fragmented discordant. But read together, these lines, become a haunting mosaic of grief, evoking the necessary accommodations human beings make to survive what is unsurvivable. As poets have always done, Forche attempts to gibe voice to the unutterable, using language to keep memory alive, relive history, and link the past with the future.

    Maryna, who has renounced her career, is accompanied by her small son and husband; in her entourage is a rising young writer who is in love with her. The novel portrays a West that is still largely empty, where white settlers confront native Californians and Asian coolies. The image of America, and of California-as fantasy, as escape, as radical simplification-constantly meets a more complex reality. The commune fails and most of the migrants go home, but Maryna stays and triumphs on the American stage.In America is a big, juicy, surprising book-about a woman's search for self-transformation, about the fate of idealism, about the world of the theater-that will captivate its readers from the first page. It is Sontag's most delicious, most brilliant achievement.

    In Outgoing, the speaker erases his brother s answering machine message to save his family from the shame of dead you / answering calls. In other poems, once-ordinary objects become dreamlike. A buried light bulb blooms downward, a flower / of smoldering filaments. A refrigerator holds an evening landscape, a tinfoil lake, vegetables / dying in the crisper. Destructive and redemptive, Black Aperture opens to the complicated entanglements of mourning: damage and healing, sorrow and laughter, and torment balanced with moments of relief.

    What did I know of our language but pieces? Would I teach her to be pieces? Until a friend comforted, Don’t worry, you and your daughter will learn together. Today she stood sunlight on her shoulders lean and straight to share a song in Diné, her father’s language. To sing she motions simultaneously with her hands; I watch her be in multiple musics.—from “WHEREAS Statements”WHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. “I am,” she writes, “a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation—and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live.” This strident, plaintive book introduces a major new voice in contemporary literature.