In I Would Leave Me If I Could, she reveals never-before-seen poetry of longing, love, and the nuances of bipolar disorder.

    Now, with Goldenrod, the award-winning poet returns with a powerful collection of poems that look at parenthood, solitude, love, and memory. Pulling objects from everyday life—a hallway mirror, a rock found in her son’s pocket, a field of goldenrods at the side of the road—she reveals the magic of the present moment. Only Maggie Smith could turn an autocorrect mistake into a line of poetry, musing that her phone “doesn’t observe / the high holidays, autocorrecting / shana tova to shaman tobacco, / Rosh Hashanah to rose has hands.”​

    The book is a compilation of the series of episodes published in tamil magazine 'Chaavi'

    Richie Hofmann disciplines his natural elegance into the sterner recognitions that matter: 'I am a little white omnivore,' the speaker of Second Empire discovers. Mastering directness and indirection, Hofmann's poems break through their own beauty."—Rosanna WarrenThis debut's spare, delicate poems explore ways we experience the afterlife of beauty while ornately examining lust, loss, and identity. Drawing upon traditions of amorous sonnets, these love-elegies desire an artistic and sexual connection to others—other times, other places—in order to understand aesthetic pleasures the speaker craves. Distant and formal, the poems feel both ancient and contemporary.Antique BookThe sky was crazed with swallows.We walked in the frozen grassof your new city, I was gauzed with sleep.Trees shook down their gaudy nests.The ceramic pots were caparisoned with snow.I was jealous of the river,how the light broke it, of the skeinof windows where we saw ourselves.Where we walked, the ice crackedlike an antique book, openingand closing. The leavesbeneath it were the marbled pages.Richie Hofmann is the winner of a Ruth Lilly Fellowship from the Poetry Foundation, and his poems have appeared or are forthcoming in the New Yorker, Poetry, the Kenyon Review, and Ploughshares. A graduate of the Johns Hopkins University MFA program, he is currently a Creative Writing Fellow in Poetry at Emory University.

    

    One curvy singer. Discovering love one note at a time. Alec and I run one of the hottest record labels in Los Angeles. We snap our fingers and throngs of hopefuls throw themselves at our feet. But I vowed to never go down that road again. Until her. Endless curves. Velvet voice. I want her body pinned to the bed, her name signed on the dotted line. Could she be the one to make it last? To be ours forever?One night of reckless abandon -- me, two delicious men, and the biggest bed I've ever seen. That's all it should have been. When they give me an offer I've been dreaming about my whole life ... I'm torn. I want to be a star. To have my name in lights at the biggest venues in L.A. But how can I chase my dream and give two men my heart?Part One of a three-part ménage serial full of steamy scenes featuring two sinful billionaires and one curvy woman. Intended for mature audiences only. Cliffhanger ending. You've been warned!

    They illuminate the gritty idiosyncrasies of immigrant life in urban barrios spanning Los Angeles to Chicago to Harlem. Rodríguez lends powerful voices to those struggling to keep the gas on, to find work, and to keep love.  Populated by a vibrant cast of characters, ranging from the drugged, to the eccentric, to the heartbroken, Rodríguez’s poems protest capitalism, violence, and exploitation while reveling in the potential of compassion.

    Now what?As May fits into her new life we meet her friend Pam and her husband Jack - but why is Pam terrified to tell Jack that she's pregnant?And then there's Denis and Bernard, May's next-door neighbours, going about their business oblivious to the deadly threat that lurks close by.There's Paddy, who lives on his own yet never seems to be at home.And Paul, three doors up, willing to risk everything for an affair with Carmel, the young teacher who has yet to learn that there's a price to pay for having something that shouldn't be yours.But what May can't figure out is who gave her the beautiful shell necklace and was it really meant for her?On this one particular week, all is about to change for the inhabitants of Kilpatrick and May discovers that while only love can break your heart, only love can put it back together.

    Exploring how the mind orders experience—and how disorder, or different orders, affect that experience—Szporluk has produced a poetry of alien beauty, limning worlds where the inability to exert control results in a disturbing, overwhelming immediacy.

    In Coleman Barks′ delightful and wise renderings, these poems will open your heart and soul to the lover inside and out.′There are lovers content with longing.I′m not one of them.′Rumi is best known for his poems expressing the ecstasies and mysteries of love of all kinds - erotic, divine, friendship -and Coleman Barks collects here the best of those poems, ranging from the ′wholeness′ one experiences with a true lover, to the grief of a lover′s loss, and all the states in between: from the madness of sudden love to the shifting of a romance to deep friendship - these poems cover all ′the magnificent regions of the heart′.

    

    Mary Ruefle is of their number. Her poems discover the full beauty and anguish of life that most of us dare not see, much less depict in luminous detail for the ages.

    Each piece aims to go beyond just words and reveal an emotion; love, pain or happiness and by the end of it, the prospect of attaining solace. The author uses 'memories' as a title to emphasise that it is universally relatable - as readers should find at least one (or more) piece(s) that reminds them of a previous experience that they have had/ emotion that they have felt, hence becoming a 'memory' that is unwound in this book.Each piece aims to fuel the realisation of sentiments that fabricate our very being, and by the end of the book readers are shown the possibility of hope, redemption, closing 'old chapters' and moving on to make new memories.

    Not all heartbreaks have to end with you broken.

    Bambrick began writing poems in order to document the forms of violence she witnessed towards the people and the environment of the Columbia River. While working there she found that reservoirs foster a uniquely complex community--from fish biologists to the owners of luxury summer homes--and became interested in the issues and tensions between the people of that place. The idea of power, literal and metaphorical, was present in every action and encounter with bosses and the people using the river. The presence of a young woman on the crew irritated her older, male co-workers who'd logged, built houses, and had to suffer various forms of class discrimination their entire lives. She found throughout this experience that their issues, while not the same, were inherently connected to the suffering of the lands they worked. Introduction by Sharon Olds.