But the trophy wife, the prestigious job and the pills have always threatened to overwhelm him, and things go from bad to ugly when one night of debauchery hits the sobering light of September 11, 2001. Comics iconoclast Rick Veitch (SWAMP THING, Brat Pack) writes and illustrates a graphic novel as singular in its execution as it is in the events it portrays. Half the height of a standard comic, told in landscape format with over 350 pages of story, Can't Get No features Veitch inventing a poetry unique to the medium to tell the story of a man and nation torn by tragedy. Reeling from the financial collapse of his business, Chad Roe descends into a night of depravity, only to wake up a marked man - literally - his body covered in a permanent tattoo. But Chad will be only one of the many whose lives are forever changed after that Tuesday morning of September 11, 2001. Instead of picking up the pieces, he takes to the road, heading straight into the shell-shocked heart of America on a desperate search for salvation.

    The inaugural winner of the annual American Poetry Review/Honickman First Book Award.

    Her work took her to the boundary of the visible and measurable. Facts are only as interesting as the possibilities they open up to the imagination, she wrote. Her research involved dark matter - hidden mass which can be inferred only from its influence on observable objects: As if, from fireflies, one could infer the field. Her poems, too, make inferences and speculate, setting out always from meticulous observation and not deterred by a knowledge of how little we can know of the universe.

    Mysteries don't lose their poetry because they are solved: the solution often is more beautiful than the puzzle, uncovering deeper mysteries. With the wit, insight, and spellbinding prose that have made him a best-selling author, Dawkins takes up the most important and compelling topics in modern science, from astronomy and genetics to language and virtual reality, combining them in a landmark statement of the human appetite for wonder. This is the book Richard Dawkins was meant to write: a brilliant assessment of what science is (and isn't), a tribute to science not because it is useful but because it is uplifting.

    Her prize: A rent-free year in a cottage in the Berkshires, where she could finish a first book. But Taylor—outside the city for the first time in nearly a decade, and trying to conceive her first child—found herself alone. To break up her days, she began to intern on a small farm, planting leeks, turning compost, and weeding kale. In this calendric cycle of 28 poems, Taylor describes the work of this year, considering what attending to vegetables on a small field might achieve now. Against a backdrop of drone strikes, “methamphetamine and global economic crisis,” these poems embark on a rich exploration of season, self, food, and place. Threading through the farm poets—Hesiod, Virgil, and John Clare—Taylor revisits the project of small scale farming at the troubled beginning of the 21st century. In poems full of bounty, loss and the mysteries of the body, Taylor offers a rich, severe, memorable meditation about what it means to try to connect our bodies and our time on earth.

    In this thoughtful look at what’s happening behind the grim headlines, authors David Suzuki and Holly Dressel show that thousands of individuals, groups, and businesses are already changing their ways. They highlight the growing number of profitable companies with a positive presence in their communities, activists and Third World villages practicing true participatory democracy, farmers and ranchers sharing their land with other species — even some governments, local and national, basing economic development on an eco-friendly model. The technologies needed to make a better world, say the authors, are already within reach — and being used. This practical, inspiring guide to saving the planet is based on the true stories of ordinary people who are doing it every day.

    The semi-autobiographical book is divided into two parts and takes place between two countries; Part I, “is a cloud a living thing?”, takes place during the Author’s tumultueuse teen years with tropical Florida as a backdrop. Part II, “Inside my Shell”, explores themes of transformation as the Author creates a new life in Paris, France. ​The poems in this collection explore the surreal rollercoaster of youth, the performance of identity, being an outsider and the tension between romantic idealism and the dystopic world in which the author finds herself. Her approach to her work as a visual artist is mirrored in her poetry style, which is accompanied by all original illustrations by the Author.

    Poems from the 1600s to the present day are beautifully illustrated with images from the unrivaled collection of Japanese paintings and prints in the British Museum. The majority of the poems come from the Tokugawa period (early seventeenth to mid nineteenth centuries) and include works from the best-known Japanese classical authors, female poets and a number of contemporary writers. Nearly all are newly translated by Alan Cummings.From the tender and the melancholy to the witty and the ribald, the poems and images in Haiku Love comment on the most universal of human emotions.

    It's a far cry from his native Ireland, but he believes this is the place he and his wife can make a new life and forget the troubles of the past. And for a time, they do just that. There's a good life, a new house, regular work and, in time, they welcome their new son Marti into the world. But as the years pass, this new life thousands of miles from the Old Country comes under threat. Joey's wife has been struggling with demons of her own, their marriage is on the rocks and suddenly, Joey's wife disappears and takes Marti with her. Joey is beside himself, with no clues about where they are, with both his childhood sweetheart and his son - his pride and joy - now missing. Then, when Joey gets word that his wife and son have returned to Ireland, he knows that he'll now have to do the same if he ever wants to see his son again. And he also knows that he'll finally have to confront the ghosts of his past that he's been running from for years. His Father's Son is a touching and beautiful story of a family struggling to come to terms with their past, their present and an uncertain future.

    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."

    But the tag that really fits is Hitter. “A riveting retrospective” (Baseball americanca). Index; career statistics; photographs.

    . . In a war-torn village in Eastern Europe, an American photographer captures a heart-stopping image: a young girl flying toward the lens, fleeing a fiery explosion that has engulfed her home and family. The image wins acclaim and prizes, becoming an icon for millions—and a subject of obsession for one writer, the photographer’s best friend, who has suffered a devastating tragedy of her own. As the writer plunges into a suicidal depression, her filmmaker husband enlists several friends, including a fearless bisexual poet and an ingenuous performance artist, to save her by rescuing the unknown girl and bringing her to the United States. And yet, as their plot unfolds, everything we know about the story comes into question: What does the writer really want? Who is controlling the action? And what will happen when these two worlds—east and west, real and virtual—collide? A fierce, provocative, and deeply affecting novel of both ideas and action that blends the tight construction of Julian Barnes’s The Sense of an Ending with the emotional power of Anthony Marra’s A Constellation of Vital Phenomena, Lidia Yuknavitch’s The Small Backs of Children is a major step forward from one of our most avidly watched writers.

    With a Foreword by John P. McGovern. "Ours is a world that has multiplied in complexity beyond anything dreamed in Osler's day. Tension and anxiety, uncertainty and stress are the inevitable result of our civilizations' rapid advance, mental and emotional ills its hallmarks . . . contemporary man desperately needs to learn the lesson of 'sufficient unto the day.' A Way of Life offers an antidote, in the form of a life style. But is the goal attainable? Osler's own life, marked by brilliant achievement in many spheres, testifies to the efficacy of sound habits of work and discipline, established early and followed strictly within 'daytight compartmentsÂ�."Â�From the Foreword by John P. McGovern.

    The famous writers of the past, like Vita Sackville-West, Gertrude Jekyll, Elizabeth von Arnim (author of Enchanted April), and Beverley Nichols rub shoulders with the garden columnists and book authors of today, such as longtime Washington Post columnist Henry Mitchell, Christopher Lloyd, and Ken Druse.As all gardeners know, thinking about plants and gardens leads one to speculate about life, love, triumph and despair, obsession, and death. These authors cover it all, not just in metaphor, although they are expert at the well-turned phrase and the classic image, but in garden practicalities, too. Perhaps only in the best garden essay can the design of shovels, the number of worms in the soil, and raves about the newest kind of perennial co-exist comfortably with ruminations on mortality, the soul, and the nature of beauty. Lest this sound too serious, all is laced with humor; Henry Mitchell's hounds lie about the garden beds, crushing his latest peony, and Charles Kuralt complains about how he missed his favorite daffodil when CBS News had the nerve to send him to Moscow in April for an unfortunately scheduled summit conference."Half the interest of a garden is the constant exercise of the imagination," said Alice Morse Earle in 1897. We are fortunate that these writers had enough imagination to both garden and to write about it and that Jane Garmey had the imagination to gather such a variety of well-chosen garden voices. --Valerie Easton

    Her first return to novel writing has resulted in an unrestrained picture of grief that feels at times, uncomfortably intimate ... this is not a book for the fragile (Melissa Katsoulis, Times Sat. 25 April 2009).