The misunderstandings caused by language recur throughout the book: contemplating what "yes" means in different cultures; watching Nickelodeon's "Nick at Nite" with a husband who grew up in the Philippines and never saw The Patty Duke Show; misreading another poet's title "The Difference Between Pepsi and Coke" as "The Difference Between Pepsi and Pope" and concluding that "Pepsi is all for premarital sex. / The Pope won't stain your teeth." Misunderstandings also abound as characters mingle with others from different classes. In "Cockroaches," a father-in-law refers to budget-minded American college students backpacking in Europe as cockroaches, not realizing his daughter-in-law was once, not so long ago, such a student/roach herself.With welcome levity and refreshing irreverence, The Star-Spangled Banner addresses issues of ethnicity, class, and gender in America.

    The wildly inventive imagery in these cinematic pieces lodges them somewhere between the surreal and the pure symbol, colorful and smooth like the lyrics of John Ashbery or Linda Pastan. In Chelotti’s poems, diamonds talk and sheriffs balance frogs on the tips of pens.The rain says, Listen to Debussy,go ahead, Debussy will fix you.—From “Migraine Cure”The secret to including everythingis to intricately divide your mindand then, all of a sudden,undivide it.—From “Still Life on a Scrolling Background”

    

    When her father weds her to a young Norman lord, Eustace de Breteuil, she thinks she has done well in life for the daughter of a Saxon concubine. But Eustace wants a castle he cannot have. He starts hostilities with its castellan, Ralph Harenc, egged on by the dubious Amaury de Montfort. To keep the peace, King Henry orders a hostage exchange between Eustace and Ralph. Juliane's pretty young daughters for Ralph's son. In a drunken rage, fuelled on by Amaury, Eustace breaks the truce and blinds Harenc's boy. Furious, the King allows Ralph to take his own brutal vengeance upon Henry's own granddaughters. Crazed with grief, Juliane plots revenge for the maiming of her children. The Wheel of Fate spins. The King must die, his own daughter judge, jury, executioner...

    Includes:- Watch Your Whiskers, Stilton!- Shipwreck on the Pirate Islands- My Name Is Stilton, Geronimo Stilton!- Surf's Up, Geronimo!- The Wild, Wild West

    Best of all, he's packed us in his suitcase. He represents an ever-changing population of those raised elsewhere who find themselves beckoned by the history, mystique, and magic-makers of New York City. These poems inhabit their own contradictions, and exquisitely navigate the many complicated sides of what it means to be alive. About The Author: Jon Sands has been a professional teaching and performing artist since 2007. He's a recipient of the 2009 NYC-LouderARTS fellowship grant, and has represented New York City multiple times at the National Poetry Slam. He is the Director of Poetry and Arts Education Programming at the Positive Health Project, as well as a Youth Mentor with Urban Word-NYC. His work has appeared in decomP magazine, The Millions, Suss, The Literary Bohemian, Danse Macabre, The November 3rd Club, and others. He lives in New York City, where he makes better tuna salad than anyone you know.

    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.

    In his sixth book of poems, James Galvin writes from a deep, philosophical engagement with the landscape and faces a "vertigo of solitude" with his marriage dissolved, his only daughter grown and gone, and the log house he built by hand abandoned. "What did I love that made me believe it would last?" he asks.Something has to be true enough to beTaken for granted.In the hospital I sawAn old manCaressing the face of an old woman.This same man, young, caressed her faceIn just that way.That’s the stillnessAt the center of change—A sadness worth dying for, I swear—There is no other.—from "Dying into What I’ve Done""James Galvin has a voice and a world, perhaps the two most difficult things to achieve in poetry."—The Nation"In James Galvin we have a superior poet."—American Book Review"Galvin’s poems have the virtues of precise observation and original language, yes, but what he also brings to the table is a rigor of mind and firmness of phrasing which make the slightest of his poems an architectural pleasure."—Harvard ReviewJames Galvin has published five collections of poetry, most recently Resurrection Update: Collected Poems 1975–1997, which was a finalist for the Los Angeles Times Book Award and the Lenore Marshall/The Nation Prize. He is also the author of the critically acclaimed prose book, The Meadow and a novel, Fencing the Sky. He lives in Laramie, Wyoming, where he works as a rancher part of each year, and in Iowa City, where he is a member of the permanent faculty of the University of Iowa Writers’ Workshop.

    After her best friend and her husband are killed in a private airplane crash, Keri finds some of her friend’s personal effects, one of which is a diary. When Keri reads it, she discovers her friend had been secretly in love with another man, a soldier. Keri knew nothing about the relationship, even though she and her friend were as close as sisters. Determined to find the secret lover, Keri sets off on a journey and discovers the key to her destiny.

    But when it comes to her giving the same in return, she falls short. Irulan wants to feel a connection, but all she keeps getting is relationships full of emptiness. After tying on one too many drinks, a simple joke turns into a bet that Irulan never intended to follow through on. Falling for one of her closest friends was not in the cards for her, especially since that friend is Mason Andrews. Mason Andrews is strong, confident and as handsome as they come, but he struggles in the love department. He has yet to find a woman that can give him everything that he needs, but he’s working overtime to hide the way he feels about a certain someone. Mason has known Irulan since they were teenagers and he’s trained himself to believe that there’s nothing romantic between them, but one night of curiosity proves him wrong. Now, Irulan and Mason are forced to deal with their feelings for each other, but a past fling is determined to keep them apart. With trouble on the horizon, Mason and Irulan must fight harder than ever before. Will they be able to handle what’s coming their way? Or will their happily ever after end before it even begins?

    "The Himalayas Within Him" finds Heart worrying about the sound of his own heartbeat, wondering why it doesn't "blare like a quartet of trombones" as it reflects his "ardent complexity." In "Goodbye to the Hands That Have Touched Him" Heart, after suffering many sleepless nights, decides "that love exists at the root of his problems. Without love his path would be as smooth as a plate of glass and he'd sleep like a kitten." Dividing the Heart poems is the long "Oh, Immobility, Death's Vast Associate, " a jazzy disquisition on human isolation and inaction in the midst of a planet full of people feeling similarly. Throughout Pallbearers Envying the One Who Rides Dobyns has painstakingly sculpted straight-forward language into a distinct sound, creating an unforgettable collection of poems that offers readers unexpected revelations about the complexities of the heart.

    Now Anders must decide quickly—stay and fight or cut cables and run.Either way, it’s too late. Someone has other plans for them. The trap has been set, they’ve rescued the woman and taken the bait, and before long Anders and what’s left of his dwindling crew must navigate with caution through the grips of the military and an especially vile outlaw.But Anders doesn’t captain just another team flying the black. With a genius mechanic who uses his ragtag high-tech machine shop to aid them in getting in and out of trouble, they’ve earned a reputation as the best of the best. With Anders’s careful planning, this motley crew must band together and flip the military to use them on a monster heist and dig themselves out from the heat pressing in from both sides of the law.Fly with them. They are clever, they are fierce, they are Lockheed Elite.

    Charles Bernstein here proves them alive and well in poems elegiac, defiant, and resilient to the point of approaching song. Heir to the democratic and poetic sensibilities of Walt Whitman and Allen Ginsberg, Bernstein has always crafted verse that responds to its historical moment, but no previous collection of his poems so specifically addresses the events of its time as Girly Man, whichfeatures works written on the evening of September 11, 2001, and in response to the war in Iraq. Here, Bernstein speaks out, combining self-deprecating humor with incisive philosophical and political thinking. Composed of works of very different forms and moods—etchings from moments of acute crisis, comic excursions, formal excavations, confrontations with the cultural illogics of contemporary political consciousness—the poems work as an ensemble, each part contributing something necessary to an unrealizable and unrepresentable whole. Indeed, representation—and related claims to truth and moral certainty—is an active concern throughout the book. The poems of Girly Man may be oblique, satiric, or elusive, but their sense is emphatic. Indeed, Bernstein’s poetry performsits ideas so that they can be experienced as well as understood. A passionate defense of contingency, resistance, and multiplicity, Girly Man is a provocative and aesthetically challenging collection of radical verse from one of America’s most controversial poets.

    But his job in Homicide has served up a bad case of insomnia and hallucinations, and just as his body, mind, and spirit are about to break, he begins investigating an intriguing series of merciless murders. As his condition deteriorates, he refuses to turn the case over to his partner, knowing he couldn’t rest until justice is served. Unfortunately, justice is what the killers believe they’re delivering, and their next delivery comes a little too close for comfort.