John of the Cross. He continues with a long multilingual poem examining the syncretic geological and cultural history of the U.S. border with Mexico. The poems of the third section—a moving transcription of Gander’s efforts to address his mother dying of Alzheimer’s—rise from the page like hymns, transforming slowly from reverence to revelation. Gander has been called one of our most formally restless poets, and these new poems express a characteristically tensile energy and, as one critic noted, “the most eclectic diction since Hart Crane.”

    Warren wrote enduring fiction as well as influential works of literary criticism and theory. Yet, as this variorum edition of his published poems suggests, it is his poetry - spanning sixty years, sixteen volumes of verse, and a wide range of styles - that places Warren among America's foremost men of letters. In this volume, John Burt, Warren's literary executor, has gathered together every poem Warren ever published (with the exception of Brother to Dragons), including the many poems he published in The Fugitive and other magazines, as well as those that appeared in his small press works and broadsides. Burt has also exhaustively collated all of the published versions of Warren's poems - in some cases, a poem appeared as many as six different times with substantive revisions in every line - as well as the author's typescripts and proofs. And since Warren never seemed to reread any of his books without a pencil in hand, Burt has referred to Warren's personal library copies. A record of Burt's comprehensive analysis is found in this edition's textual notes, list of emendations, and explanatory notes.

    The child of emancipated slaves, he overcame the violent segregationism of Jim Crow, challenging white boxers—and white America—to become the first African-American heavyweight world champion. The Big Smoke, Adrian Matejka’s third work of poetry, follows the fighter’s journey from poverty to the most coveted title in sports through the multi-layered voices of Johnson and the white women he brazenly loved. Matejka’s book is part historic reclamation and part interrogation of Johnson’s complicated legacy, one that often misremembers the magnetic man behind the myth.

    It is about the constant hunger for love. It is about feeding that hunger with another person and finding that sometimes it isn’t enough. Salgado creates a world in which the heart can live anywhere; her fat brown body, her parents home country, a lover, a toothbrush, a mango, or a song. It is a celebration of heartache, of how it can ruin us, but most importantly how we always survive it and return to ourselves whole.

    Focusing on the grace of working people, she captures the pain and beauty of women in all their variety, caught in the "lunar pull" of our time.

    There are some facts and figures, but they tell us nothing about the women themselves: their motives, their emotions, and the memories they passed on to their children. Gayl Jones's first novel is a gripping portrait of this harsh sexual and psychological genealogy....Jones's language is subtle and sinewy, and her imagination sure." —Margo Jefferson, Newsweek

    A collection of astonishing originality and intensity, it spoke of politics, sexual emancipation, and what it meant to be an American. From the joyful “Song of Myself” and “I Sing the Body Electric” to the elegiac “When Lilacs Last in the Dooryard Bloom’d,” Whitman’s art fuses oratory, journalism, and song in a vivid celebration of humanity. Containing all Whitman’s known poetic work, this edition reprints the final, or “deathbed,” edition of Leaves of Grass (1891–92). Earlier versions of many poems are also given, including the 1855 “Song of Myself.”Features a completely new—and fuller—introduction discussing the development of Whitman's poetic career, his influence on later American poets, and his impact on the American cultural sensibilityIncludes chronology, updated suggestions for further reading, and extensive notes

    Informed in part by Gnostic concepts of the separate soul in search of its divine origins ("spirit held by matter"). This dualistic vision is cast in contemporary terms and seeks resolution of these tensions through acceptance.

    A book of great energy and sweep, it swings into view the entire course of that terrible and decisive war, lighting up the lives of soldiers, leaders, and civilians, North and South, amidst the conflict. Generations of readers have found the book a compelling and moving experience.

    Taking the stage after the 46th president of the United States, Joe Biden, Gorman captivated the nation and brought hope to viewers around the globe. Her poem “The Hill We Climb: An Inaugural Poem for the Country” can now be cherished in this special gift edition. Including an enduring foreword by Oprah Winfrey, this keepsake celebrates the promise of America and affirms the power of poetry.

    I forget things too. It makes me sad. Or it makes me the saddest. The sadness is not really about George W. or our American optimism; the sadness lives in the recognition that a life cannot matter.The award-winning poet Claudia Rankine, well known for her experimental multigenre writing, fuses the lyric, the essay, and the visual in this politically and morally fierce examination of solitude in the rapacious and media-driven assault on selfhood that is contemporary America. With wit and intelligence, Rankine strives toward an unprecedented clarity-of thought, imagination, and sentence-making-while arguing that recognition of others is the only salvation for ourselves, our art, and our government.Don't Let Me Be Lonely is an important new confrontation with our culture, with a voice at its heart bewildered by its inadequacy in the face of race riots, terrorist attacks, medicated depression, and the antagonism of the television that won't leave us alone.

    Multilayered, plaintive, and provocative, the poems in A Thousand Times You Lose Your Treasure are alive with archive and inhabit histories. In turns lyrical and unsettling, her poetry sings of language and loss; dialogues with time, myth and place; and communes with past and future ghosts.

    That is, this is a book that studies the wisdom of the garden and orchard, those places where all—death, sorrow, loss—is converted into what might, with patience, nourish us.

    Deeply researched, brilliantly plotted, and peopled with a cast of unforgettable characters both historical and wholly invented, Cloudsplitter is dazzling in its re-creation of the political and social landscape of our history during the years before the Civil War, when slavery was tearing the country apart. But within this broader scope, Russell Banks has given us a riveting, suspenseful, heartbreaking narrative filled with intimate scenes of domestic life, of violence and action in battle, of romance and familial life and death that make the reader feel in astonishing ways what it is like to be alive in that time.

    Rather, she distilled her grief during a feverish two weeks by writing scores of poetic obituaries for all she lost in the world. In Obit, Chang writes of "the way memory gets up after someone has died and starts walking." These poems reinvent the form of newspaper obituary to both name what has died ("civility," "language," "the future," "Mother's blue dress") and the cultural impact of death on the living. Whereas elegy attempts to immortalize the dead, an obituary expresses loss, and the love for the dead becomes a conduit for self-expression. In this unflinching and lyrical book, Chang meets her grief and creates a powerful testament for the living.