Burroughs stated that the chapters are intended to be read in any order. The reader follows the narration of junkie William Lee, who takes on various aliases, from the U.S. to Mexico, eventually to Tangier and the dreamlike Interzone.The vignettes are drawn from Burroughs' own experiences in these places and his addiction to drugs (heroin, morphine, and while in Tangier, majoun [a strong hashish confection] as well as a German opioid, brand name Eukodol, of which he wrote frequently).[source wiki}

    All, however, share a common vision: a rediscovery of this land, and the ways by which we might become natives of the place, ceasing to think and act (after all these centuries) as newcomers and invaders. Of particular interest is the full text of the ever more relevant "Four Changes," Snyder's seminal manifesto for environmental awareness.

    A collection of 23 big, fierce stories by xTx.

    In one, a 19th-century minister follows ghostly instructions to build a mechanical messiah. In another, a tyrannical army commander watches his apocalyptic command slip away as the memories of his men begin to fade and fail. Elsewhere, murders are indexed, new worlds are mapped, fairy tales are fractured and retold and then fractured again.Throughout these thirteen stories, Bell's careful prose burrows at the foundations of his characters' lives until they topple over, then painstakingly pores over the wreckage for what rubbled humanity might yet remain to be found.

    In some ways, the media frenzy over the rating overshadowed the harrowing portrait of teenagers destroying their lives and the then twenty-one-year-old screenwriter who created them. "Whether you see the movie as a masterpiece or as sensationalism," wrote Lynn Hirshberg, "the movie is relentless and brilliant and extremely disturbing. It's powerful-both steel-eyed and sexy; horrifying and captivating."Now, in this first book of fictional set pieces, Korine captures the fragmented moments of a life observed through the demented lens of media, TV, and teen obsession. Korine reinvents the novel in this highly experimental montage of scenes that seem both real and surreal at the same time. With a filmmaker's eye and a prankster's glee, this bizarre collection of jokes, half-remembered scenes, dialogue fragments, movie ideas, and suicide notes is an episodic, epigrammatic lovesong to the world of images. Korine is the voice of his media-savvy generation and A Crack-Up at the Race Riots is the satiric lovechild of his dark imagination.

    . . . Ammons makes you laugh and forces you to think hard about the way humans relate to natural phenomena and to themselves. From such simple, short expression emerge complex, often confounding ideas. New readers of poetry as well as those with an active interest in lyric verse will love this volume.”—Booklist

    The Familiar (Volume 1) ranges from Mexico to Southeast Asia, from Venice, Italy, to Venice, California, with nine lives hanging in the balance, each called upon to make a terrifying choice. They include a therapist-in-training grappling with daughters as demanding as her patients; an ambitious East L.A. gang member contracted for violence; two scientists in Marfa, Texas, on the run from an organization powerful beyond imagining; plus a recovering addict in Singapore summoned at midnight by a desperate billionaire; and a programmer near Silicon Beach whose game engine might unleash consequences far exceeding the entertainment he intends. At the very heart, though, is a twelve-year-old girl named Xanther who one rainy day in May sets out with her father to get a dog, only to end up trying to save a creature as fragile as it is dangerous . . . which will change not only her life and the lives of those she has yet to encounter, but this world, too—or at least the world we think we know and the future we take for granted.(With full-color illustrations throughout.)

    Through a collage aesthetic and a multiplicity of voices, these poems take us from coast to coast, New York to LA, and toward uneasy questions about intimacy, love, death, and the human spirit. Dimitrov critiques America’s long-lasting obsessions with money, celebrity, and escapism—whether in our personal, professional, or family lives. What defines a life? Is love ever enough? Who are we when together and who are we by ourselves? These questions echo throughout the poems, which resist easy answers. The voice is both heartfelt and skeptical, bruised yet playful, and always deeply introspective.from "Water"What is aging exactly?There are new jobs and peopleand someone dies before noon every day.I am swimming and swimming…in May or an ocean,I don’t see the reason. “But that’s unimportant,” you said.“Just keep doing it over again until one day you can’t.”Spring excites us and we know what it is every time.The minutes in meetings are life’s most undistinguished;that’s obvious. And what’s obvious makes us all foolsthen fast friends.Alex Dimitrov is the author of Together and by Ourselves (Copper Canyon Press, 2017), Begging for It (Four Way Books, 2013), and the online chapbook American Boys (Floating Wolf Quarterly, 2012). He is the recipient of the Stanley Kunitz Prize from the American Poetry Review and a Pushcart Prize. His poems have been published in Poetry, The Yale Review, Kenyon Review, Slate, Tin House, Boston Review, and the American Poetry Review. He is the Senior Content Editor at the Academy of American Poets where he edits the popular online series Poem-a-Day and American Poets magazine. He has taught creative writing at Rutgers University-New Brunswick, Marymount Manhattan College, Bennington College, and lives in New York City.

    Since the title character is a "childe", it means he was a noble who forgoes his destiny back home for the exciting unknown. It's also eerily similar to Lord Byron's own life story, of a man who traveled across Europe to take part in other nations' wars.

    As the title implies, this is certainly not a novel -- not in the general sense of the term. And yet a reader who follows the flow will gradually notice certain novelistic conventions insinuating themselves. Writer -- as the narrator refers to himself -- is tired of inventing characters and subjecting them to the rigors of plot development. Instead, historical personages from Dickens to Beethoven recur throughout the book: They re born, create, speak fondly or acidly of their own work and the work of others, and then die. (Death, in fact, is a major concern of Writer.) Works of art interlock and interrelate; diary entries, attributions, and critical comments jostle for position. But what at first appear to be random bits of historical trivia ultimately come together with a narrative logic: a beginning, middle, and end. So while Markson has jettisoned the standard conflict-and-resolution pattern of a novel, he nevertheless fashions a literary journey that gets somewhere. Indeed, the book s conclusion will come as an intensely moving surprise to those who reach it. Does Writer even exist in a book without characters? the narrator wonders. Passing through a period of aging and self-doubt, Writer looks deeply inside himself over the course of the book and worries about his very purpose. The real question hovering in the margins of this beguiling work is, Why do I write? Many an artist suffers under the burdens of posterity, the sinking feeling that words and works will fade with the passage of time. Eventually, though, this particular Writer answers in a qualified affirmative, for he realizes himself to be the main character in his own life. That which is not a novel, he implies, is life itself; creating art is what the artist does to live. In the end, out of a shared sense of mortality and its frailties and beauties, we can only agree. (Jonathan Cook)

    Lovecraft was perhaps the greatest twentieth century practitioner of the horror story, introducing to the genre a new evil, monstrous, pervasive and unconquerable. At the heart of these three stories are terrors unthinkable and strange: a crash-landing meteorite, the wretched inhabitant of an ancient castle and a grave-robber's curse. This book includes "The Colour Out Of Space", "The Outsider" and "The Hound".

    With the publication of his first book of poems, The Weary Blues, in 1926, Langston Hughes electrified readers and launched a renaissance in black writing in America.  The poems Hughes wrote celebrated the experience of invisible men and women: of slaves who "rushed the boots of Washington"; of musicians on Lenox Avenue; of the poor and the lovesick; of losers in "the raffle of night."  They conveyed that experience in a voice that blended the spoken with the sung, that turned poetic lines into the phrases of jazz and blues, and that ripped through the curtain separating high from popular culture.  They spanned the range from the lyric to the polemic, ringing out "wonder and pain and terror-- and the marrow of the bone of life."The poems in this collection were chosen by Hughes himself shortly before his death in 1967 and represent work from his entire career, including "The Negro Speaks of Rivers," "The Weary Blues," "Still Here," "Song for a Dark Girl," "Montage of a Dream Deferred," and "Refugee in America."  It gives us a poet of extraordinary range, directness, and stylistic virtuosity.

    . . 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.

    Fans are going to love it, and newcomers will be pleased and startled by his intensity and originality. The images are vivid and the voice is honest and powerful.”—Stephen King, author of Duma Key“Ryan Adams writes with equal parts precision and recklessness; the blood he draws from the text is easily as unnerving as its unapologetic tenderness. He is proof that poetry will find its writer.”—Mary-Louise Parker, actress“Infinity Blues is Ryan Adams at his personal, unforgettable best. Strong and beautiful and funny and pure. Like all his work, it’s soul poetry of the highest order.”—Cameron Crowe, filmmaker“This is much better than reading a friend’s journal. It’s more like watching somebody you love in the bathtub talking to himself. You’re like, wow, he’s even good at taking a bath. After reading Infinity Blues (which I think is a great title), I give Ryan Adams the best compliment I ever got—and the only reason for reading anyone’s poetry. Ryan, I really like your mind.”—Eileen Myles, author of Cool for YouRyan Adams may be known primarily for acclaimed albums such as Cardinology, Heartbreaker, Gold (which includes the popular hit songs “When the Stars Go Blue” and “New York, New York”), Love Is Hell, Cold Roses, Jacksonville City Nights, and Easy Tiger, but the world renowned singer/songwriter has always been a poet and fiction writer at heart. With the release of Infinity Blues, his nonmusical writing is for the first time ever unveiled in book form. Mr. Adams’s work rings of an emotional authenticity that provides perhaps an even deeper insight into the man than is revealed through the songs that have resonated with his hundreds of thousands of fans the world over.RYAN ADAMS is usually performing in some city on the globe at any given moment with his longtime band the Cardinals. Adams is known for his prolific nature, which in the last ten years has produced various international hit albums. Adams has also produced Willie Nelson’s Songbird album and contributed to records by Toots and the Maytals, Beth Orton, the Wallflowers, Counting Crows, and Cowboy Junkies; additionally, he has appeared on CMT’s Crossroads with Elton John. He was a longtime Manhattan resident before relocating to France in 2009, and he listens to A LOT of heavy metal.

    In the poem, Lowell's visit to the park leads to a series of associations that the dug-up park conjures. First, watching the construction of the underground parking garage beneath the Common makes him think about his childhood and how Boston had changed; in particular, the South Boston Aquarium that he'd visited as a child had recently been demolished in 1954.This leads him to think about the Robert Gould Shaw memorial and the history associated with the memorial (including Robert Gould Shaw and the all-black 54th Massachusetts Volunteer Infantry that he led). Finally, Lowell thinks of the then-controversial civil rights movement and the images of the integration of black and white schoolchildren that Lowell had recently seen on television.The final lines of the poem, which read, "The Aquarium is gone. Everywhere,/ giant finned cars nose forward like fish;/ a savage servility/ slides by on grease" are particularly well-known for their rather dark description of the large American cars that were popular at the time.