Poems to Read is a welcoming avenue into poetry for readers new to poetry, including high school and college students. It is also meant to be a fresh, valuable collection for readers already devoted to the art. This anthology concentrates on the actual pleasures of reading poems: hearing the poem in your voice, bringing it to other people, musing about it, taking excitement or comfort from it, wandering with it or—as in the Keats letter quoted in the Introduction—having it as a starting post. Many of these 200 poems are accompanied by comments from readers of various ages, regions, and backgrounds who participated in the Favorite Poem Project. Included are poems by John Donne, Walt Whitman, William Butler Yeats, Langston Hughes, Elizabeth Bishop, Gwendolyn Brooks, Seamus Heaney, Allen Ginsberg, and Louise Glück, to name a few. The editors offer their own comments on some of the poems, which are arranged in thematic chapters.

    With compassionate wit and insight, Campbell McGrath transports us on a journey through contemporary society, transforming the commonplace into scenes of profound revelation. From late-night bars to early-morning diners, suburban malls to the Mojave Desert, McGrath's meticulously detailed vision defines singular moments of joy and melancholy.

    it contains black & white photographs paired with poetry pieces; giving it a photo diary feels.

    This small collection of poems explores how time influences loving another, loving yourself and loving the life you own. This quick but fulfilling read, explores these topics in three sections: the head, the heart and the lungs.

    From the author of My Song For Him Who Never Sang to Me and We Hardly See Each Other Any More, another intimate, illustrated collection of verse to share with those we love.

    home body is a collection of raw, honest conversations with oneself – reminding readers to fill up on love, acceptance, community, family, and embrace change. Illustrated by the author, themes of nature and nurture, light and dark, rest here.i dive into the well of my bodyand end up in another worldeverything i needalready exists in methere’s no needto look anywhere else– home

    Single dad and fishing boat captain Matt Fletcher deferred his own dreams to support his innkeeper parents and build a future for his sixteen-year-old son. Matt has learned to weather life's storms by steering a steady emotional course...and keeping a commitment-free approach to love.Newcomer Allison Carter came to Dare Island to escape the emotional demands of her wealthy family. The young teacher aims to build a life here, to make a lasting place for herself. She doesn't want to be another Woman Who Once Dated Matt Fletcher. It's both tempting and dangerous to believe she can be something more.Then Matt's brother Luke makes a sudden return home, with a child of his own--and a request that will change all their lives. With a child's welfare at stake, Matt must turn to Allison to teach him to let go of the past, open his eyes...and follow his heart.

    It assures you that tomorrow will be a better day and encourages you to realise your potential and achieve your aspirations. Petit à Petit is centred on themes like self-love, self-confidence and taking life into your own hands.No matter how far-away and impossible your dreams seem, don't be afraid to reach for them.

    As with his debut, The Final Voicemails brushes up against the pain, fear, and isolation that accompany a long illness, but with all the creative force of an artist in full command of his craft and the teeming affection of a human utterly in love with the world.The representation of the end of life resists simplicity here. It is physical decay, but it is also tedium. It is alchemy, "the breaking apart, / the replacement of who, when, how, and where, / with what." It is an antagonist--and it is a part of the self. Ritvo's poems ring with considered reflection on the enduring final question, while suggesting--in their vibrancy and their humor--that death is not merely an end.The Final Voicemails is an ecstatic, hopeful, painful--and completely breathtaking--second collection.

    fin-na /ˈfinə/ contraction: (1) going to; intending to. rooted in African American Vernacular English. (2) eye dialect spelling of "fixing to." (3) Black possibility; Black futurity; Blackness as tomorrow.A lyrical and sharp celebration, these poems consider the brevity and disposability of Black lives and other oppressed people in our current era of emboldened white supremacy. In three key parts, Finna explores the mythos and erasure of names in the American narrative; asks how gendered language can provoke violence; and finally, through the celebration and examination of the Black vernacular, expands the notions of possibility, giving us a new language of hope.

    It's nothing like the suburb you might live in . . . Unless, that is, an insane, Listerine-guzzling Realtor sold you your house? Or perhaps your postman happens to have a disturbing relationship with his claw hammer? A grieving Dan LaBarbara knows something is different in Helltown as soon as he comes back home. Yeah, sure, the town always been a little off. You can feel that about the place, like if you stepped into a house whose only occupants were freshly murdered corpses in an upstairs bedroom. But this is something else entirely. Standing in his little brother Barbie's basement workshop, holding one of those dioramas Barbie's been building since the accident, the ones that seem to move when you hold them, Dan can feel Barbie's terror. Barbie must know something is coming, something big, something evil. He's trying to warn Dan in the only way he knows. Why else would Barbie build a diorama depicting a man-sized version of a cartoon rabbit with bloody teeth about to devour a trembling teenager? Why else would he spend so much time crafting an intricate model of Death standing over a pimply teenager in the school library? And let's not even talk about that little model of the mob of undead surrounding the massive tower of vicious black spines behind the high school. Hilltown has a story to tell, and the lonely brain-damaged man who builds magical dioramas in his basement workshop has been telling it all along. As the evil closes in around them, Dan and his new love interest Jessica must do the impossible: save everyone one in Hilltown before it's too late.

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

    You can get a cup at any caf, sandwich bar or restaurant anywhere. So how did Starbucks manage to reinvent coffee as a whole new experience, and create a hugely successful brand in the process? The Starbucks Story tells the brand's story from its origins in a Seattle fish market to its growing global presence today. This is a story that has unfolded quickly - at least in terms of conventional business development. Starbucks is a phenomenon. Unknown 15 years ago, it now ranks among the 100 most valuable brands in the world. It has become the quintessential brand of the modern age, built around the creation of an experience that can be consistently reproduced across the world. Originally published in 2004 as 'My Sister's A Barista: How they made Starbucks a home away from home', this new 2012 edition has been updated to bring the brand up to date.

    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.

    In a section called “Over the Bright and Darkened Lands,” canonical poems are torqued into new shapes. “Except Thou Ravish Me,” reimagines John Donne’s famous “Batter my heart, Three-person’d God” as told from the perspective of a victim of domestic violence. Like Pablo Neruda, Addonizio hears “a swarm of objects that call without being answered”: hospital crash carts, lawn gnomes, Evian bottles, wind-up Christmas creches, edible panties, cracked mirrors. Whether comic, elegiac, or ironic, the poems in Mortal Trash remind us of the beauty and absurdity of our time on earth.From “Scrapbook”:We believe in the one-ton roseand the displaced toilet equally. Our bluesassume you understandnot much, and try to be alive, just as we do,and that it may be helpful to hold the handof someone as lost as you.