In a country where “money has won everywhere,” but the essential promise of democracy still beckons, these poems uncover our troubled psyches and show us what it might mean to be “Free Again.”

    Yet for all their metaphorical suggestiveness, Dickinson’s and Whitman’s poems about the natural world neither preclude nor erase nature’s relevance as an actual living environment. In their respective poetic projects, the earth matters both figuratively, as a realm of the imagination, and also as the physical ground that is profoundly affected by human action. This double perspective, and the ways in which it intersects with their formal innovations, points beyond their traditional status as curiously disparate icons of American nature poetry. That both of them not only approach nature as an important subject in its own right, but also address human-nature relationships in ethical terms, invests their work with important environmental overtones. Dickinson and Whitman developed their environmentally suggestive poetics at roughly the same historical moment, at a time when a major shift was occurring in American culture’s view and understanding of the natural world. Just as they were achieving poetic maturity, the dominant view of wilderness was beginning to shift from obstacle or exploitable resource to an endangered treasure in need of conservation and preservation.A Place for Humility examines Dickinson’s and Whitman’s poetry in conjunction with this important change in American environmental perception, exploring the links between their poetic projects within the context of developing nineteenth-century environmental thought. Christine Gerhardt argues that each author's poetry participates in this shift in different but related ways, and that their involvement with their culture’s growing environmental sensibilities constitutes an important connection between their disparate poetic projects. There may be few direct links between Dickinson’s “letter to the World” and Whitman’s “language experiment,” but via a web of environmentally-oriented discourses, their poetry engages in a cultural conversation about the natural world and the possibilities and limitations of writing about it—a conversation in which their thematic and formal choices meet on a surprising number of levels.

    Simply one of the most admired and imitated poets of her generation, Lisa Jarnot's third volume of poetry does what only Jarnot can do. Decidedly lyrical, always reliant on repetition and rhythm, what emergies in this book is a catalog of loves and laments: "Just the eldergrass and him, the fog, unpoliced and safe inside the train, the thoughts of rain, Apollo, and the sun..." As Stan Brackage has said of Jarnot, " H]er words are never severed from the means that engendered them; and the consequent meanings are never detached from the meditative drama of each whole poem."

    But a few nagging questions remain...Why are we supposed to get Brazilians? Should we use Botox? Do men secretly hate us? And why does everyone ask you when you're going to have a baby?Part memoir, part protest, Caitlin answers the questions that every modern woman is asking.

    The young would clash on the bloody battlefields of Bull Run and Fredericksburg, while in intrigue-ridden Washington and Richmond strong-willed men and beautiful women would defend their principles with their lives...or satisfy illicit cravings with schemes that could destroy friends and enemies alike. This surging drama is the second part of the trilogy that includes NORTH AND SOUTH and HEAVEN AND HELL. "Craftsmanship nears artistry....A coherent and penetrating vision of the seamy underside of war." (Richmond Times-Dispatch)

    That Wagner is in love with the world and its transactions--perceptions, superficial and otherwise; childbearing, painful and otherwise; gains, financial and otherwise--allows for a poetry that is full of song yet brazenly topical.

    By turns sassy and serious, the poems can seem to sprint in two directions at once, managing to make the reader laugh at the same time they are struck by the emotional strength of the work. "Charming, inviting, beguiling and delightful poems in the language of someone who seems alive speaking refreshing riddles to herself." SHEILA HETI"Uptalk is a book of transcribed whale songs. Some scientists gave a whale a microphone and she took it home and stayed up all night under the covers talking to herself about faces and word-parts. I am delighted that Kimmy took it upon herself to transcribe this unique document of marine biology, and my heart goes out to the brilliant, charming whale author, wherever she may be." SARA WOODS

    But his resilient voice and consistent perspective is neither blaming nor didactic, and ultimately enlightening. From the shadowed corners into which we dare not look clearly, Hicok makes us witness and hero of The Legend of Light.

    The use of enjambment here is impeccable, giving the entire collection a cadence akin to that of a march through the author's own personal underworld."— Owen Green, The Book Nook Review"One of the most authentic autobiographies told in verse."— Steve Quade, Indies Today"This is a very powerful and inspiring book that will touch the hearts of a lot of readers."— Ria Kataria, The Online Book Club"This is an in-depth essay unravelling through complex human emotions. Their beauty lies in their unadulterated voice."— Amina Thajudeen, The Ultimate Reviewer"The true power of poetry is sharing the struggles of life and this book drives that home."— Rob Alex, Book Promotion Club

    

    Divided into four sections: love, loss, acceptance, and growth- the content serves the purpose of making you feel and finding the light at the end of the tunnel.

    At the height of their fame, The Nolan Sisters were one of the biggest acts around, touring with Frank Sinatra, performing at the Royal Variety Performance and travelling around the world to play for their adoring fans.Surrounded by a bevy of loving sisters, two protective brothers and parents who wanted to see their children succeed, how could Anne Nolan's childhood have been anything but idyllic? And yet behind the fairytale script - the fame and glitz lay hidden a dark family secret that has, until now, never been told.Anne's story - which starts in her birthplace Dublin and moves to the Northern club scene of Blackpool - tells of this other life - one that had to remain hidden, one of fear and pain that has cast a terrible shadow over her entire life. After so many years of silence, she has decided the time has come to speak of the brutal truth behind the carefully cultivated image, that was The Nolans.

    No Art is an exhilarating argument both with America and with poetry itself, in which online slang is juxtaposed with academic idiom, philosophy collides with advertising, and the language of medicine and the military is overlaid with echoes of Whitman and Keats. Here, clichés are cracked open and made new, made strange, and formal experiments disclose new possibilities of thought and feeling. No Art confirms Ben Lerner as one of the most searching and ambitious poets working today.

    Channeling "the primal vision of Hart Crane" (Harold Bloom), Adam Fitzgerald helped welcome the modernist aethetic into the twenty-first century. Part Technicolor, part nitrous oxide, Fitzgerald's chimerical poems confront "a surging ocean of sound and language" (Maureen McLane). In these forty-eight poems, he conducts a madcap symphony of language, memory, and fantasy with the "exhilarating assurance of nonstop invention" (Timothy Donnelly).

    Hailing from the Ikon community in Belfast and working closely with its founder, the bestselling writer Pete Rollins, Padraig's poetry interweaves parable, poetry, art, activism and philosophy into an original and striking expression of faith. Padraig's poems are accessible, memorable profound and challenging. They emerge powerfully from a context of struggle and conflict and yet are filled with hope. Full Text - Short