Many of the poems take place along the coastline known as Omaha Beach in Normandy, and move between visions of that beach during the Allied invasion of Europe (whose code name was Operation Overlord) and that landscape of beaches, fields, and hedgerows as it is known to the speaker today. In every sense the work meditates on our new world, ghosted by, and threatened by, competing descriptions of the past, the future, and what it means to be, as individuals, and as a people, "free."

    She seem snot only interested in using the natural world as a metaphoric lens in her poems but is set on building them item by item into natural worlds themselves."

    Brave in its nakedness, her work like a lucid stream enjoys itself as it keeps its surefooted course. Written with the precision only passion can ensure, the poems commend us to the gay gravity of angels. This is a collection to be indeed relished and prized.' - Theodore Weiss

    But deeper under the surface are his observations on war, environmental degradation, language, and history, as a father—troubled by violence and human mismanagement of the world—offers advice to a newborn son.

    Cummings's affirmation of life resolved into serenity as he described himself as someone "whose only happiness is to transcend himself, whose every agony is to grow." This collection of Cummings reading his own poetry embodies this in an unforgettable way.While perhaps best remembered for his use of such visual devices as typography and punctuation, the sheer sound of Cummings's work imparts a greater, deeper understanding of how its cadences reveal its profound meaning. This rich sampling of his poems and lectures is rendered in what the great Robert Graves called Cummings "own beautifully modulated voice."

    K. Williams by turns ruminative, stalked by "the conscience-beast, who harries me," and "riven by idiot vigor, voracious as the youth I was for whom everything was going too slowly, too slowly." Poems about animals and rural life are set hard by poems about shrapnel in Iraq and sudden desire on the Paris Métro; grateful invocations of Herbert and Hopkins give way to fierce negotiations with the shades of Coleridge, Dostoevsky, and Celan. What the poems share is their setting in the cool, spacious, spotlit, book-lined place that is Williams's consciousness, a place whose workings he has rendered for fifty years with inimitable candor and style.

    He is "singular among his peers in his ability to convey with a deceptive lightness the paradoxes of human emotion," says Publishers Weekly, and Robert Hass, in the Washington Post Book World, takes special note of Lux's "bitter wit, the kind of irony that comes with a quick, impatient intelligence."

    In these new poems, the ghosts of the past are conjured as part of the present day: the deceased beloved, the father long dead, the ailing mother, the victims of holocaust and war. With these spirits beside her, Gallagher confronts her own illness and mortality, and celebrates love and friendship in these spare lyrics and muscular narratives, each punctuated by her resilience and grace. Here is the new work by one of America's most accomplished poets.

    Suffused with hope yet unafraid to mock his own credulity, Simic's searing metaphors unite the solemn with the absurd. His raindrops listen to each other fall and collect memories; his wildflowers are drunk with kissing the red-hot breezes; and his God is a Mr. Know-it-all, a wheeler-dealer, a wire-puller. In this latest lyrical gathering, Simic continues to startle his fans with the powerful and surprising images that are his trademark-slangy images of the ethereal, fantastic visions of the everyday, foreign scenes of the all-American-and moments full of humor and full of heartache.

    Here are poems that bring to life her rural Missouri childhood in a family with ten children (“Oh what a wedding train / of vagabonds we were who fell asleep just where we lay”); the love between men and women as well as the devastation of widowhood (“love’s house she goes dancing her grief-stricken dance / for his unpacked suitcases, . . . / . . . / his closets of clothes where I crouch like a thief”); and the moods of nature, which schooled her (“A tree will take you in, flush riot of needles light burst, the white pine / grown through sycamore”). Throughout, touching all subjects, either implicitly or explicitly, is the call to poetry itself.The final work from one of our finest poets, The Wind Blows Through the Doors of My Heart is a uniquely intimate collection, a sustaining pleasure that will stand to remind us of Digges’s gift in decades to come.

    A. Powell since his remarkable trilogy of Tea, Lunch, and Cocktails, a finalist for the National Book Critics Circle Award so many of the best days seem minor forms of nearness that easily falls among the dropseed: a rind, a left-behind —from "no picnic" In these brilliant new poems from one of contemporary poetry's most intriguing, singular voices, D. A. Powell strikes out for the farther territories of love and comes back from those fields with loss, with flowers faded, "blossom blast and dieback." Chronic describes the flutter and cruelty of erotic encounter, temptation, and bitter heartsickness, but with Powell's deep lyric beauty and his own brand of dark wit.

    The semi-autobiographical book is divided into two parts and takes place between two countries; Part I, “is a cloud a living thing?”, takes place during the Author’s tumultueuse teen years with tropical Florida as a backdrop. Part II, “Inside my Shell”, explores themes of transformation as the Author creates a new life in Paris, France. ​The poems in this collection explore the surreal rollercoaster of youth, the performance of identity, being an outsider and the tension between romantic idealism and the dystopic world in which the author finds herself. Her approach to her work as a visual artist is mirrored in her poetry style, which is accompanied by all original illustrations by the Author.

    He is also co-author of Nice Hat. Thanks. with Joshua Beckman, with whom he has participated in performances at the Museum of Modern Art in New York City and the Henry Art Gallery in Seattle. He received the Pushcart Prize and his first book, A Hummock in the Malookas, was selected for the National Poetry Series by Mary Oliver. He lives in Brooklyn, New York, and teaches at New York University.

    This second posthumous collection from Charles Bukowski takes readers deep into the raw, wild vein of writing that extends from the early 70s to the 1990s.

    . . focus is so unwaveringly aimed toward the transcendent—not God, but the beloved—that we seem to slip into a less cluttered time.”—The Virginia Quarterly Review, “Editor’s Choice”"Mary Oliver calls him '...a Walt Whitman without an inch of Whitman's bunting or oratory.' In these pages, he is more nearly a modern-day Rumi. This is not primarily a poetry of image, but of ideas, perfectly distilled. Orr brings together the monumental themes of love and loss in small, spare, and exquisite koan-like poems."—ForeWord"...magnetic poems that open the world of lyrical verse to the larger questions of what is true and timeless." —The Bloomsbury ReviewGregory Orr continues his acclaimed project on the “beloved” with a lyrical sequence about the joys and hungers of being fully engaged in life. Through concise, perfectly formed poems, he wakes us to the ecstatic possibilities of recognizing and risking love. Mary Oliver has called this project “gorgeous,” and said that he "speaks of the events that have no larger or more important rival in our lives—of our love and our loving."If to say it onceAnd once only, then stillTo say: Yes.And say it complete,Say it as if the wordFilled the whole momentWith its absolute saying.Later for “but,” Later for “if.”NowOnly the single syllableThat is the beloved.That is the world.Gregory Orr is the author of ten books of poetry. He teaches at the University of Virginia and lives in Charlottesville.