Written in the author's wry and masterful voice, these evocative stories are infused with all the peculiar customs, ironies and humor so special to the South.The twelve stories in this collection include "Red Clay," which won an Edgar Allen Poe Award, in which a local girl from Thermopylae becomes a movie star who moves back to her sleepy North Carolina home town and is tried for murdering her unfaithful husband. Her trial causes the town and one man in particular to look back with longing and nostalgia at this exquisite Southern belle who captivated-and sometimes manipulated-every man she met."Fast Love," the recipient of an O. Henry Award, is the story of a man who chases down his future wife after seeing her jog past. As he gets closer to his quarry, he also gains the courage to stand up for what he wants and to champion what he believes.In "Blue Cadillac," Marie, blonde and beautiful, shares dinner and her love of Elvis with a high-tech sales rep on his way home to Memphis. Along the way and on the road, they have exquisite sex and decide to part, Marie in her blue Cadillac. As he rings the bell at his mother's house, the young man discovers that he has been robbed of his wallet and his whole life on cards.Self-contained masterpieces, each of these short stories has the impact and power of a full-length novel.Stella : red clay --Marie : blue Cadillac --Precious : winners and losers --Charmain : white trash noir --Lucy : maniac loose --Flonnie : the rising of the South and Flonnie Rogers --Patty : love and other crimes --Meredith : fast love --Angie : the power --Mona : Miss mona's bank --Betty : a deer on the lawn --Mattie : invitation to the ball

    Something Bright, Then Holes explores the problem of losing then recovering sight and insight -- of feeling lost, then found, then lost again. The book's three sections range widely, and include a long sequence of Niedecker-esque meditations written at the shore of a polluted urban canal, a harrowing long poem written at a friend's hospital bedside, and a series of unsparing, crystalline lyrics honoring the conjoined forces of love and sorrow. Whatever the style, the poems are linked by Nelson's singular poetic voice, as sly and exacting as it is raw. The collection is a testament to Nelson's steadfast commitment to chart the facts of feeling, whatever they are, and at whatever the cost.

    Henry's classic short story "The Last Leaf" begins with an adolescent girl, Ally, who is deathly ill and angry at God. Her grief stricken father is a pastor on the verge of losing his faith.

    In Sentenced to Life, he was clear-sighted as he faced the end, honest about his regrets. In Injury Time, he wrote about living well in the time remaining, focusing our attention on the joys of family and art, and celebrating the immediate beauty of the world.When The River in the Sky opens, we find James in ill health but high spirits. Although his body traps him at home, his mind is free to roam, and this long poem is animated by his recollection of what life was and never will be again; as it resolves into a flowing stream of vivid images, his memories are emotionally supercharged ‘by the force of their own fading’. In this form, the poet can transmit the felt experience of his exceptional life to the reader.As ever with James, his enthusiasm is contagious; he shares his wide interests with enormous generosity, making brilliant and original connections, sparking passion in the reader so that you can explore the world’s treasures yourself. Because this is not just a reminiscence, it’s a wise and moving preparation for and acceptance of death. As James realizes that he is only one bright spot in a galaxy of stars, he passes the torch to the poets of the future, to his young granddaughter, and to you, his reader.A book that could not have been written by anyone else, this is Clive James at the height of his considerable powers: funny, wise, deeply felt, and always expressed with an unmatched power for clarity of expression and phrase-making that has been his been his hallmark.

    A regular columnist for MTV.com, Willis-Abdurraqib brings his interest in pop culture to these poems, analyzing race, gender, family, and the love that finally holds us together even as it threatens to break us. Terrance Hayes writes that Willis-Abdurraqib "bridges the bravado and bling of praise with the blood and tears of elegy." The poems in this collection are challenging and accessible at once, as they seek to render real human voices in moments of tragedy and celebration.

    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.

    In And Short the Season she muses on mortality: her own and that of the earth. Always deeply personal, always political, these poems blend myth and modernity, fecundity and death, and the violence and tenderness of humankind.

    Included in this volume is the work from Eavan Boland's five early volumes of poetry: New Territory, The War Horse, In Her Own Image, Night Feed, and The Journey.The poems from Boland's first book, New Territory, show her to be, at twenty-two, a master of formal verse reflecting Irish history and myth. This collection charts the ways in which Boland's work breaks from poetic tradition, honors it, and reinvents it. Poems like "Anorexic," "Mastectomy," and "Witching" have an intensity reminiscent of Sylvia Plath and Anne Sexton. In later poems, her subjects become more personal, sequencing Boland's life as a woman, poet, and mother. Boland writes, "I grew to understand the Irish poetic tradition only when I went into exile with it," becoming, in effect, "a displaced person / in a pastoral chaos."This collection demonstrates how Boland's mature voice developed from the poetics of inner exile into a subtle, flexible idiom uniquely her own.

    Do you believe there's life after death? Slog does. He reckons that the scruffy bloke sitting outside the pork shop is his dad come back to visit him for one last time - just like he'd said he would, just before he died. Slog's mate Davie isn't convinced. But how does this man know everything Slog's dad would know? Because Slog says it really is his dad, that's how.

    Michael Dickman's poems bring us back to the wonder and violence of childhood, and the desire to connect with a power greater than ourselves.What you want to rememberof the earthand what you end uprememberingare often twodifferent thingsMichael Dickman was born and raised in Portland, Oregon. His first book of poems, The End of the West, appeared in 2009 and became the best-selling debut in the history of Copper Canyon Press. His poems appear frequently in The New Yorker, and he teaches poetry at Princeton University.

    The influence of Hafez and Rumi is clear, and yet the poems descend into the wealth of Western history, referring at times to Monet, Giordano Bruno,Emerson, St. Francis, Newton, and Chekhov, as well as to events in Bly's own life. The leaping between joy and "ruin" produces a poetry which makes him, as Kenneth Rexroth noted, "one of the leaders in a poetic revival which has returned American literature to the world community."

    Roth watches as his eighty-six-year-old father—famous for his vigor, charm, and his repertoire of Newark recollections—battles with the brain tumor that will kill him. The son, full of love, anxiety, and dread, accompanies his father through each fearful stage of his final ordeal, and, as he does so, discloses the survivalist tenacity that has distinguished his father's long, stubborn engagement with life.

    When they were together, they didn't need anyone else. It didn't matter that their relationship was secret. All that mattered was what they had with each other.And then, out of nowhere, Brian dies. And while everyone else has their role in the grieving process, Annaleah finds herself living outside of it, unacknowledged and lonely. How can you recover from a loss that no one will let you have?

    I like to think you and Ben were like that . . . in that short time, you had more passion than some people have in a lifetime.Elsie Porter is an average twentysomething and yet what happens to her is anything but ordinary. On a rainy New Year's Day, she heads out to pick up a pizza for one. She isn't expecting to see anyone else in the shop, much less the adorable and charming Ben Ross. Their chemistry is instant and electric. Ben cannot even wait twenty-four hours before asking to see her again. Within weeks, the two are head over heels in love. By May, they've eloped.Only nine days later, Ben is out riding his bike when he is hit by a truck and killed on impact. Elsie hears the sirens outside her apartment, but by the time she gets downstairs, he has already been whisked off to the emergency room. At the hospital, she must face Susan, the mother-in-law she has never met and who doesn't even know Elsie exists.Interweaving Elsie and Ben's charmed romance with Elsie and Susan's healing process, Forever, Interrupted will remind you that there's more than one way to find a happy ending.

    Throughout, Graham seeks out sites of wakeful resistance and achieved presence. From the natural world to human sensation, the poems test the unstable congeries of the self, and the creative tensions that exist within and between our inner and outer landscapes--particularly as these are shaped by language.Beginning with a poem dated June 5th, placed on Omaha Beach, in Normandy--the anniversary of the day before the "historical" events of June 6th--Place is made up of meditations written in a uneasy lull before an unknowable, potentially drastic change--meditations which enact and explore the role of the human in and on nature. In these poems, time lived is felt to be both incipient, and already posthumous. This is not the same as preparing for a death. It is preparing for a life we know we, and our offspring, shall have no choice but to live. How does one think ethically as well as emotionally in such a predicament? How does one think of one's child--of having brought a person into this condition? How does love continue, and how is it supposed to be transmitted? Does the nature of love change?Both formally and thematically poems of ec(h)o-location in space/time, Graham's new poems work to discern "aftermath" from "future"--as the two margins of the form ask us to feel the vertiginous "double" position in which we find ourselves, constantly looking back just as we are forced to try to see ahead.In an era where distrust of human experience and its attendant accountability are pervasive Place calls us, in poems of unusual force and beauty, to re-inhabit and make full use of--and even rejoice in--a more responsive and responsible place of the human in the world.