This is what it means to grieve someone. It's a little bit like a black hole. It's a little bit like infinity.Gottie H. Oppenheimer is losing time. Literally. When the fabric of the universe around her seaside town begins to fray, she's hurtled through wormholes to her past:To last summer, when her grandfather Grey died. To the afternoon she fell in love with Jason, who wouldn't even hold her hand at the funeral. To the day her best friend Thomas moved away and left her behind with a scar on her hand and a black hole in her memory.Although Grey is still gone, Jason and Thomas are back, and Gottie's past, present, and future are about to collide—and someone's heart is about to be broken.With time travel, quantum physics, and sweeping romance, The Square Root of Summer is an exponentially enthralling story about love, loss, and trying to figure it all out, from stunning debut YA voice, Harriet Reuter Hapgood.

    One spring night, while at home on a break from college, the threesome embarks on a night of adventure and experimentation, driving recklessly through the Connecticut Valley. Stopping at the French King Bridge, David -- full of hubris and hallucinogens -- dares to jump, mistakenly believing he'll be able to swim ashore. With this one act, he sets in motion an inexorable chain of events that indelibly alters the lives of everyone involved.Told through the alternating voices of Kay, Michael, and David's father, Kevin, The River Road is a closely observed and psychologically penetrating narrative of the accusations, murder investigation, and courtroom battle that follow.

    The police officers pulled the body from the track and found no identification. The train’s 425 passengers were transferred to another train and delayed about twenty minutes.” The Guardians is an elegy for Manguso’s friend Harris, two years after he escaped from a psychiatric hospital and jumped under that train. The narrative contemplates with unrelenting clarity their crowded postcollege apartment, Manguso’s fellowship year in Rome, Harris’s death and the year that followed—the year of mourning and the year of Manguso’s marriage. As Harris is revealed both to the reader and to the narrator, the book becomes a monument to their intimacy and inability to express their love to each other properly, and to the reverberating effects of Harris’s presence in and absence from Manguso’s life. There is grief in the book but also humor, as Manguso marvels at the unexpected details that constitute a friendship. The Guardians explores the insufficiency of explanation and the necessity of the imagination in making sense of anything.

    Brown. Brown is the winner of the Texas Book of The Year Prize, 2013. The New York Times calls his work a rekindling of the faith in the shocking, weird and beautiful power of words. Brown finally sold the ship, The Sea Section, upon which he lived for years in the Long Beach harbor, after which he took to hunting for a city that was affordable and had a bustling writer s community. He landed in Austin, Texas and when the progress of that town got to be intense, he moved to the nearby countryside in Elgin, Texas, and from that pastoral setting came unfurling this new collection of his most personal work to date. Brown has been known as one of the most touring, well travelled living poets in America. He has based his whole writing career on changing peoples minds about poetry and he feels a quality, unforgettable live experience can achieve that. Brown told himself he needed a 10-year hiatus from writing poetry when he felt the well of creativity had dried up. 2 years ago, he wrote a one-hour long poetic play called Strange Light, commissioned by The Noord Nederlands Dans Group in Holland. The piece was performed by 14 dancers and accompanied by a live orchestra using music composed by fellow Americans, Emily Wells and Timmy Straw. While he was working on a new libretto for Wayne State University in Detroit, he was set up in a seemingly pastoral country setting, where, as Brown says, an incredible war broke out inside and out, such bright, massive storms, snakes, guns, howling wind, hard sun: all kinds of poems gushed forth. I gave in to the process and my best work to date was born, this will be my 5th book. Our Poison Horse touches on more autobiography than the romantic and fantastical that was so present in his past work. In Derrick Brown s words: I found a poetry in the real events that shaped or broke me. Every morning, I would quiet down, stare out into the field where we were watching our neighbors horse, a horse that was poisoned with pesticide by some local boys, a horse with massive scars all down its body from it s skin peeling from the poison sprayed upon it maliciously by some bastard kids. I watched the horse heal and finally come to me, and trust me and eat carrots. Something about that horse, Lacey, about it not trusting me and then warming up pulled something out of me that I didn t know I was ready for. There is a theme that in beautiful places, you will"

    

    It’s the ethical thing for a journalist to do, especially in a war-torn region like the Middle East. And Caddie wants to believe that nothing is as important as covering “the story.”There’s room for passion in her life—but that’s only physical. And Caddie keeps even those fleeting attachments under wraps, secretive, because she knows that when a journalist even appears to lose her detachment, she is already lost.So what is Caddie to feel when her lover dies beside her—shot in an ambush on the way to the next promising political interview, across the Israeli border into Lebanon?An authentic look at the emotional and ethical chaos within a war correspondent who becomes a bit too involved, Masha Hamilton’s The Distance Between Us is a straight-ahead story of human passion—desire, conviction, and the guilt of a survivor—struggling for order within the frayed justice of the Middle East conflict.A seasoned journalist herself, Masha Hamilton brings to this revealing novel the sharp eye and deep empathy that marked her debut, Staircase of a Thousand Steps (BlueHen, 2001). Beautifully turned, and peopled with an astounding cast of characters who are as true as they are perceptive, The Distance Between Us is finally the portrait of one woman’s search for the narrow pass between vengeance and emotional survival, when her only true attachment has been torn away from her.“If we knew where we were going to fall,” the novel’s most enigmatic character tells her, “we could spread straw.”

    But when Ruby is ten, her eldest brother enters the hospital and emerges as someone she barely recognizes. It is only the first in a startling series of tragedies that befall the Bronsteins and leave Ruby reeling from sorrow and disbelief.This disarmingly intimate and candid novel follows Ruby through a coming-of-age marked by excruciating loss, one in which the thrills, confusion, and longing of adolescence are heightened by the devastating events that accompany them. As Ruby's family fractures, she finds solace in friendships and the beginnings of romance, in the normalcy of summer camp and the prom. But her anger and heartache shadow these experiences, separating her from those she loves, until she chooses to reconcile what she has lost with whom she has become.Nellie Hermann's insightful debut is a heartbreakingly authentic story of the enduring potential for resilience and the love that binds a family.

    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.

    Her new life gave her everything she needed and wanted… fame, fortune, and fun. She even snagged a famous movie star for a boyfriend.Just one problem – he’s married, and her conservative Christians parents don’t approve.Dane Carmichael has had a crush on Kayla since she performed in the school Talent Show at age ten. Now carrying a war wound, Dane’s life revolves around the group of young teens he mentors at church, instilling in them the importance of remaining pure and following Jesus and not the world.When Kayla rushes home to visit her father after receiving devastating news, she and Dane reconnect. His simple faith and life fascinate but scare her.Kayla is challenged to assess her chosen lifestyle, but she’s also harboring a secret. She can’t forgive herself for what she did, so how can she expect God to? As He gently draws her to Himself, molding and shaping her, just like Dane does with his pots, she begins to understand how forgiving, loving and kind He really is.Let this story of love, hope, and second chances warm your heart and draw you close to the One who loves you without condition.The Homecoming is Book 1 in “The Potter’s House Series”All books can stand-alone and can be read in any order. The first 7 books are:Juliette Duncan: The Homecoming (March 27, 2018)T.K. Chapin: When it Rains (April 10, 2018)Alexa Verde: Heart Unbroken (April 24, 2018)Brenda S Anderson: Long Way Home (May 8, 2018)Mary Manners: Promises Renewed (May 22, 2018)Kristen M. Fraser: A Vow Redeemed (June 5, 2018)Marion Ueckermann: Restoring Faith (June 19, 2018)

    Bret was the good son, the obedient public servant, Kim the itinerant wanderer. In this family of two parent teachers, with its intermittent celebration of “talking recklessly,” there was a code of silence about hard things: “Why tell what hurts?” As childhood pleasures ebbed, this reticence took its toll on Bret, unable to reveal his troubles. Against a backdrop of the 1960s — puritan in the summer of love, pacifist in the Vietnam era — Bret became a casualty of his interior war and took his life in 1988. 100 Tricks Every Boy Can Do casts spells in search of the lost brother: climbing the water tower to stand naked under the moon, cowboys and Indians with real bullets, breaking into church to play a serenade for God, struggling for love, and making bail. In this book, through a brother’s devotions, the lost saint teaches us about depression, the tender ancestry of violence, the quest for harmonious relations, and finally the trick of joy.

    . . 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.

    Women's Studies. INDICTUS re-imagines various creation myths to bear the invisible and unsaid assaults of women. In doing so, it subverts notions of patriarchal power into a genre that can be demolished and set again. INDICTUS is a Latin word, from which other words like "indict" and "indicate" are born. It translates literally as "to write the unsaid." There is an effort in this book to create the supernatural through the utterance of violence, because jurisdiction fails in real time. That sexual assault can so easily become a science fiction when power is rearranged to serve the victim speaks to the abject lack of control within victims to ever be redeemed. Crimes resolve to misdemeanors. In a world without my abusers, how can I soon become myself? Combining the mythological and autobiographical, this book attempts to indict us, so that the wounded might one day be free.

    In writing that is inventive, bold, and generous, Axiomatic introduces an unforgettable voice.

    I didn’t want to leave you... Luke Richardson has returned home after burying Natalie, his beloved wife of sixteen years, ready to face the hard job of raising their three children alone. But there’s something he’s not prepared for—a blue envelope with his name scrawled across the front in Natalie’s handwriting, waiting for him on the floor of their suburban Michigan home.The letter inside, written on the first day of Natalie’s cancer treatment a year ago, turns out to be the first of many. Luke is convinced they’re genuine, but who is delivering them? As his obsession with the letters grows, Luke uncovers long-buried secrets that make him question everything he knew about his wife and their family. But the revelations also point the way toward a future where love goes on—in written words, in memories, and in the promises it’s never too late to keep.

    In this wise and intimate telling—which carries us through the seasons when her marriage was ending—Sharon Olds opens her heart to the reader, sharing the feeling of invisibility that comes when we are no longer standing in love’s sight; the surprising physical bond that still exists between a couple during parting; the loss of everything from her husband’s smile to the set of his hip. Olds is naked before us, curious and brave and even generous toward the man who was her mate for thirty years and who now loves another woman. As she writes in the remarkable “Stag’s Leap,” “When anyone escapes, my heart / leaps up.  Even when it’s I who am escaped from, / I am half on the side of the leaver.” Olds’s propulsive poetic line and the magic of her imagery are as lively as ever, and there is a new range to the music—sometimes headlong, sometimes contemplative and deep. Her unsparing approach to both pain and love makes this one of the finest, most powerful books of poetry Olds has yet given us.