It is a story about owning the emotions that live inside the heart and the head. It is the cathartic experience of pain and loss but also the bittersweet feelings of joy and the complexity of beauty. Elisabet expresses the unraveling of herself and the complexity of emotions that stemmed from heartache, her own mental health and the struggles of growing up and into a world with no precedence for a first generation child. This is the accumulation of three years of tears and long nights figuring out that chaos isn't always a bad thing.

    But it is her excursions into wild image and passionate song that win the reader's heart. The heart is central in World's Tallest Disaster, which is essentially a book of love poems—love lost and found, love requited, love abandoned and betrayed. What Cate Marvin has done in her remarkably assured and powerful first collection is to remind us in fresh terms of the news that stays news: that our desire is "Not a sea of longing,// but the brack of wanting what's physical/ to help us forget we are physical.""Violently passionate and firmly symmetrical, like tango or the blues, these poems-at first-are about sexual passion. . . . But in the great tradition of love poetry, these poems don't stop with love. They move from eros to imagination. Or they thrash between the two. . . . This is an encouraging book in the context of American poetry's fashions or factions, because it evades categories. [Marvin's] is an urgent as well as an artful voice."—from the Foreword by Robert PinskyMarketing Plans o Author tour in Ohio, Kentucky, and NYC o Brochure and postcard mailings o Advertisements in key literary and trade magazinesBook tour dates including: o Cincinnati o Louisville o New York CityCate Marvin was born in Washington, D.C. She received her B.A. from Marlboro College in Vermont, and holds two M.F.A.s: one from the University of Houston in poetry, the other from the Iowa Writers' Workshop in fiction. She has been awarded scholarships to attend both Bread Loaf and Sewanee Writers' Conferences. Her poems have appeared in such magazines as New England Review, The Antioch Review, The Paris Review, The Georgia Review, and Ploughshares, among others. She is lives in Cincinnati, Ohio, and is currently a Ph.D. candidate in English at the university there.

    A potpourri of musings assembled with a hint of practical spirituality, to be savoured passably as an oracle of hearts to the many answers, whose questions our minds are yet to comprehend. Ivory Gleam is split into three chapters of learning, longing and loving. Each chapter is a journey traversing a different road to the ultimate destination of self-reflection.

    At an age when most babies are cooing "Mama, " Popo was speaking in complete sentences. He was reading college textbooks when he was still too young for nursery school. Popo may just be the smartest human being on Earth. And he spends all his time listening to the radio . . . to white noise that comes drifting down from the sky like stardust. Chill Bent is a two-time loser with a hair-trigger temper. After the death of Popo's mother, the ex-con assumes responsibility for his nephew, vowing to protect the boy from a government eager to strip away his African-American heritage and exploit his genius like a natural resource. Together, Popo and Chill are about to embark on an extraordinary journey into the farthest reaches of the mind and the soul . . . a journey you will never forget. In this stunning new speculative fiction short story by the bestselling author of Blue Light, part of an interconnected collection of stories called Futureland, a young African-American genius searches for God with the tools of cutting-edge science. Look for the complete volume of Futureland, available now.

    Set in Pyke County, Mississippi, Eden is a raw, heartbreaking, and enlightening novel that marks the emergence of a stunning and original talent. Narrated by fourteen-year-old Maddy Dangerfield, Eden opens in the moments after Maddy has impulsively drawn a naked woman on the pages of Genesis in bright red lipstick during Sunday service. The community is scandalized, and her devout, long-suffering mother’s response to her transgression is to force her to spend weekends nursing her dying Aunt Pip, an outcast who lives on the edge of town.From then on, Maddy must negotiate her two worlds: at the house where she lives with her hard-working, Bible-reading mother, Faye, and her father, Chevrolet—a one-armed drunk, gambler and womanizer—she is both a reluctant participant in and astute observer of the strange and confounding dynamics of her sometimes violent, sometimes tender family. (Years before, Maddy’s grandmother—her mother’s mother—chopped of Chevrolet’s arm and fed it to the pigs after he and Pip were found together in the back room as Faye entertained friends from the church—and ever since, he has been am emasculated, desperate man—drinking and gambling his wife’s money away, leaving her to clean up his mess time and again.) And then out on Commitment Road, she is caretaker to her Aunt Pip, whose only friend is her eccentric neighbor, Fat. Maddy’s time with Pip and Fat opens her eyes to the exhilaration of speaking your own mind, living your life on your own terms and without apology, and also to the cost extracted by both. She learns that there are strengths that belong to women alone, and also that there is a kind of ravaging vulnerability that is terrifying and inescapable, and uniquely female.The world Maddy inherits is one of injustice and hypocrisy, one that requires black people work for the whites for little to no pay; that sent her Uncle Sugar to jail for raping a white woman—no questions asked—when Maddy was just a baby; that preaches Christian love and forgiveness even as its actions reflect the very opposite. But Maddy soon learns that there is something that can work to oppose those truths, and that is knowledge; having the will and the ability to look beneath the surface, to question what others take as a given. By the end of the novel, newly acquainted with mortality and her own fierce strength, Maddy comes to bear both the burden and the blessing of that knowledge.In lush, vivid brushstrokes, Olympia Vernon conjures a world that is both intoxicating and cruel, and illuminates the bittersweet transformation of the young girl who must bear the burden and blessing of its secrets too soon. Eden is a haunting, memorable novel propelled by the poetry and power of a voice that is complex, lyrical, and utterly true.

    Found inside a disabled elevator, she is no longer able to function with her new consciousness of these memories—those which are so resistant to understanding. Confronted with this knowledge of evil, she must begin the painful process of remembering and reconstructing a new whole self.Helping Barbara to navigate her grief and her memories are her therapist, the Psalms, and most of all, the words of Paul Celan. Paul Celan: 1920-1970, Poet. An eastern European holocaust survivor who wrote haunting poems about the darker spiritual trials of life and relationships that exhibit a compact style that fuses broken words and chopped syntax to produce a stark musicality.This is a novel about a woman who goes to hell and back. It’s a story which affirms the resilience of the human spirit and the healing power of love and faith.

    Comic, elegaic, and always formally intricate, using political allegory and painterly landscape, philosophic story and dramatic monologue, these poems describe a moment when something marvelous and unforeseen alters the course of a single day, a year, or an entire life.

    This is their story--ultimately a love story--darkly funny, mournful, testy. It is about a reader who at times presides over the page like a god, and at others follows the leash of the author's voice through the dark streets of the book like a dog, and it is about a writer of determined slipperiness.  As we read, we think that each of us is The Reader, the one who knows the Real Story. But the more we think we understand, the more the story moves away from us—all is not what it seems. This eagerly awaited third volume by the poet whose work The New York Times described as "at once charmed and frightening" is a book of high-spirited subversiveness, a work of argument, seduction, and a relentless devotion to language. Then, Suddenly— bristles with the sound of the author's voice--insistent, vital, hilarious, and iconoclastic--tearing away at the confinement of the page and at the distance between the page and the reader. Emanuel's images are dazzling. She creates a performance that is fearsome and funny in its portrayal of the argument between the work of the text and the world of the body. The Gettsyburg Review has called her a writer of "exquisite craftsmanship" who can "strike from language . . . images chiseled clean as bas-relief." Then, Suddenly— is a book of spectacle and verve, part elegy, part vaudeville.

    Other poems in the book, especially 'Nocturne' and 'Blue Hour,' are lyric recoveries of the act of remembering, though the objects of memory seem to us vivid and irretrievable, the rage to summon and cling at once fierce and distracted.

    From friendship to flirting, from the first date to the break-up, this collection of passion poems intertwines snapshots of innocent young adult angst with a fiery language that defines the first love which none of us ever outgrows. Crush is the first book of its kind, love poems for the Young Adult market. And it s destined to become a bestseller.

    Hers is a vision like no other. In “To My Big Nose,” she muses: “hard to imagine what the world would have looked like / if not seen through your pink shadow. / You who are built from random parts / like a mythical creature–a gryphon or sphinx–.”Fearless, focused, ironic, irreverent, truly and deeply felt, the poems in Luck Is Luck draw upon the circumstances of being a woman, the harsh realities of nature, the comfort of familiar things, and universally recognizable anxieties about faith and grief, love and desire. In “Languedoc,” she writes, “Long ago / I might have been attracted by your tights and pantaloons / but now they just look silly, ditto for your instrument / that looks like a gourd with strings attached / (the problem is always the strings attached).”Perillo’s versions of nature are always unflinching: “Most days back then I would walk by the shrike tree, / a dead hawthorn at the base of a hill. / The shrike had pinned smaller birds on the tree’s black thorns / and the sun had stripped them of their feathers. / . . . well, hard luck is luck, nonetheless. / With a chunk of sky in each eye socket. / And the pierced heart strung up like a pearl.”Down-to-earth, full of playful twists of language, and woven from grand themes in an accessible, appealing way, these poems pierce the heart and delight the mind. Not one word is wasted.

    With the sort of smart, persuasive voice associated with Simon Armitage and Michael Donaghy, these poems worry at the world in search of consolation, or else meet life's absurdity and strangeness half-way; whether sitting proudly atop an unexploded bomb, or injecting blood under the skin of a banana, playfulness and imagination are vehicles for confronting 'the fearful and forgotten things I've lied to myself about'. Here are poems which address anxiety about fatherhood, remorse for lost lovers and friends, or mourn for a miscarried sibling. Happiness is a collection preoccupied with the ephemerality of happiness itself, at the ever-present possibility of its departure, and the ways we try to grasp and keep hold of it. 'Every single thought I'm having is about LOVE', here meaning both the pleasure and panic of love, its peculiarity; love as a feeling of risk, love for one's own body, familiar yet estranged, of 'cack-handed LOVE at his console', love like 'pausing to move a snail somewhere safer in the rain'.

    It is a depiction of sides that people don't readily show, sides of vulnerability, insecurity and tiny amounts of hope. One could say it is the result of shedding light into a world of secrecy, escapism, an alternate reality belonging to an alternate version of an individual. When No One Is Watching is the truth in its purest form.

    Moving between dramatic and interior monologue, and moving through intersecting histories, the ambiguities of inwardness and the eros of wakeful existence, these poems search for relationships with self, others, the world and God that are authentic—however quirky or strange."This is poetry of a rare fine delicacy. Its very modesty testifies to a great ambition—to overcome by the quietest of means."—Donald JusticeIn Tennessee I Found a FireflyFlashing in the grass; the mouth of a spider clungto the dark of it: the legs of the spiderheld the tucked wings close,held the abdomen still in the midst of callingwith thrusts of phosphorescent light—When I am tired of being human, I try to rememberthe two stuck together like burrs. I try to place themcentral in my mind where everything else mustsurround them, must see the burr and the barb of them.There is courtship, and there is hunger. I supposethere are grips from which even angels cannot fly.Even imagined ones. Luciferin, luciferase.When I am tired of only touching,I have my mouth to try to tell youwhat, in your arms, is not erased"This is poetry of a rare fine delicacy. Its very modesty testifies to a great ambition—to overcome by the quietest of means."—Donald Justice

    Fidelito’s mother, Maria Elena, tries to keep her son grounded while struggling with her own moorings. Meanwhile, Domingo, Fidelito's fisherman father, is always at sea, even when among them. From the archipelago of the Philippines to San Francisco, horizontal and vertical movements shape moments of displacement and belonging for this marginalized family. Fidelito approaches life with a sense of wonder, finding magic in the mundane and becoming increasingly uncertain whether he is in the sky or whether his feet are planted firmly on the ground.