His most recent volumes of poetry are Rooms Are Never Finished and The Country Without a Post Office. He is also the editor of Ravishing Disunities: Real Ghazals in English.

    These are the books -- following her volumes from the previous decade (Hinge Picture, Chanting at the Crystal Sea, Cabbage Gardens, and Secret History of the Dividing Line) -- which established Howe as one of America's most interesting and important contemporary writers. "Her work, " as Geoffrey O'Brien put it, "is a voyage of reconnaissance in language, a sounding out of ancient hiding places, and it is a voyage full of risk. 'Words are the only clues we have, ' she has said. 'What if they fail us?'"

    The three poems represented in the book are the most distinguished works of the poet.

     Rumi’s popularity has gone beyond national and ethnic borders. He is considered to be one of the greatest classical poets, by the speakers of Persian language in Iran, Afghanistan and Tajikistan. His poetry is still read worldwide today and has been translated into a wide variety of languages including Turkish, Persian, Russian, Asian, English and Spanish languages. Likely due to the pure universal natural themes in his poetry, Rumi’s works are simplistic and beautiful at the same time. A collection of 101 quotes of wisdom from Rumi on life, love and happiness. "Anyone who genuinely and consistently with both hands looks for something, will find it. " "Now is the time to unite the soul and the world. Now is the time to see the sunlight dancing as one with the shadows." "Gamble everything for love, if you’re a true human being. If not, leave this gathering." “Let the lover be disgraceful, crazy, absentminded. Someone sober will worry about things going badly. Let the lover be.” "Why should I be unhappy? Every parcel of my being is in full bloom." ............... Download this book now to experience essential wisdom from the timeless Rumi.

    Among his expansive and impressive body of work, Gitanjali is regarded as one of his greatest achievements, and has been a perennial bestseller since it was first published in 1910.

    These poems are loose enough for the reader to flop down inside and stay awhile. They are plangent, personal, confessional, noisy, nostalgic, and maybe a little bit broken. They often contain boats and travel and Toronto (street names and railroad tracks, dives and parks and kitchens) because those are the sorts of things Eva H.D. is drawn to. In Rotten Perfect Mouth, readers will discover a writer with her heart on her sleeve and her hand on her pen, capturing the world around her with vibrant immediacy.

    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.

    Written in dialogic fragments and intersped with prose poems reflecting on the lasting impact of colonial trauma, it is arranged around the two different discourses. The bed on which America sleeps, and which America has made, is built on the fear that the nations it has oppressed will rise up against it, a monstrous shadow in a child’s nightmare. Written in English, while they sleep points to a imperialist American identity: the dormant body of the text. Answering in Spanish, under the bed is another country is the footnote, the monster under the bed, the colony: Puerto Rico.

    The new version adds two sequences--"Give Me Back My Rage" and "Heaven's Ring"--as well as some previously unpublished sections of the justly famous series, "The Little Box." Simic and Popa are a perfect match. A book for surrealists, mythographers, postmodernists, scientists, and lovers of poetry and games. Winner of the PEN Translation Prize.

    A unique, clever, and original collection, Dillard’s characteristic voice sounds throughout the pages.

    Kids love him and his poetry...and so do adults, a combination of approbation that is unusual in today's world.

    In The Lightning Should Have Fallen on Ghalib: Selected Poems of Ghalib, poet Robert Bly and Urdu scholar Sunil Dutta collaborate to bring the delicacy and intensity of Ghalib's poetry to readers of English. This collection of thirty ghazals by Ghalib also serves as an introduction to the ghazal, the elegant and amazing poetic form revered for centuries in the Muslim world.

    "Zubair Ahmed’s first poetry collection City of Rivers captures the reader’s heart from its first line to its last. These poems are reminders of poetry’s power to leave us breathless after immersing us in truths, both wonderful and painful." - ZYZZYVA"...his poems are brief and beautiful, with final lines (“The light source is somewhere beyond / The years of my life.”) that should be scratched onto padlocks locked to the Pont des Arts over the Seine.... City of Rivers is a treasure you would do well to read." - Artvoice"While I imagine one of the reasons readers might find themselves interested in City of Rivers will be due to Ahmed’s relatively young age, such readers will invariably find themselves more interested in exploring the range of his vision and the confidence he seems to have hammered into every one of his sharp, stoic lines.... Ahmed possesses a profound understanding of the nature all poets, young and old, share—he recognizes that the words are a dream, that they haunt the body, and their constant buzzing, their inability to give us solace, keep us moving." - The Rumpus"Honestly, I’ve not yet read a contemporary poet of his equal." - Chico News Review"...a startling first collection of poems..." - Shelf-Awareness"This unusually compact and consistent debut from an unusually young poet might get noticed first for that poet’s unusual migratory life... Such work looks back productively to the American Deep Image style of the 1960s, to James Wright and the young Robert Bly." - Publisher's Weekly"Any poet would hope for the kind of praise that glows from the back cover of Zubair Ahmed’s debut poetry collection, City of Rivers. “Bracingly original…ushered into being by a prodigious new voice in America poetry.” Add to that the fact that Ahmed is only twenty-five, that his first book was published by McSweeney’s, and you have a rising star certainly worth keeping an eye on. Because—high as the book jacket praise might be—Ahmed lives up to it." - Late Night LibraryWe used to play soccer in the monsoon rains.Through my windows, I can see acres of fields,Lying in the ruins of the wind.The poems in City of Rivers—the first full-length collection from 23-year-old wunderkind Zubair Ahmed—are clear and cool as a glass of water. Grounded in his childhood in Bangladesh, Ahmed’s spare, evocative poems cast a knowing eye on the wider world, telling us what it’s like to be displaced and replaced, relocated and dislocated. His poems are suffused with a graceful, mysterious pathos—and also with joy, humor, and longing—with the full range of human emotions. City of Rivers is a remarkable and precocious debut.

    Bringing together all of Viorst's best-loved poetry, this collection includes many of the poet's previously out-of-print favorites.

    The book reproduces A Part Song, a profoundly moving document of grieving and loss, and one of the most widely admired long poems of recent years. Elsewhere these poems become a space for contemplation of the natural world and of physical law, and for the deep consideration of what it is to invoke those who are absent. But finally, they extend our sense of what the act of human speech can mean - and especially what is drawn forth from us when we address our dead. Lyric, intimate, acidly witty, unflinchingly brave, Say Something Back is a deeply moving book by one of our finest poets, and one destined to introduce Riley's name to a wide new readership.