Truthful and tender, profoundly aware of the possibility of magic and the miraculous, these poems are beautiful, informed, and, even at their darkest moments, filled with courage and hope. Alongside old favorites, this edition will contain a selection of new, unpublished poems. This is a must for poetry lovers.

    That time is the period between the two World Wars, and Barnes' novel unfolds in the decadent shadows of Europe's great cities, Paris, Berlin, and Vienna—a world in which the boundaries of class, religion, and sexuality are bold but surprisingly porous. The outsized characters who inhabit this world are some of the most memorable in all of fiction—there is Guido Volkbein, the Wandering Jew and son of a self-proclaimed baron; Robin Vote, the American expatriate who marries him and then engages in a series of affairs, first with Nora Flood and then with Jenny Petherbridge, driving all of her lovers to distraction with her passion for wandering alone in the night; and there is Dr. Matthew-Mighty-Grain-of-Salt-Dante-O'Connor, a transvestite and ostensible gynecologist, whose digressive speeches brim with fury, keen insights, and surprising allusions. Barnes' depiction of these characters and their relationships (Nora says, "A man is another person—a woman is yourself, caught as you turn in panic; on her mouth you kiss your own") has made the novel a landmark of feminist and lesbian literature. Most striking of all is Barnes' unparalleled stylistic innovation, which led T. S. Eliot to proclaim the book "so good a novel that only sensibilities trained on poetry can wholly appreciate it." Now with a new preface by Jeanette Winterson, Nightwood still crackles with the same electric charge it had on its first publication in 1936.

    In I Would Leave Me If I Could, she reveals never-before-seen poetry of longing, love, and the nuances of bipolar disorder.

    H. Auden, and James Merrill. Their poems of love are among the most perceptive, the most passionate, the wittiest, and the most moving we have. From Michelangelo’s “Love Misinterpreted” to Noël Coward’s “Mad About the Boy,” from May Swenson’s “Symmetrical Companion” to Muriel Rukeyser’s “Looking at Each Other,” these poems take on both desire and its higher power: love in all its tender or taunting variety.

    One of the most significant writers of the New York School—which unofficially included John Ashbery, Frank O'Hara, and Kenneth Koch, among others—Schuyler was strongly influenced by both art and music in his work, often incorporating rapid shifts in sound, shape, and color within his poems that almost gave his work the effect of a collage and engendered comparisons with Whitman and Rimbaud.

    In Life of the Party, she weaves together her own coming of age with an investigation into our culture's romanticization of violence against women. In precise, searing language—at times blistering and riotous, at times soulful and exuberant—she explores the boundary between what is real and what is imagined in a life saturated with fear. How does one grow from a girl to a woman in a world wracked by violence? Where is the line between perpetrator and victim? What is the meaning of bravery? Visceral and haunting, this multifaceted collection illustrates that what happens to our bodies makes us who we are.

    In this collection, the author focuses on a little heartache, a little loneliness, but mostly being a woman, and all the sensitive, uncomfortable, and violent emotions and acts it brings about.

    In lavish, pitch-perfect, and supple, readable prose, Burgess matches his splendid Shakespeare novel, Nothing Like the Sun. The whole world of Elizabethan England—from the intrigues of the courtroom, through the violent streets of London, to the glory of the theater—comes alive in this joyous celebration of the life of Christopher Marlowe, murdered in suspicious circumstances in a tavern brawl in Deptford more than four hundred years ago.

    It is a voice thick with the humidity and whirring cicadas of Kentucky, but the poems are dangerous, smelling of the crisp cucumber scent of a copperhead about to strike. Epistolary in nature, and with a novel's arc, Sister is a story that begins with a teen giving birth to a baby girl--the narrator--during a tornado, and in some ways, that tornado never ends. In the hands of a lesser poet, this debut collection would be a standard-issue confession, a melodramatic exercise in anger and self-pity. But melodrama requires simple villains and victims, and there is neither in this richly complex portrait. Ultimately, Sister is more about the narrator's transgressions and failures, more about her relationships to her sister and their mother than about that which divided them. With equal parts sass and sorrow, these poems etch out survival won not with tender-hearted reflections but by smoking cigarettes through fly-specked screens, by using cans of aerosol hair spray as a makeshift flamethrowers, and, most cruelly, by leaving home and trying to forget her sister entirely. From there, each poem is a letter of explanation and apology to that younger sister she never knew.Sister recounts a return to a place that Brown never truly left. It is a book of forgiveness, of seeking what is beyond mere survival, of finding your way out of a place of poverty and abuse only to realize that you must go back again, all the way back to where everything began--that warm, dark nest of mother.

    Through the voices of undocumented immigrants, border patrol agents, and scorned lovers, award-winning poet Eduardo C. Corral writes dramatic portraits of contradiction, survival, and a deeply human, relentless interiority. With extraordinary lyric imagination, these poems wonder about being unwanted or renounced. What do we do with unrequited love? Is it with or without it that we would waste away?In the sequence “Testaments Scratched into Water Station Barrels,” with Corral’s seamless integration of Spanish and English, poems curve around the surfaces upon which they are written, overlapping like graffiti left by those who may or may not have survived crossing the border. A harrowing second collection, Guillotine solidifies Corral’s place in the expanding ecosystem of American poetry.

    S. Merwin. The book is an intriguing set of variations on the theme of identity. Arnold plays on the idea of the shell as both the dazzling surface of the self and a hard case that protects the self against the assaults of the world. His poems narrate amatory and culinary misadventures. “Friendships based on food,” Arnold writes, “are rarely stable”—this book is full of wildly unstable and bewitching friendships and other significant relations.

    Throughout her celebrated career, Mary Oliver has touched countless readers with her brilliantly crafted verse, expounding on her love for the physical world and the powerful bonds between all living things. Identified as "far and away, this country's best selling poet" by Dwight Garner, she now returns with a stunning and definitive collection of her writing from the last fifty years. Carefully curated, these 200 plus poems feature Oliver's work from her very first book of poetry, No Voyage and Other Poems, published in 1963 at the age of 28, through her most recent collection, Felicity, published in 2015. This timeless volume, arranged by Oliver herself, showcases the beloved poet at her edifying best. Within these pages, she provides us with an extraordinary and invaluable collection of her passionate, perceptive, and much-treasured observations of the natural world.

    Exploring his past with humor and astounding insight, Connor reminded his fans of why they first fell in love with him on YouTube—and revealed to newcomers how he relates to his millions of dedicated followers.Now, two years later, Connor is ready to bring to light a side of himself he’s rarely shown on or off camera. In this diary-like look at his life since A Work In Progress, Connor talks about his battles with clinical depression, social anxiety, self-love, and acceptance; his desire to maintain an authentic self in a world that values shares and likes over true connections; his struggles with love and loss; and his renewed efforts to be in the moment—with others and himself.Told through short essays, letters to his past and future selves, poetry, and original photography, Note to Self is a raw, in-the-moment look at the fascinating interior life of a young creator turning inward in order to move forward.

    Siken writes with ferocity, and his reader hurtles unstoppably with him. His poetry is confessional, gay, savage, and charged with violent eroticism. In the world of American poetry, Siken's voice is striking. In her introduction to the book, competition judge Louise Glück hails the “cumulative, driving, apocalyptic power, [and] purgatorial recklessness” of Siken’s poems. She notes, “Books of this kind dream big. . . . They restore to poetry that sense of crucial moment and crucial utterance which may indeed be the great genius of the form.”

    From heartbreak to dreaming of and finding a new love to healing the heart to ultimately finding peace, the themes in this book are universal but also uniquely individual to readers.Just as moving and endearing as Peppernell's previous books, I Hope You Stay is a reminder of the resilience and hope needed after heartache and pain. The book is divided into five sections, with poems ranging from free verse to short form. These words are a light in the deepest hours of the night: Hold on. The sun is coming.