There’s Wu-Tang and Mary Magdelene with a foot fetish, Lil’ Kim and a self-loving Lilith. Slurs, catcalls, verses, erasures—Dawson asks readers, “Just how far is it to nigger?” Both grounded and transcendent, the book is reality and possibility. Dawson’s work has always been raw; but, When Rap Spoke Straight to God is as blunt as the answer to that earlier question: “Here.” Sometimes abrasive and often abraded, Dawson doesn’t flinch.  A mix of traditional forms where sonnets mash up with sestinas morphing to heroic couplets, When Rap Spoke Straight to God insists that while you may recognize parts of the poem’s world, you can’t anticipate how it will evolve.   With a literal exodus of light in the book’s final moments, When Rap Spoke Straight to God is a lament for and a celebration of blackness.  It’s never depression; it’s defiance—a persistent resistance. In this book, like Wu-Tang says, the marginalized “ain’t nothing to f--- with.”

    Yet despite the distinctive differences from poem to poem, Bernstein's characteristic explorations of how language both limits and liberates thought are present throughout. Modulating the comic and the dark structural invention with buoyant soundplay, these challenging works give way to poems of lyric excess and striking emotional range. This is poetry for poetry's sake, as formally radical as it is socially engaged, providing equal measures of aesthetic pleasure, hilarity, and philosophical reflection. Long considered one of America's most inventive and influential contemporary poets, Bernstein reveals himself to be both trickster and charmer.

    

    As Kristen Tracy writes in the title poem, "Dangers here. Perils there. It'll go how it goes." The collection follows her wide curiosity, from growing up in a small Mormon farming community to her exodus into the forbidden world, where she finds snakes, car accidents, adulterers, meteors, and death-marked mice. These wry, observant narratives are accompanied by a ringing lyricism, and Tracy's knack for noticing what's so funny about trouble and her natural impulse to want to put all the broken things back together. Full of wrong turns, false loves, quashed beliefs, and a menagerie of animals, Half-Hazard introduces a vibrant new voice in American poetry, one of resilience, faith, and joy.

    Translated from the Polish by award-winning translators John and Bogdana Carpenter, these sixty-eight verse and prose poems span forty years of Herbert's incredible life and work. The pieces are organized chronologically from 1950 to 1990, with an emphasis on the writer's early and late poems.Here Zbigniew Herbert's poetry turns from the public--what we have come to expect from this poet--to the more personal. The title poem, "Elegy for the Departure of Pen Ink and Lamp , is a three-part farewell ode to the inanimate objects and memories of childhood. Herbert reflects on the relationship between the living and the dead in "What Our Dead Do," the state of his homeland in "Country," and the power of language in "We fall asleep on words . . . " Herbert's short prose poems read like aphorisms, deceptively whimsical but always wise: "Bears are divided into brown and white, also paws, head, and trunk. They have nice snouts, and small eyes.... Children who love Winnie-the-Pooh would give them anything, but a hunter walks in the forest and aims with his rifle between that pair of small eyes."Elegy for the Departure and Other Poems confirms Zbigniew Herbert's place as one of the world's greatest and most influential poets.

    A new volume of poems by the award-winning author of October Palace.

    This is an important, no-holds-barred book complete with graphic scenes and language because "that’s the way it happened and that’s how it must be told. Victims’ own voices are the best weapons against child sexual abuse." This 291-page story comes with a "trigger warning advisory" as it details the mental, physical, and sexual abuse inflicted on the author by her biological father. Victims of similar abuse need to realize this story could cause flashbacks of their own as they identify with scenes and language that mirror their own experiences. Those who have never suffered sexual abuse may be shocked by what the author's father put her through and the utter control he had of all areas of her life until she finally got away. This book will frighten and enlighten readers as they learn what goes on behind the closed doors of too many homes and is rarely talked about or acknowledged, or, worse yet, is even denied by family members who know it is going on. WHO SHOULD READ THIS BOOK? 1) Those who truly care about children’s welfare and want to know the truth about what can and does go on in thousands of families worldwide. These readers want to understand how incest affects children as they grow into adulthood and what the long-lasting effects of incest can be like. 2) Those who are in denial and refuse to believe this kind of child sexual abuse actually occurs at the hands of fathers, mothers, sisters, brothers, aunts, uncles, and other close family relatives WHO SHOULDN’T READ THIS BOOK? 1) Those who think incest is an acceptable and enjoyable activity between family members 2) Those who think this is another Fifty Shades of Gray and are looking for sexual stimulation via books 3) Those who are still very raw in their own healing and recovery from incest and could be easily triggered by graphic scenes and language 4) Those victims looking for a book on healing or how to recover from childhood sexual abuse. This is a story only. Those seeking help in healing should consult a therapist, join a self-help group, or purchase one of the many excellent books available for healing purposes, such as The Courage to Heal. No Tears for My Father contains actual photos from the family archives and is enhanced with poems by the author set against beautiful colour graphics. Reviewers have called this book "honestly unforgettable," and more than one reader has said, "I couldn't put the book down!" Read No Tears for My Father and find out why one reviewer said, "Viga makes me believe survival is possible for any injustice that we experience in our life. What a great read!"

    In verse that deals with sexual assault, mental illness, and body acceptance, Ms. Lambert's Shame Is an Ocean I Swim Across emerges as an important new voice in poetry, providing strength and resilience even in the darkest of times.

    The collection is about the ways idealization leads to dehumanization, perception versus reality, sexism, feminism, mania, love, and Oregon. Dream Girl features poems that have gone viral on tumblr and Button Poetry, as well as 30 new poems, and illustrations by the author. This book is the much-anticipated second collection by Clementine von Radics. 80 pages, 6x9, Glossy cover.

    With a storyteller’s rhythm, Lease braids humor, political bite, psychological intensity, and lyric beauty, taking us to a place of warning, critique, and elegy.

    Whether the focus of the individual poems is musical, digital, or historical, the otherness implicit in being of more than one racial background guides Matejka's work to the inevitable conclusion that all things-no matter how disparate-are parts of the whole.

    Sometimes life is spiced up through natural events, sometimes life feels bland and tasteless. Sour Honey and Soul Food, is a book which explores the beauty and intricacies of love, life and connections, through poetry. Billy Chapata's third book looks to touch on the variety of flavors we taste, on this beautiful journey we call life.

    It explores the use of art to survive abuse, incest, madness and depression, and the often deep-seated impulse toward self-destruction including cutting, eating disorders, and addiction. Here, some of our most compelling cartoonists, novelists, poets, dancers, playwrights, and burlesque performers traverse the pains and passions that can both motivate and destroy women artists, and mark a path for survival. Taken together, these artful reflections offer an honest and hopeful journey through a woman's silent rage, through the power inherent in struggles with destruction, and the ensuing possibilities of transforming that burning force into the external release of art. With contributions by Nan Goldin, bell hooks, Patricia Smith, Cristy C. Road, Carol Queen, Annie Sprinkle, Elizabeth Stephens, Carolyn Gage, Eileen Myles, Fly, Diane DiMassa, Bonfire Madigan Shive, Inga Muscio, Kate Bornstein, Toni Blackman, Nicole Blackman, Silas Howard, Daphne Gottleib, and Stephanie Howell.

    In her haunting eighth collection inspired by articles from the weekly “Science” section of the New York Times, Hahn explores identity, extinction, and survival using exotic tropes drawn from the realms of astrophysics, mycology, paleobotany, and other rarefied fields. With warmth and generosity, Hahn mines the world of science in these elegant, ardent poems.from “On Deceit as Survival”   Yet another species resembles   a female bumble bee,   ending in frustrated trysts—   or appears to be two fractious males   which also attracts—no surprise—   a third curious enough to join the fray.   What to make of highly evolved Beauty   bent on deception as survival—