With honesty, poignancy, and romantic flair, Atticus distills the most exhilarating highs and the heartbreaking lows of life and love into a few perfectly evocative lines, ensuring that his words will become etched in your mind—and will awaken your sense of adventure.

    Like I do with all great books, I kept have to stop and step away every few pages to think about what I’d just read. Crybaby is tender and full of carefully chosen, luxurious language. It’s poem after poem of sensual, wide-eyed desire and a total rejection of shame. There was something I wanted to tattoo or study or steal on every page.” – Clementine von Radics, author of Mouthful of Forevers & founder of Where Are You Press“Crybaby is a masterpiece. This collection is one of the greatest triumphs of Caitlyn Siehl’s young career. There are few poets who simultaneously reveal the wonder in everyday life and expand our understanding of the world. Caitlyn is one of those poets. She perfectly balances radical tenderness and gritty truth telling in her sophomore collection. There is a ravenous appetite in her words, a deep yearning to achieve complete wholeness. This hunger empowers readers to explore their identities and discover their best parts. Crybaby is a compelling read from cover to cover. Bring it home to someone you love. Allow your heart to be expanded by this collection; there is truly something here for everyone.” – Christian Sammartino, co-founder & editor-in-chief for The Rising Phoenix Review“Crybaby cries with you. Caitlyn’s second collection is what every second collection should be: equal parts heartbreak, forgiveness and honesty so clear it hurts. I read this and couldn’t believe I didn’t have something like this to turn to when I was younger. Hell, I regret that I didn’t have this last year. Caitlyn possesses a true gift in writing about the things that hurt us, the things that haunt us, and the things that also give us endless hope. I am breathless from the sheer unapologetic way in which she describes the mundane nuances of everyday life—from the pancakes to the flowerbeds and all the lovers in-between. Caitlyn’s collection tells you that you’re going to fall, but more importantly, it shows you how to do it. A triumph.” – Kristina Haynes, author of It Looked A Lot Like Love & Chloe

    Funny and laid-back, his clear, often brief poems are easy to understand and enjoy -- which is why his readings are sometimes standing-room-only affairs. Collins may be a college professor and NEA-grant recipient, but he's not above using a disinfectant ad as an epigraph. "Public restrooms give me the willies," reads the epigraph to a poem appropriately titled "The Willies." That man-on-the-street brand of humor, utterly stripped of academic pretense, is trademark Collins. QUESTIONS ABOUT ANGELS, a reissue of Collins's fourth volume of poems, offers 70 pages of well-formed, very American verse that -- not surprisingly -- doesn't require a shelf of dictionaries. In fact, just as he laughs at epigraphs, Collins gleefully pokes fun at the very concept of dictionaries. Here, for example, are the opening lines to "The Hunt," which initially offer the flowing, dreamy verse many expect from a poet:       Somewhere in the rolling hills and farm country      that lie beyond speech      Noah Webster and his assistants are moving      across the landscape tracking down a new word.Then Collins really gets going, letting his claws dig in. In the next stanza, that trademark humor really shows:      It is a small noun about the size of a mouse,       one that will seldom be used by anyone,       like a synonym for isthmus      but they are pursuing the creature zealouslyCollins could be talking about poetry itself, a form "zealously pursued" but too often "seldom used." Despite the deadpan tone, these are poems that are aware of poetic tradition. QUESTIONS ABOUT ANGELS opens with a poem called "American Sonnet," which announces that "We do not speak like Petrarch or wear a hat like Spenser." Collins seems to believe that his particular American landscape and culture requires a variation on the standard forms of Western tradition. This country, he seems to say, demands a rethinking of it all.Part of that rethinking is a probe of the whole idea of a "poet." Collins asks the questions his students would love to ask, if they only had the guts. How, he asks, do you know for sure if a poet is contemporary? This, of course, is a twist on the earlier, unspoken-but-understood question of "What makes a sonnet a sonnet, anyway?" addressed in the first poem.Just as he produced an American "sonnet" that rolls off the tongue with the ease of banter, Collins comes up with an American, can-do answer to the "who's a contemporary poet?" question:       It is easy to find out if a poet is a contemporary poet      and thus avoid the imbroglio of calling him Victorian      or worse, Elizabethan, or worse, medieval.      If you look him up in The Norton Anthology of English Literature      and the year of his birth is followed only by a dash      and a small space for the numerals only spirits know,       then it is safe to say that he is probably aliveThough clothed in simple words and humor, Collins is actually taking a pretty sophisticated jab in these two stanzas, which are the first part of the appropriately titled poem "The Norton Anthology of English Literature." Is a poet worthy simply because he is in the anthology? And do these omnipresent anthologies really define periods and countries? Coming just a few pages after the Noah Webster reference, Collins may also be pushing his readers to wonder about the anthologizers' research processes.Collins loves to mix poems to history's overachievers with odes to underachievers or family pets who never seemed to have much, if any, ambition. In one of the book's sweeter poems, Collins offers praise of a character named Riley. Here's the last stanza of the very brief poem "The Life of Riley: A Definitive Biography," where yet again, Collins mixes the quotidian and the poetic, letting his linguistic ability peep through the everyman persona at key moments:      He never had a job, a family or a sore throat.       He never mowed a lawn.       Passersby would always stop to remind him      whose life it was he was living.       He died in a hammock weighing a cloud. In a book that mentions weighing a dog and stripping layers of clothing off as he writes, it makes sense that this poet doesn't flinch from depicting the weighing of a cloud. Like the character who never had a sore throat, Collins writes glitch-free poems that are both a breeze and a blast to read. --Aviya Kushner

    The language here is at once disruptive and familiar, political and sensual, and tinged by the melancholy of loss and the discomforting radiance of redemption. A strong debut." —Chris AbaniThe best way to hide is in plain sight. In this politically-charged and candid debut, we follow the chronicles of an undocumented immigrant speaker over a twenty-year span as she grows up in the foreign and forbidding landscape of America.From "Ivan, Always Hiding":I strained for the socketas you pulled me,my bare legs against your legs in the windowless dark. The room,snuffed out, could have been nolarger than a freight car,no smaller than a box van; we couldn't tell anymore, the glintsin the shellacked floor, too, were dulled. This is like death, you said,always joking. I slid my headinto the crook of your neck, and didn't disagree. Raised in the Philippines and California, Janine Joseph holds an MFA from New York University and a PhD from the University of Houston. Her poems have appeared in the Kenyon Review Online, Best New Poets, Hayden's Ferry Review, and elsewhere. Her libretto "From My Mother's Mother" was performed as part of the Houston Grand Opera's "Song of Houston: East + West" series. A Kundiman and Paul and Daisy Soros Fellow, she is an assistant professor of English at Weber State University.

    / The elms made tents of solace over grimy / streets and alley cats purred me to sleep.” She writes in graphic, unflinching language about the poor, banished now by politicians because they are no longer “real people like corporations.” There are elegies for her peer group of poets, gone now, whose work she cherishes but from whom she cannot help but want more. There are laments for the suicide of dolphins and for her beloved cats, as she remembers “exactly how I loved each.” She continues to celebrate Jewish holidays in compellingly original ways and sings praises of her marriage and the small pleasures of daily life.This is a stunning collection that will please those who already know Marge Piercy’s work and offer a splendid introduction to it for those who don’t.

    In formally ambitious poems and lyric essays, Sun in Days gives voice to the experience of illness, the permanence of loss, and invigorating moments of grace. Wresting a recuperative beauty from one’s days, O’Rourke traces an arc from loss and illness to the life force of pregnancy and motherhood. Along the way, she investigates a newfound existential awareness of all that vanishes. This is O’Rourke’s most ambitious book to date: unsentimental yet deeply felt, and characterized by the lyric precision and force of observation for which her work is known.From “Idiopathic Illness”What can be said? I came w/o a warranty,Stripped of me—or me-ish-ness—I was a will in a subpar body.I waxed toward all that waned inside.

    Drawing from his eleven collections and including twenty-three previously unpublished poems, Search Party is the essential compilation of this beloved poet's work. Edited by his son, Sebastian Matthews, and William Matthews's friend and fellow poet Stanley Plumly (who also introduces the book), Search Party is an excellent introduction to the poet and his glistening riffs on twentieth-century topics from basketball to food to jazz.

    Not content merely to observe the world, Dunn's stance is always dual, complicit. And as he navigates through each paradox of his moral and aesthetic and erotic selves, this poet, described by Sydney Lea as one "who remains open to contradictions," travels to a place of exact and complicated vision.

    Mr. Brown has performed works from herein on The Tonight Show with Jay Leno and as the opening act for rock bands such as Cold War Kids and The White Stripes. It contains 204 pages of work spanning 1994-2004. Derrick Brown's large cult following has sent him on tours through twelve countries. He continues to tour to this day. Paperback. www.brownpoetry.com

    My emotions have bled out on each and every page with the ink of my pen. Your eyes will discover my soul. Your fingers casually flipping through my mind. I hope you find each delicate word as captivating as the stars. And I hope a piece of you feels the things I felt when creating this art. - 2:00 am This modern poetry book is an exploration of love, heartache, relationships, loss, finding one's self, and learning to love the life you've been given. 2am Thoughts is a poetry book similar to some titles such as milk and honey by Rupi Kaur and Buried Light by Beau Taplin.

    in the epic tale of your life, you are the most important character while everyone is but a forgotten footnote. even the prince.

    

    In her second book, Sierra DeMulder examines her childhood in a small town, heartache, loss, and the possibility of transcending suffering, aided by the voice of her own genius. His character appears throughout the book, providing charming commentary and biting insight on the young author's creative process and emotional path.

    Within the first pages, Amit Majmudar asserts the claims of both the self and the other: the title poem shows us the place of an Indian American teenager in the bland surround of a mostly white peer group, partaking of imagery from the poet’s Hindu tradition; the very next poem is a fanciful autobiography, relying for its imagery on the religious tradition of Islam. From poems about the treatment at the airport of people who look like Majmudar (“my dark unshaven brothers / whose names overlap with the crazies and God fiends”) to a long, freewheeling abecedarian poem about Adam and Eve and the discovery of oral sex, Dothead is a profoundly satisfying cultural critique and a thrilling experiment in language. United across a wide range of tones and forms, the poems inhabit and explode multiple perspectives, finding beauty in every one.

    Every woman should know the feelings of being loved and radiating those feelings back to her mate. This is a beautiful expression of heartfelt emotion using short, gratifying sentiments. If there is a lover in you, you will not get enough of "Her."