Barnett speaks from the middle of hope and confusion, carrying philosophy into the everyday. Watching a son become a young man, a father become a restless beloved shell, and a country betray its democratic ideals, the speakers try to make sense of such departures. Four lyric essays investigate the essential urge and appeal of questions that are “accursed,” that are limited—and unanswered—by answers. What are we to do with the endangered human hours that remain to us? Across the leaps and swerves of this collection, the fevered mind tries to slow—or at least measure—time with quiet bravura: by counting a lover’s breaths; by remembering a father’s space-age watch; by envisioning the apocalyptic future while bedding down on a hard, cold floor, head resting on a dictionary. Human Hours pulses with the absurd, with humor that accompanies the precariousness of the human condition.

    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.

    James Baldwin, An Original was originally published in Vogue, July 1964. Cover design by Adil Dara.

    Bilel is the French right-hand man of the most dangerous militant in the world, Abu Bakr al-Baghdadi, the Caliph of Islamic State. He offers Mélodie a way to fill the boredom in her young life: he cares about her, offers beautiful things, spiritual purpose and, in less an idyllic life. Bilel’s seduction is honey-tongued and forceful – and all Mélodie must do is join him and ISIS in their Syrian jihad. Every day he gives more detail, telling her how he drives a jeep filled with guns and bottles of the chocolate milk he loves for hundreds of miles on murderous missions of execution. Every night he lures, seduces and manipulates this vulnerable young woman.A riveting page-turner In the Skin of a Jihadist is a shocking inquiry into how technology is spreading radicalism, the lure of ISIS propaganda, and the factors that motivate young people – including many British teenagers – to join extremist wars in Syria and elsewhere.

    

    Mohi symbolises ""the hurting"" and Kabir is all about ""the healing"" that comes after it. A book written and illustrated by author,which is for everyone. for those who believe in love and compassion and for those who don't. Those who have healed and those who are still in process. Those who aren't able to move on and those who have successfully done it. It is for feminists, the activists, the believers, the gender norm shatterers.It is a gift, a book on its journey to make difference in it's reader's life.

    B is known for her amazing ability to make readers feel like they are walking beside her with every page that they turn, and this book, the follow up to the notorious "Letters To My Ex," is another testament to that. Fresh out of an intense break-up, and with her three closest friends by her side, Cici brings you with her as she learns what it means to take back control of her life, and to be her own woman. Completely raw and unfiltered, as always, she doesn't hold back. This is a story for the modern day grown woman. It will make you smile, laugh out loud, hold your breath, bite your bottom lip, and most importantly... Blush.

    But Vinia is tragically already married to Dryden's employer, Joe, manager of the Black Prince coal pit. Joe's jealousy over the growing connection between his wife and Dryden, sends Dryden into the arms of the beautiful and fiery Roberta Grant. But can Dryden ever truly forget Vinia?

    In thirty-seven poems, using a variety of dramatic voices and visual techniques, she finds meaning in unexpected places, from a tour of a doll hospital to an ad for a CD of Beethoven symphonies to an earthy exploration of toast. Gerstler’s abiding interests—in love and mourning, in science and pseudoscience, in the idea of an afterlife, in seances and magic—are all represented here. Entertaining and erudite, complex yet accessible, these poems will enhance Gerstler’s reputation as an important contemporary poet.

    Before his passing in 2018, nearing ninety, Hall delivered this new collection of self-knowing, fierce, and funny essays on aging, the pleasures of solitude, and the sometimes astonishing freedoms arising from both. He intersperses memories of exuberant days—as in Paris, 1951, with a French girl memorably inclined to say, “I couldn’t care less”—with writing, visceral and hilarious, on what he has called the “unknown, unanticipated galaxy” of extreme old age.   “Why should a nonagenarian hold anything back?” Hall answers his own question by revealing several vivid instances of “the worst thing I ever did," and through equally uncensored tales of  literary friendships spanning decades, with James Wright, Richard Wilbur, Seamus Heaney, and other luminaries.  Cementing his place alongside Roger Angell and Joan Didion as a generous and profound chronicler of loss, Hall returns to the death of his beloved wife, Jane Kenyon, in an essay as original and searing as anything he's written in his extraordinary literary lifetime.

    In these poems, Justin Phillip Reed experiments with language to explore inequity and injustice and to critique and lament the culture of white supremacy and the dominant social order. Political and personal, tender, daring, and insightful―the author unpacks his intimacies, weaponizing poetry to take on masculinity, sexuality, exploitation, and the prison industrial complex and unmask all the failures of the structures into which society sorts us.

    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.

    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

    Her work took her to the boundary of the visible and measurable. Facts are only as interesting as the possibilities they open up to the imagination, she wrote. Her research involved dark matter - hidden mass which can be inferred only from its influence on observable objects: As if, from fireflies, one could infer the field. Her poems, too, make inferences and speculate, setting out always from meticulous observation and not deterred by a knowledge of how little we can know of the universe.

    A work of rare beauty and lyric grace, The Ground is an entire world, drawn and revealed through contemplation of the post-9/11 landscape. With musicality and precision of thought, Phillips’s poems limn the troubadour’s journey in an increasingly surreal modern world (“I plugged my poem into a manhole cover / That flamed into the first guitar”). The origin of mankind, the origin of the self, the self’s development in the sensuous world, and––in both a literal and a figurative sense––the end of all things sing through Phillips’s supple and idiosyncratic poems. The poet’s subtle formal sophistication—toggling between flair and restraint—and sense of lyric possibility bring together the hard glint of the contemporary world and the eroded permanence of the archaic one via remixes, underground sessions, Spenserian stanzas, myths, and revamped translations. These are poems of fiery intelligence, inescapable music, and metaphysical splendor that concern themselves with both lived life and the life of the imagination—equally vivid and true––as they lay the framework for Phillips’s meditations on our connection to and estrangement from the natural world.