How We Became Human explores its title question in poems of sustaining grace.

    Here, readers will find solace in works that are bracing and courageous, organized into such resonant headings as "Such As It Is More or Less" and "Let It Spill." From William Shakespeare and Walt Whitman to R. S. Gwynn and Jennifer Michael Hecht, the voices gathered in this collection will be more than welcome to those who've been struck by bad news, who are burdened by stress, or who simply appreciate the power of good poetry.

    With these metaphors in place, he makes clear his difficult poetic task: to delve into the past, both personal and historic, while remaining ever mindful of the potentially fatal power of language.Born and raised in Northern Ireland, where any hint of Gaelic tradition in one's speech was considered a political act, Heaney is all too aware of the dire consequences of speaking one's mind. Indeed, during times of crisis, he has been expected to appear on television and dispense political wisdom. Most often, however, he stays out of the fray and opts for a supreme sense of empathy to guide his words. As excavator--of earth, of his beloved Gaelic, of his own life--Heaney is unmatched. In "Bone Dreams", the archaeologist's task is synonymous with reaching for a cultural past: I push back through dictions, Elizabethan canopies, Norman devices, the erotic mayflowers of Provence and the ivied Latins of churchmen to the scop's twang, the iron flash of consonants cleaving the line.And in early poems like "Blackberry Picking", Heaney's images--deftly, delightfully--carry us back to childhood fields: At first, just one, a glossy purple clot Among others, red, green, hard as a knot. You ate that first one and its flesh was sweet Like thickened wine: summer's blood was in it Leaving stains upon the tongue and lust for Picking. Then red ones inked up and that hunger Sent us out with milk cans, pea tins, jam pots Where briars scratched and wet grass bleached our boots. Round hayfields, cornfields and potato drills We trekked and picked until the cans were full... Opened Ground is a pleasure and a triumph. These three decades of work confirm Heaney as one of the most important poets of his time. --Martha Silano

    Traditional fairytales are rife with cliches and gender stereotypes: beautiful, silent princesses; ugly, jealous, and bitter villainesses; girls who need rescuing; and men who take all the glory. But in this rousing new prose and poetry collection, Nikita Gill gives Once Upon a Time a much-needed modern makeover. Through her gorgeous reimagining of fairytale classics and spellbinding original tales, she dismantles the old-fashioned tropes that have been ingrained in our minds. In this book, gone are the docile women and male saviors. Instead, lines blur between heroes and villains. You will meet fearless princesses, a new kind of wolf lurking in the concrete jungle, and an independent Gretel who can bring down monsters on her own. Complete with beautifully hand-drawn illustrations by Gill herself, Fierce Fairytales is an empowering collection of poems and stories for a new generation.

    It's a portrait of a great, enormously varied, and enduring heritage. A compelling treatment of an important topic.

    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.

    Wayward nights out that don’t go as planned; the righteous anger at those men with no talent or skill or smarts who occupy the most powerful positions in the world; the strange banality of madness and, of course, the hurt and indecision of unrequited love.For every woman surviving and thriving in today’s world, for every girl who feels too much; this is a call for communion, and you are not alone.

    Containing more than fifty new poems and a generous gathering from his collections of the past decade-Horoscopes for the Dead, Ballistics, The Trouble with Poetry, and Nine Horses-Aimless Love showcases the best of his poetic maneuvers: the everyday ends in the infinite, playfulness is paired with empathy, irony gives way to wonder. Possessed of a unique voice that is at once plain and melodic, Billy Collins has managed to enrich American poetry while greatly widening the circle of its audience.

    Lorde published nine volumes of poetry which, in her words, detail "a linguistic and emotional tour through the conflicts, fears, and hopes of the world I have inhabited." Included here are Lorde's early, previously unavailable works: The First Cities, The New York Head Shop and Museum, Cables to Rage, and From a Land Where Other People Live.

    This definitive collection includes short verse published between 1913 and 1922 by Ezra Pound, D. H. Lawrence, H. D. (Hilda Doolittle), James Joyce, Wallace Stevens, William Carlos Williams, and many others.

    And best of all, the poetry that helps forge her identity.July 24My mother named me Gabriella, after my grandmother who, coincidentally, didn't want to meet me when I was born because my mother was unmarried, and therefore living in sin. My mom has told me the story many, many, MANY, times of how, when she confessed to my grandmother that she was pregnant with me, her mother beat her. BEAT HER! She was twenty-five. That story is the basis of my sexual education and has reiterated why it's important to wait until you're married to give it up. So now, every time I go out with a guy, my mom says, "Ojos abiertos, piernas cerradas." Eyes open, legs closed. That's as far as the birds and the bees talk has gone. And I don't mind it. I don't necessarily agree with that whole wait until you're married crap, though. I mean, this is America and the 21st century; not Mexico one hundred years ago. But, of course, I can't tell my mom that because she will think I'm bad. Or worse: trying to be White. Gabi is Isabel Quintero's debut novel.Named to Kirkus Reviews Best Books of 2014Named to School Library Journal Best Books of 2014

    It would take a young warrior to survive it.Cinelle Barnes was barely three years old when her family moved into Mansion Royale, a stately ten-bedroom home in the Philippines. Filled with her mother’s opulent social aspirations and the gloriously excessive evidence of her father’s self-made success, it was a girl’s storybook playland. But when a monsoon hits, her father leaves, and her mother’s terrible lover takes the reins, Cinelle’s fantastical childhood turns toward tyranny she could never have imagined. Formerly a home worthy of magazines and lavish parties, Mansion Royale becomes a dangerous shell of the splendid palace it had once been.In this remarkable ode to survival, Cinelle creates something magical out of her truth—underscored by her complicated relationship with her mother. Through a tangle of tragedy and betrayal emerges a revelatory journey of perseverance and strength, of grit and beauty, and of coming to terms with the price of family—and what it takes to grow up.

    African American Studies. Latino/Latina Studies. "Up jumps the boogie. That's almost all one needs to say. Murillo is headbreakingly brilliant. I didn't have a favorite poet for this year: Now I do. But with this kind of verve and intelligence and ferocity Murillo just might be a favorite for many years to come."—Junot Diaz"The feel of now lives in John Murillo's UP JUMP THE BOOGIE, but it's tempered by bows to the tradition of soulful music and oral poetry. The lived dimensions embodied in this collection say that here's an earned street knowledge and a measured intellectual inquiry that dare to live side by side, in one unique voice. The pages of UP JUMP THE BOOGIE breathe and sing; the tributes and cultural nods are heartfelt, and in these honest poems no one gets off the hook."—Yusef Komunyakaa

    This collection suggests that a person is like a world, full of mysteries and wonders–and equally in need of an encyclopedia, a compendium of everything known. The long title sequence offers entries such as “The Sun” (“There is one mind in all of us, one soul, / who parches the soil in some nations / but in others hides perpetually behind a veil”), “The Elephant” (“How to explain my heroic courtesy?”), “The Pigeon” (“Once startled, you shall feel hours of weird sadness / afterwards”), and “Randall Jarrell” (“If language hurts you, make the damage real”). The mysteriously emotional individual poems coalesce as a group to suggest that our natural world is populated not just by fascinating creatures–who, in any case, are metaphors for the human as Chiasson considers them– but also by literature, by the ghosts of past poetries, by our personal ghosts. Toward the end of the sequence, one poem asks simply, “Which Species on Earth Is Saddest?” a question this book seems poised to answer. But Chiasson is not finally defeated by the sorrows and disappointments that maturity brings. Combining a classic, often heartbreaking musical line with a playful, fresh attack on the standard materials of poetry, he makes even our sadness beguiling and beautiful.

     Bone. Visceral. Close to. Stark. The poems in Yrsa Daley-Ward's collection bone are exactly that: reflections on a particular life honed to their essence--so clear and pared-down, they become universal. From navigating the oft competing worlds of religion and desire, to balancing society's expectations with the raw experience of being a woman in the world; from detailing the experiences of growing up as a first generation black British woman, to working through situations of dependence and abuse; from finding solace in the echoing caverns of depression and loss, to exploring the vulnerability and redemption in falling in love, each of the raw and immediate poems in Daley-Ward's bone resonate to the core of what it means to be human. "You will come away bruised. You will come away bruisedbut this will give you poetry."