Direct, humorous and disquieting, Satellite further develops the unique sensibility of an important young poet.

    Highly recommended."—Library Journal"Intimate and hypnotic."—Ploughshares"Levin has the skilled ear, magnificent tongue, and fierce mind of the truly prophetic."—Rain Taxi"Levin's work is phenomenological; it details how it feels to be an embodied consciousness making its way through the world."—Boston Review"Death is the new and unshakeable lens through which I see," writes Dana Levin about her third book, in which she confronts mortality and loss in subjects ranging from Tibetan Buddhist burial practices to Aztec human sacrifice. Shaped by dreams and "the worms and the gods," these poems are a profound investigation of our inescapable fate. As Louise Glück has said: "Levin's animating fury goes back deeper into our linguistic and philosophic history: to Blake's tiger, to the iron judgments of the Old Testament."They took you in an ambulance even though you were dead,they took youand my sister saidWhy are you saving her if she is dead?     shey shey—Curve of sky a crescent blade.Vultures wheeling     on thermal parapets, shunyata,     void that flays—Yak butter,     barley flour and tea: you watch him     make the paste.Dana Levin's debut volume In the Surgical Theatre won the prestigious APR/Honickman First Book Prize. She teaches creative writing at the University of New Mexico and in the Warren Wilson College MFA Program. She lives in Santa Fe, New Mexico.

    "STARS OF THE NIGHT COMMUTE haunts in three dimensions, knit by a below-words rumble in the sure rhythm of dreams"—Annie Finch. "Bozicevic's poetry has everything—a mastery of language, a distinct and singular voice and a worldview so visionary and all-encompassing, so as to both terrify and astound"—Noelle Kocot. "How does she do it?"—Eileen Myles. "Absolutely anything can happen next but whatever it is, it will be perfect.... She is able to stretch language to its most ineffable and musical limits while maintaining a masterful grasp of the colloquial.... She is able to perceive with the eyes of language—then render with lyrical immediacy—the experience of our collective sleepwalking soul, who may well soon awaken to discover that its terror was not a dream"—Franz Wright.

    Among the poems he left behind are a particularly unsettling four that feature the mysterious Robinson: both a prototypical member of the smart set—masking his desperation with urbane savoir-faire—and an alter ego for the troubled Kees himself.In ROBINSON ALONE, Kathleen Rooney performs a bold act of literary mediumship, conjuring Kees through his borrowed character to sketch his restless journey across locales and milieus—New York, San Francisco, the highways between—and to evoke his ambitions, his frustrations, and his skewed humor. The product of a decade-long engagement with Kees and his work, this novel in poems is not only a portrait of an under-appreciated genius and his era, but also a beam flashed into haunted boiler-rooms that still fire the American spirit, rooms where energy and optimism are burnt down to ash.

    Each of the book's seven sections is devoted to a particular art form--film, photography, painting, the novel, architecture, music, and theory--and includes both text and found photographs as it explores the idea of what it means to be a book in an era when reading is disappearing into a diverse array of cultural products, media formats, and aesthetic practices. Seven Controlled Vocabularies will be available in a variety of print and electronic book delivery systems and formats.

    The semi-autobiographical book is divided into two parts and takes place between two countries; Part I, “is a cloud a living thing?”, takes place during the Author’s tumultueuse teen years with tropical Florida as a backdrop. Part II, “Inside my Shell”, explores themes of transformation as the Author creates a new life in Paris, France. ​The poems in this collection explore the surreal rollercoaster of youth, the performance of identity, being an outsider and the tension between romantic idealism and the dystopic world in which the author finds herself. Her approach to her work as a visual artist is mirrored in her poetry style, which is accompanied by all original illustrations by the Author.

    It is yet another virtuosic showcase for Charles Wright's acclaimed descriptive powers, and also an inquiry into the nature of description itself, both seductive and dangerous: "a virtual world/ Unfit for the virtuous." Like his previous books, Sestets is seeded with the lyrics of old love songs and spirituals, and "there is always room to connect his highly polished poems to the world where most of us lead mundane lives" (Miami Herald). Soaring and earthy, lyrical and direct, Charles Wright is an American treasure, and his search for a truth that transcends change and death settles finally on the beauties of nature and language: "Time is a graceless enemy, but purls as it comes and goes."

    River Hymns is the lyrical journey of a young black man’s spiritual reckoning with his family history.

    Dugan’s new poems continue his career-long concerns with renewed vigor: the poet’s insistence that art is a grounded practice threatened by pretension, the wry wit, the jibes at the academic and sententious, and the arresting observations on the quotidian battles of life. All the while he peppers his poems with humorous images of the grim and daunting topics of existential emptiness.

    "With this fine new collection," says Library Journal, Martín Espada "joins the top ranks of poets anywhere"; in the words of Earl Shorris, he is "well on his way to becoming the Latino poet of his generation."

    Doughty’s poems are at once absurdist and matter-of-fact; the images he conjures are thrown into high relief through cutting wordplay. In a series of prose poems about showbiz, he reimagines Cookie Monster as a burned-out suicide, and cheesy talk-show host Joe Franklin as a cross-dressing witness to the apocalypse. And in “For Charlotte, Unlisted,” he wrenchingly tracks the elusive memory of a faded romance.

    Lyrically complex and startling—yet forthright and unflinching— these poems address rape, abortion, sex work, and other subjects frequently omitted from male-dominated literary traditions, without forsaking the pleasures of being embodied, or the value of personal freedom, of moonlight, and of hope. Throughout, the topography and mythology of California, as well as the uses and failures of language itself, are players in what it means to be a woman, a sexual being, and a trauma survivor in contemporary America.

    African & African American Studies. "I get this pinwheel relationship to wisdom & history when I read Simone White. I'm in her dream, but it's a remarkable solidly packed one informed by the quotidian rarity of for instance a prose disquisition on lotion and skin and haircare especially in winter. Like Dana Ward's, her work sends me searching. Like what part of speech is here. As I'm wondering Simone sometimes exits first, and I even feel that a real piece of her poem is adamantly not here and that is her privacy, her power & her skill so what kind of quest is it, this beautiful complex & alive work. Here's my best guess. OF BEING DISPERSED is an ur text of the fourth wave of feminism which we come to realize is ocean and women are now standing on it and amidst this clatter of voices Simone White walks." Eileen Myles "In Simone White's poetry the action is always multiple, palpable, sounding as thought, coming forward through this highly sensitized plane, sudden and hovering, exchanging centers, afflicted and added to by company. The continuous listening company demands company including imaginary self, receding boundaries, the horseman on the night's street, the live, the loved, the drunk, the words, the turnstile, the endless destructive projections people force and the rendering of that listening into irreducible depths of tone, wit, and perception constitute much of what makes OF BEING DISPERSED a masterful book. Buzzing word-love marking time beat by beat, being the ground inside and out, makes up the rest." Anselm Berrigan "Macaronic plenitude of language instantiates places and states of mind. If Edouard Glissant says that we write in the presence of all the world's languages, then we have in Simone White's OF BEING DISPERSED, an underground stream reaching the surface of the page in lines acrobatic and limber, fluent in code switch, mood shift and modes of inquiry. I read White's volume as a poetic lens on the specificities of the diaspora and the 'dispersed, ' written with baroque skepticism, feminist vision and attention to the complications of a Black yet to be storyed any/where." Erica Hunt"

    Introduction by Geof Hewitt. Alfred Starr Hamilton (1914-2005) was an American poet from Montclair, New Jersey. Though Hamilton wrote thousands of poems during his lifetime, only a small percentage of them ever found their way into print. His poems appeared in small poetry journals during the '60s, '70s and '80s; two chapbooks, The Big Parade and Sphinx; and one full-length collection, The Poems of Alfred Starr Hamilton, published by The Jargon Society in 1970. In this new volume, Ben Estes and Alan Felsenthal present a collection of Hamilton's poems from these publications, along with many of Hamilton's poems that were previously considered lost and poems from posthumously found notebooks."Hamilton is the author of spare, wry, slightly surreal poems that have, so far as I can see, no real equivalent in American English."—Ron Silliman"Alfred Starr Hamilton 'wrote to the governor of poetry / And simply signed [his] own name.' Consider this collection—assembled by two very dedicated allographers—an essential expansion on said letter. People who've encountered Hamilton's work previously will be glad for the chance to see familiar poems alongside many marvelous new ones. And how I envy first-time readers of this most generous and genuine American writer."—Graham Foust"It is a hidden world, a hushabye place that Alfred Starr Hamilton occupies, a secluded place where he is free to summon daffodils and stars, chimes and angels, thread and old-fashioned spoons. There is Hungarian damage, blue revolutionary stars, a sedge hammer (which is not a typo). He is obsessively drawn to fine metals—bronze, silver and gold. He would be golden, but can never grasp the elusive sad: 'One cloud, one day / Came as a shadow in my life / And then left, and came back again; and stayed' like "Anything Remembered" which is the title of that poem. He is too removed to see things any other way but his own. It is a silver peepshow in the wonderbush, and there is always a moon to scrape from the bottom of his view."—C. D. Wright"We are living in the Badlands. Dorothy's ruby-slippers would get you across the Deadly Desert. So will these poems."—Jonathan Williams

    With her marriage shattered, Erin Belieu sifts the wreckage for the black box, the record of disaster. Propelled by a blistering and clarifying rage, she composed at fever pitch and produced riveting, unforgettable poems, such as the ten-part sequence “In the Red Dress I Wear to Your Funeral”:I root through your remains,looking for the black box. Nothing leftbut glossy chunks, a pimp’s platinumtooth clanking inside the urn. I play youover and over, my beloved conspiracy,my personal Zapruder film—look. . .When Belieu was invited by the Poetry Foundation to keep a public journal on their new website, readers responded to the Black Box poems, calling them “dark, twisted, disturbed, and disturbing” and Belieu a “frightening genius.” All true.