Rich with historical context and a deeply engaging personal narrative.

        In Liz Howard’s wild, scintillating debut, the mechanisms we use to make sense of our worlds – even our direct intimate experiences of it – come under constant scrutiny and a pressure that feels like love. What Howard can accomplish with language strikes us as electric, a kind of alchemy of perception and catastrophe, fidelity and apocalypse. The waters of Northern Ontario shield country are the toxic origin and an image of potential. A subject, a woman, a consumer, a polluter; an erotic force, a confused brilliance, a very necessary form of urgency – all are loosely tethered together and made somehow to resonate with our own devotions and fears; made “to be small and dreaming parallel / to ceremony and decay.” Liz Howard is what contemporary poetry needs right now.

    There is the sense of the speaker as a cartographer of familiar spaces, of land he has never left or relationships that have stayed with him for years, and always with the newness of an alien or stranger. Acutely attuned to the heritage of Greco-Roman myth, Wilson writes through characters such as the Basilisk and the Minotaur, emphasizing the intense loneliness these characters experience from their uniqueness. For the racially ambiguous speaker of these poems, who is both black and not black, who has lived between the American South and the Midwest, there are no easy answers. From the fields of Kentucky to the pigeon coops of Chicago, identities and locations blur―the pastoral bleeds into the Afrofuturist, black into white and back again.

    She brought discussions of gender, race, and class to the forefront of poetical discourse, pushing formal boundaries and consistently examining both self and society.This collected volume traces the evolution of her poetry, from her earliest work, which was formally exact and decorous, to her later work, which became increasingly radical in both its free-verse form and feminist and political content. The entire body of her poetry is on display in this vast volume, including the National Book Award–winning Diving Into the Wreck and her prize-winning Atlas of the Difficult World.The Collected Poems of Adrienne Rich gathers and memorializes all of her boldly political, formally ambitious, thoughtful, and lucid work, the whole of which makes her one of the most prolific and influential poets of our time.

    Here in this exciting and totally original book of poems the narrator corresponds with L. about her hidden passions, her relationship with her husband and adolescent daughters, lost loves, and erotic fantasies. Kimiko Hahn's collection takes shape as a series of wide-ranging correspondences that are in turn precocious and wise, angry and wistful. Borrowing from both Japanese and Chinese traditions, Hahn offers us an authentic and complex narrator struggling with the sorrows and pleasures of being a woman against the backdrop of her Japanese-American roots.

    Wright incorporate elements of disjunction and odd juxtaposition in their exploration of unfolding context. "In my book," she writes, "poetry is a necessity of life. It is a function of poetry to locate those zones inside us that would be free, and declare them so."

    The poem describes coming to terms with his loss through the lens of her translation of Poem 101 by Catullus “for his brother who died in the Troad.” Nox is a work of poetry, but arrives as a fascinating and unique physical object. Carson pasted old letters, family photos, collages and sketches on pages. The poems, typed on a computer, were added to this illustrated “book” creating a visual and reading experience so amazing as to open up our concept of poetry.

    Reaching inwards to explore the self; reaching back to explore what made us who we are.In this collection of fifty poems, Elisabeth Hewer ponders love and the world, whilst tackling the inexplicable desires and dangers that thread through our daily lives.At times hopeful, at times despairing, her poems ruminate on all the things we comes up against, even if, on occasion, it’s only ourselves.

    Sin's first book of poetry.

    In this virtuosic array of poems, lists, shards, and sequences, Sharif assembles her family’s and her own fragmented narratives in the aftermath of warfare. Those repercussions echo into the present day, in the grief for those killed, in America’s invasions of Afghanistan and Iraq, and in the discriminations endured at the checkpoints of daily encounter.At the same time, these poems point to the ways violence is conducted against our language. Throughout this collection are words and phrases lifted from the Department of Defense Dictionary of Military and Associated Terms; in their seamless inclusion, Sharif exposes the devastating euphemisms deployed to sterilize the language, control its effects, and sway our collective resolve. But Sharif refuses to accept this terminology as given, and instead turns it back on its perpetrators. “Let it matter what we call a thing,” she writes. “Let me look at you.”

    . .Taking as its starting point the classic 'wheel of balance' life-coach model, this beautifully packaged collection of extracts and short poems gathers wisdom old and new in a perfect gift for anyone who needs comfort in this f**ked up world of ours.'This is not a poetry book as you know it, this is a life raft.' Emerald Street on Poems for a World Gone to Sh*t.

    After being orphaned as a young girl, Asghar grapples with coming-of-age as a woman without the guidance of a mother, questions of sexuality and race, and navigating a world that put a target on her back. Asghar's poems at once bear anguish, joy, vulnerability, and compassion, while exploring the many facets of violence: how it persists within us, how it is inherited across generations, and how it manifests in our relationships with friends and family, and in our own understanding of identity. Using experimental forms and a mix of lyrical and brash language, Asghar confronts her own understanding of identity and place and belonging.

    Here, an angel, hastily thrown together by his fellow residents of Heaven, plummets to Earth in his first moments of consciousness. Jim Limber, the adopted mixed-race son of Jefferson Davis, wanders through the afterlife, reckoning with the nuances of America’s, as well as his own, racial history. Sometimes I Never Suffered is a search for purpose and atonement, freedom and forgiveness, imagining eternity not as an escape from the past or present, but as a reverberating record and as the culmination of time’s manifold potential to mend.

    "But there is wisdom/ in the hour in which a boy/ sits in his room listening," says the first poem, and Lee's silent willingness to step outside himself imbues Rose with a rare sensitivity. The images Lee finds, such as the rose and the apple, are repeated throughout the book, crossing over from his father's China to his own America. Every word becomes transformative, as even his father's blindness and death can become beautiful. There is a strong enough technique here to make these poems of interest to an academic audience and enough originality to stun readers who demand alternative style and subject matter. — Rochelle Ratner, formerly Poetry Editor, "Soho Weekly News," New York

    While Ally has four children and a cozy home life, Miranda is child-free, married to a millionaire, and living in an astounding show home. Ally gave up trying to compete years ago, so she is shocked when Miranda asks her if she will help provide the one thing that is missing from her perfect life: a baby. Ally has every sympathy for Miranda's infertility problems, but she wonders if she can have a baby and hand it over to someone else, even if that person is her own sister.