With each successive book her drive to leave behind what came before has grown more fierce, the force of her gaze fixed on what has yet to be imagined. She invented a form to accommodate this need, the book-length sequence of poems, like a landscape seen from above, a novel with lacunae opening onto the unspeakable. The reiterated yet endlessly transfigured elements in this landscape—Persephone, a copper beech, a mother and father and sister, a garden, a husband and son, a horse, a dog, a field on fire, a mountain—persistently emerge and reappear with the dark energy of the inevitable, while at the same time are shot through with the bright aspect of things new-made.              From the outset (“Come here / Come here, little one”), Gluck’s voice has addressed us with deceptive simplicity, the poems in lines so clear we “do not see the intervening fathoms.”  From within the earth’sbitter disgrace, coldness and barrennessmy friend the moon rises: she is beautiful tonight, but when is she not beautiful?To read these books together is to understand the governing paradox of a life lived in the body and of the work wrested from it, the one fated to die and the other to endure.

    “To all the loves I've weathered on the way to where I am...and especially to the ones who keep checking to see if I've written about them.” Morgan Nikola-Wren, author of “Magic with Skin On,” returns with her second poetry collection, an honest, amiable tribute to lovers turned strangers.

    Extracting the Stone of Madness: Poems 1962–1972 comprises all of her middle to late work, as well as a selection of posthumously published verse. Obsessed with themes of solitude, childhood, madness and death, Pizarnik explored the shifting valences of the self and the border between speech and silence. In her own words, she was drawn to "the suffering of Baudelaire, the suicide of Nerval, the premature silence of Rimbaud, the mysterious and fleeting presence of Lautréamont,” as well as to the “unparalleled intensity” of Artaud’s “physical and moral suffering.”

    Her new poetry is introspective and personal in tone, but wide-ranging in topic. In poem after poem, she casts her unique imagination and unyielding, observant eye over the landscape of a life carefully and intuitively lived.While many are familiar with Margaret Atwood’s fiction—including her groundbreaking and bestselling novels The Handmaid’s Tale, The Testaments, Oryx and Crake, among others—she has, from the beginning of her career, been one of our most significant contemporary poets. And she is one of the very few writers equally accomplished in fiction and poetry.  This collection is a stunning achievement that will be appreciated by fans of her novels and poetry readers alike.

    It tells a story of love, loss, and rebirth.

    A beautiful little book of short, simple, classic and contemporary poems to dip into, to make life feel better.From Shakespeare and Shelley to Lemn Sissay and Kate Tempest, poets have always been the best at showing us we're not alone, however sh*t things might seem.Funny, reflective, romantic and life-affirming - here is an anthology of poems to remind you to keep on looking at the stars: from that first 'what the f*ck' moment to empowering you to do something about this sh*t and ultimately realising that life is still beautiful after all.Rediscover old favourites and find some new treasures - you might be surprised just how much poetry can help.

    As the King’s Blade, she is the most talented spy in the kingdom. And the King’s favored assassin. When a mysterious figure called the Shadow starts making moves against the Crown, Keera is forced to hunt the masked menace down.She crosses into the magical lands of the Fae, trying to discern if her enemy is Mortal, Elf, or a Halfling like her. But the Faeland is not what it seems, and neither is the Shadow. Keera is shocked by what she discovers and can’t help but wonder who her enemy truly is…The King that destroyed her people? The Prince that tortures them? Or the Shadow that threatens her place at court?As she searches for answers, Keera is haunted by a promise she made long ago. A promise not only to save herself but an entire kingdom.

    Vincent Millay defined a generation with her passionate lyrics and intoxicating voice of liberation. Edited by Millay biographer Nancy Milford, this Modern Library Paperback Classics collection captures the poet’s unique spirit in works like Renascence and Other Poems, A Few Figs from This-tles, and Second April, as well as in “The Ballad of the Harp-Weaver” and eight sonnets from the early twenties. As Milford writes in her Introduction, “These are the poems that made Edna St. Vincent Millay’s reputation when she was young. Saucy, insolent, flip, and defiant, her little verses sting the page.”

    But in the words of editor Honor Moore, what strikes the contemporary reader is not the sophistication of Lowell's feminist or antiwar stances, but the bald audacity of her eroticism. Her search for an imagist poetry that is hard and clear, never blurred nor indefinite, found its purest expression in sensual love poems that bristle with lyric intensity. This new selection explores Lowell's full formal range, including cadenced verse, polyphonic prose, narrative poetry, and adaptations from the Chinese, and gives a fresh sense of the passion and energy of her work.

    Forced to move to Boston from sunny California for the rest of their senior year, each girl struggles with secrets their parents’ death has brought to light, and with their uncertainty about the future. Instead of bringing them closer, it feels like the wave has torn the sisters apart. Hannah is a secret poet who wants to be seen, but only knows how to hide. The pain pills she stole from her dead father hurl her onto the shores of an addiction she can’t shake and a dealer who turns her heart upside down. When it’s clear Hannah’s drowning, Mae, a budding astronaut suddenly launched into an existential crisis—and unexpected love—must choose between herself and the only family she has left.

    the broken hearted soul in need of encouragement. let me remind you who you truly are. you are the power of nature, waiting to take the world by storm. this book of poetry will be the fire that ignites your soul and passionf or life.

    Not so with Daphne Gottlieb. In Why Things Burn, Gottlieb tackles sexuality, lesbian issues, rape, urban life, and a host of other topics with the same power of her live performances.

    And someone will die.#1 New York Times bestselling author Ellen Hopkins tackles gun violence and white supremacy in this compelling and complex novel.People kill people. Guns just make it easier.A gun is sold in the classifieds after killing a spouse, bought by a teenager for needed protection. But which was it? Each has the incentive to pick up a gun, to fire it. Was it Rand or Cami, married teenagers with a young son? Was it Silas or Ashlyn, members of a white supremacist youth organization? Daniel, who fears retaliation because of his race, who possessively clings to Grace, the love of his life? Or Noelle, who lost everything after a devastating accident, and has sunk quietly into depression?One tense week brings all six people into close contact in a town wrought with political and personal tensions. Someone will fire. And someone will die. But who?

    One day, I might perhaps become something so small and insignificant to you that you only think of me as often as you think of the little particles of dust that you can see floating around the window in the late afternoon sun.If I'm lucky enough, you'll think of me as often as never thinking of me again at all.

    Jeanann Verlee's award-winning debut collection is a series of narratives, prayers, and conjurings which address gender, sex, race, poverty, heartbreak, and survival with such stark intimacy, you will find yourself living inside. These poems cannot possibly be about you, yet they are. They cross boundaries and reclaim hope. They are as the opening poem suggests, nothing short of communion.