This small collection of poems explores how time influences loving another, loving yourself and loving the life you own. This quick but fulfilling read, explores these topics in three sections: the head, the heart and the lungs.

    Stone's poems blend the personal with dimensions of the larger world in a manner reminiscent of the late William Stafford. Few poets have this gift for taking the workings of ordinary life and fusing them with a poetic process that sustains intense emotion, allowing human experience to be felt through the mysteries of language.... Ruth Stone belongs to every generation of poets who have taken the responsibility to give back to the world." —The Bloomsbury Review"This volume rightly secures (Stone's) status as a sui generis treasure who has survived poverty, a lack of formal education, profound personal tragedy, and decades of obscurity to emerge as a pre-eminent American poet who is still writing vital poems at the age of ninety-three." —Harvard ReviewWhat Love Comes To, a finalist for the 2009 Pulitzer Prize in poetry, gathers nearly half a century of poems from a National Book Award-winning poet who, over the course of her career, has written in a wide range of voices and forms. Drawing from eleven previous volumes, this collection offers a trajectory through that career, presenting Ruth Stone from her early formal lyrics, through fierce feminist and political poems, to her most recent meditations on blindness and aging. Stone, at age ninety-two, returns often to the theme of loss in her work, all the while maintaining what the Vermont poet laureate nominations committee calls “a sense of survival surpassing poverty and grief. . . . Her poetry’s irrepressible humor and intellectual curiosity are unique among contemporary American poets.”What Love Comes To is the perfect entry point into Stone’s world of serious laughter; of uncertainty and insight; of mystery and acceptance.When I forget to weep,I hear the peeping tree toadscreeping up the bark.Love lies asleepand dreams that everythingis in its golden net;and I am caught there, too,when I forget.A recipient of the National Book Award and the National Book Critics Circle Award, Ruth Stone has taught at numerous American universities. The author of eleven books of poetry, she has lived in Vermont since 1957.

    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.

    52 laws of love by Himanshu Goel (author of A Rational Boy in Love) is a journey of love in 52 poems through all its aspects, from the honeymoon, to the sacrifices, to the bitter end and forever after.

    tr Rosmarie Waldrop, second of 2-vol set

    Edited by Lee Ann Brown. SONNETS, first published in 1989 as Tender Buttons Number 1 is widely considered to be one of the most generative and innovative works of contemporary American poetry, radically rethinking the traditional sonnet form. This expanded 25th Anniversary edition includes a new preface by Bernadette Mayer, an editor's note by Tender Buttons Press publisher Lee Ann Brown, and a selection of previously unpublished archival material including the Skinny Sonnets, described as Hypnogogic Word Playing in Reporters' Notebooks which further expand our map of Bernadette Mayer's ground- breaking works of writing consciousness.

    In this collection, you will find images and poems that relate to life, love, loss, gain, realisation and the final thing called Moksha. The poems may sound philosophical, intellectual and emotional from time to time. You will also find a surprise at the end of this wonderful poetry collection if you read everything carefully. And, like the previous poetry collection by Alok Mishra, this book will also not take more than 15 minutes from your daily routine. However, you may want to read the book at least twice or maybe thrice to understand what do the poems mean. Alok has devised a style of his own to communicate his thoughts to the readers of Indian English poetry. A 4-3-6 style has perfectly settled with this collection having 14 wonderful poems. Here are some reviews for Moving for Moksha:The collection of poems takes us on a journey to ponder the truth and fallacies of life that come our way. The poems are mostly mystic in nature, having more than what it seems to be... you will certainly love it if you have a taste for English poetry.by: Amit Mishra (founder of The Indian Authors & Indian Book Lovers)...beauty, truth, eternity.... a very close observation of life, these poems sneak into nothing but the philosophy of life that people confront during life-span.by: Ravi Kumar, Research Scholar with expertise in Indian English Literature, a writer for many online literary platformsThe poems reflect disillusion, rejection, realisation and answer to the final call – Moksha, as called in Indian philosophy. The innovative form with a 4-3-6 pattern looks very apt for the emotional and intellectual and also cryptic nature of the poems in this collection.The Last Critic

    The poems in this book are polyphonic: they juxtapose the discourses of science and religion, Hollywood and the occasional psychotic stranger. The title poem, which appears in Best American Poetry 2002, leads off with a "sphinx" asking "Does a road / run its whole length / at once? / Does a creature / curve to meet / itself?" Armantrout's work, with its careful syntax bordering on plain speech and meticulously scored short lines, is always struggling with the problem of consciousness, its blindspots and double-binds. The poems whirl like shifting and scattered pieces of the present moment. They attempt to "make sense" of our lives while acknowledging the depth of our self-deception and deception.

    After publishing two extraordinary poetry collections and six satirical novels she turned her back on the literary world after a series of personal tragedies and medical crises which made her question the value of literature and embark on a restless, self-torturing spiritual quest. This involved totally renouncing poetry, and suppressing her own books. Interviewed earlier in 1967, she spoke of her direct literary forebears as Baudelaire and Rimbaud: They were both poets of the modern metropolis as we know it and no one has bothered to learn what there is to be learned from them… The main duty of the poet is to excite to send the senses reeling.’ Her poetry published in Notes on Cafés and Bedrooms (1963) and Iliad of Broken Sentences (1967) is exuberantly sensuous, a hymn to sixties hedonism set amid the bohemian nighttime world of a London reinvented through French poetic influences and sultry Oriental imagery. She was Bedouin of the London evening’ in one poem: I have been young too long, and in a dressing-gown / My private modern life has gone to waste.’ All her published poetry is now available in this edition for the first time in over 40 years, along with a selection of her prose. Poets, of course, as we all know, are either of their time or for all time. Rosemary Tonks was both. She wasn’t just a poet of the sixties she was a true poet of any era but she has sent us strange messages from them, alive, fresh and surprising today… there is possibly no other poet who has caught with such haughty, self-ironising contempt, the loucheness of the period, or the anger it could touch off in brooding bystanders… Rosemary Tonks’ imagery has a daring for which it’s hard to find a parallel in British poetry.’ John Hartley Williams, Poetry Review.

    Her prize: A rent-free year in a cottage in the Berkshires, where she could finish a first book. But Taylor—outside the city for the first time in nearly a decade, and trying to conceive her first child—found herself alone. To break up her days, she began to intern on a small farm, planting leeks, turning compost, and weeding kale. In this calendric cycle of 28 poems, Taylor describes the work of this year, considering what attending to vegetables on a small field might achieve now. Against a backdrop of drone strikes, “methamphetamine and global economic crisis,” these poems embark on a rich exploration of season, self, food, and place. Threading through the farm poets—Hesiod, Virgil, and John Clare—Taylor revisits the project of small scale farming at the troubled beginning of the 21st century. In poems full of bounty, loss and the mysteries of the body, Taylor offers a rich, severe, memorable meditation about what it means to try to connect our bodies and our time on earth.

    I believe everyone should understand that we all go through things in life, it's all about how we react and recover from them. If you've felt as though you didn't have a voice in a situation, or you weren't sure if you'd get through it "fluid." may be the book for you.

    During this period Harrison wrote Legends of the Fall--a collection of novellas--and two novels: Farmer and Warlock. He evolved a new approach to his poetry, hoping to avoid both academic formalism and the vogue of hygienic confessions. The voice of the selected poems speaks with the courage, intelligence, and wit that is Harrison's alone."Jim Harrison grew up in northern Michigan and shares with that other Michigan poet, Theodore Roethke, not only the longing to be part of the instinctual world, but also the remarkable knowledge of plant and animal life that comes only with long familiarity and close observation. This raises an incidental question: How many more poets of this kind will we see in the United States? It is a melancholy thought that Mr. Harrison may be the last of the species."--Poetry

    With compassionate wit and insight, Campbell McGrath transports us on a journey through contemporary society, transforming the commonplace into scenes of profound revelation. From late-night bars to early-morning diners, suburban malls to the Mojave Desert, McGrath's meticulously detailed vision defines singular moments of joy and melancholy.

    The poet has said of himself and his work: "I am not an experimentalist or an inventor, but a derivative poet, drawing my art from the resources given by a generation of masters––Stein, Williams, Pound; back of that by the generations of poets that have likewise been dreamers of the Cosmos as Creation and Man as Creative Spirit; and by the work of contemporaries: Zukofsky, Olson, Creeley and Denise Levertov."

    In his second collection he engages love, mortality, and life in New York City after 9/11. The title piece, a prose-poem synopsis of an unwritten novel, turns all literary forms upon themselves with savvy and flair, while the elegy cycle “Twenty Poems for Noelle” is a compassionate song for a suffering friend.Noelle, somewhere in an apartmentsymphony number twolistens to you breathing.Broken glass in the street.What was once unglowing glows. . . The Pajamaist is an intimate book filled with sly wit and an ever-present, infectious openness to amazement. Zapruder’s poems are urbane and constantly, curiously searching.