Includes "There's a certain slant of light," "Because I could not stop for death," "It was not death for I stood up."

    Call Us What We Carry is Gorman at her finest. Including “The Hill We Climb,” the stirring poem read at the inauguration of the 46th President of the United States, Joe Biden, and bursting with musical language and exploring themes of identity, grief, and memory, this lyric of hope and healing captures an important moment in our country’s consciousness while being utterly timeless.The breakout poetry collection by #1 New York Times bestselling author and presidential inaugural poet Amanda Gorman.

    Each of Levin's poems is an astonishing investigation of human darkness, propelled by a sensuous syntax and a desire for healing."This is the language of a prophet: Levin's art, in this book certainly, takes place in a kind of mutating day of judgment: it means to wipe a film from our eyes. It is a dare, a challenge, and, for all its considerable beauty, the opposite of the seductive...Sensuous, compassionate, violent, extravagant: what an amazing debut this is, a book of terrors and marvels."-Louise Gluck, from the IntroductionDana Levin was raised in Lancaster, California, in the Mojave Desert. She has received fellowships, grants, and awards from the National Endowment for the Arts, the Academy of American Poets, the Vermont Arts Council, and New York University, where she received her M.F.A. She lives in New Mexico and teaches Creative Writing at the College of Santa Fe.

    In poems that forge their own styles and strategies, we experience dialogues between the written word and other art forms. Within this dialogue we hear Ben Jonson, we meet police K-9s, and we find children negotiating a sense of the world through a father's eyes and through their own.

     Bishop was unforgiving of fashion and limited ways of seeing and feeling, but cast an even more trenchant eye on her own work. One wishes this volume were thicker, though the perfections within mark the rightness of her approach. The poems are sublimely controlled, fraught with word play, fierce moral vision (see her caustic ballad on Ezra Pound, "Visits to St. Elizabeths"), and reticence. From the surreal sorrow of the early "Man-Moth" (leaping off from a typo she had come across for "mammoth"), about a lonely monster who rarely emerges from "the pale subways of cement he calls his home," to the beauty of her villanelle "One Art" (with its repeated "the art of losing isn't hard to master"), the poet wittily explores distance and desolation, separation and sorrow.

    Within the first pages, Amit Majmudar asserts the claims of both the self and the other: the title poem shows us the place of an Indian American teenager in the bland surround of a mostly white peer group, partaking of imagery from the poet’s Hindu tradition; the very next poem is a fanciful autobiography, relying for its imagery on the religious tradition of Islam. From poems about the treatment at the airport of people who look like Majmudar (“my dark unshaven brothers / whose names overlap with the crazies and God fiends”) to a long, freewheeling abecedarian poem about Adam and Eve and the discovery of oral sex, Dothead is a profoundly satisfying cultural critique and a thrilling experiment in language. United across a wide range of tones and forms, the poems inhabit and explode multiple perspectives, finding beauty in every one.

    Suffering from post-traumatic stress disorder, and unable to face a return to his family home in rural Nova Scotia, he goes in search of freedom, change, anonymity and repair. We follow Walker through a sequence of poems as he moves through post-war American cities of New York, Los Angeles, and San Francisco.

    Whether focused on a lesson, a teacher, or the girls themselves as they collectively school -- or refuse to -- the poems explore ways girls are trained in the broadest sense of the word.Gossips, the second section, is a shorter sequence narrated by women as they talk about other women in a variety of isolations; these poems, told from the outside looking in, highlight a speculative voicing of all the gossips cannot know. In Early Lessons, the third section, children narrate as they also observe similarly solitary women, the children's innocence allowing them to see in farther than the gossips can. The fourth section offers studies of women and men in situations in which gender, with all of its complexities, figures powerfully.The follow-up to the Pulitzer Prize-winning collection Late Wife, Figure Studies upholds Emerson's place among contemporary poetry's elite.The Mannequin above Main Street MotorsWhen the only ladies' dress shop closed, she was left on the street for trash, unsalvageable, one arm missing, lost at the shoulder, one leg at the hip. But she was wearing a blue-sequined negligee and blonde wig, so they helped themselves to her on a lark -- drunken impulse -- and for years kept her leaning in a corner, beside an attic window, rendered invisible. The dusk was also perpetual in the garage below, punctuated only by bare bulbs hung close over the engines. An oily grime coated the walls, and a decade of calendars promoted stock-car drivers, women in dated swimsuits, even their bodies out of fashion. Radio distorted there; cigarette smoke moaned, the pedal steel conceding to that place a greater, echoing sorrow. So, lame, forgotten prank, she remained, back turned forever to the dark storagebehind her, gaze leveled just above anyone's who could have looked up to mistake in the cast of her face fresh longing -- her expression still reluctant figure for it.

    Fountain’s voice is at once deep and loose, enacting the dawning of spiritual insight, but without leaving the daily world, matching the feeling of the “pure holiness in motherhood” with the “thuds the giant dumpsters make behind the strip mall when they’re tossed back to the pavement by the trash truck.” In these wise, accessible, deeply emotional poems, she captures a contemporary longing for spiritual meaning that’s wary of prepackaged wisdom—a longing answered most fully by attending to the hustle and bustle of everyday life.

    He's having a hard time getting started because his career is floundering, his girlfriend Roz has recently left him, and he is thinking about the great poets throughout history who have suffered far worse and deserve to feel sorry for themselves. He has also promised to reveal many wonderful secrets and tips and tricks about poetry, and it looks like the introduction will be a little longer than he'd thought. What unfolds is a wholly entertaining and beguiling love story about poetry: from Tennyson, Swinburne, and Yeats to the moderns (Roethke, Bogan, Merwin) to the staff of The New Yorker, what Paul reveals is astonishing and makes one realize how incredibly important poetry is to our lives. At the same time, Paul barely manages to realize all of this himself, and the result is a tenderly romantic, hilarious, and inspired novel.

    The poems weave between personal narrative and pop-cultural criticism, examining and confronting modern media, consumption, feminism, and Blackness. This collection explores femininity and race in the contemporary American political climate, folding in references from jazz standards, visual art, personal family history, and Hip Hop. The voice of this book is a multifarious one: writing and rewriting bodies, stories, and histories of the past, as well as uttering and bearing witness to the truth of the present, and actively probing toward a new self, an actualized self. This is a book at the intersections of mythology and sorrow, of vulnerability and posturing, of desire and disgust, of tragedy and excellence.

    The poems’ subject is the natural world, but their images would never occur in nature. This book is serious and funny at the same time, like a big grave with a clown lying in it.

    . . focus is so unwaveringly aimed toward the transcendent—not God, but the beloved—that we seem to slip into a less cluttered time.”—The Virginia Quarterly Review, “Editor’s Choice”"Mary Oliver calls him '...a Walt Whitman without an inch of Whitman's bunting or oratory.' In these pages, he is more nearly a modern-day Rumi. This is not primarily a poetry of image, but of ideas, perfectly distilled. Orr brings together the monumental themes of love and loss in small, spare, and exquisite koan-like poems."—ForeWord"...magnetic poems that open the world of lyrical verse to the larger questions of what is true and timeless." —The Bloomsbury ReviewGregory Orr continues his acclaimed project on the “beloved” with a lyrical sequence about the joys and hungers of being fully engaged in life. Through concise, perfectly formed poems, he wakes us to the ecstatic possibilities of recognizing and risking love. Mary Oliver has called this project “gorgeous,” and said that he "speaks of the events that have no larger or more important rival in our lives—of our love and our loving."If to say it onceAnd once only, then stillTo say: Yes.And say it complete,Say it as if the wordFilled the whole momentWith its absolute saying.Later for “but,” Later for “if.”NowOnly the single syllableThat is the beloved.That is the world.Gregory Orr is the author of ten books of poetry. He teaches at the University of Virginia and lives in Charlottesville.

    He delves into his youth to analyze its repercussions.

    Compulsively readable, full of fear and persistence, they resonate with the wildness and generosity of Ginsberg, Whitman, and Ted Berrigan, turning the everyday into an encompassing, harrowing, humorous, necessary vision. Beckman is, as Publishers Weekly notes, “the real thing.”Joshua Beckman is the author of numerous poetry collections, translations, and collaborative works. His awards include a NYFA Fellowship and a Pushcart Prize. He lives in Seattle and New York.