I read his work with awe and admiration.”—Ben Marcus “Joe Wenderoth's brave new poetic talent is like nothing so much as a live wire writing its own epitaph in sparks. [His poems] throb brilliantly with a sense of the 'too much.' . . . But in Wenderoth's case the too much is the too little or the too ordinary—a very remarkable discovery to have made so late in the history of poetry. Philip Larkin and a few American poets have approached it, but Wenderoth's instrument is sharper than theirs; he makes quick cuts in the meat of the ordinary, which is the meat of the impossible.”—Cal Bedient This clear-eyed new work from a favorite young poet is searching and solemn, dissatisfied with artificial condolences and pat maxims. Joe Wenderoth’s determination in the face of harsh realities is what rescues us, and him, from hopelessness. “Luck” So a screaming woke you just in time An animal’s scream, or animals’. What kind of animal it was doesn’t matter, and cannot, in any case, be determined. The point is you are saved. Your mouth has been opened. Joe Wenderoth grew up near Baltimore and is the author of five books of prose and poetry. He teaches at the University of California, Davis.

    But his resilient voice and consistent perspective is neither blaming nor didactic, and ultimately enlightening. From the shadowed corners into which we dare not look clearly, Hicok makes us witness and hero of The Legend of Light.

    The wildly inventive imagery in these cinematic pieces lodges them somewhere between the surreal and the pure symbol, colorful and smooth like the lyrics of John Ashbery or Linda Pastan. In Chelotti’s poems, diamonds talk and sheriffs balance frogs on the tips of pens.The rain says, Listen to Debussy,go ahead, Debussy will fix you.—From “Migraine Cure”The secret to including everythingis to intricately divide your mindand then, all of a sudden,undivide it.—From “Still Life on a Scrolling Background”

    Channeling "the primal vision of Hart Crane" (Harold Bloom), Adam Fitzgerald helped welcome the modernist aethetic into the twenty-first century. Part Technicolor, part nitrous oxide, Fitzgerald's chimerical poems confront "a surging ocean of sound and language" (Maureen McLane). In these forty-eight poems, he conducts a madcap symphony of language, memory, and fantasy with the "exhilarating assurance of nonstop invention" (Timothy Donnelly).

    Thanks. is an innovative book based on the recorded improvised poetic collaborations between two award-winning poets, Joshua Beckman and Matthew Rohrer. Nice Hat. Thanks. is a collection of transcriptions of these collaborations, with poems ranging from a few words to several pages.

    Beautifully crafted surfaces give way to sincere depth.Matthew Rohrer is the author of A Green Light (2004, shortlisted for the Griffin Prize), Satellite, and A Hummock in the Malookas. He has appeared on NPR’s All Things Considered and The Next Big Thing.

    Rauan Klassnik's HOLY LAND is not a book for the faint of heart. His poems--dreamlike fables that conflate the domestic and quotidian with the dangerous and the perverse--are bathed in tears and blood: a trip to the bank becomes a journey to Auschwitz; bullets and gore find equivalence in rivers, birds and lush grass. In Klassnik's startling vision, 'the world knows what you want, and it knows what you need. It brings you bodies. And it brings you a gun.--Gary Young

    When Robert Creeley died in March 2005, he was working on what was to be his final book of poetry. In addition to more than thirty new poems, many touching on the twin themes of memory and presence, this moving collection includes the text of the last paper Creeley gave—an essay exploring the late verse of Walt Whitman. Together, the essay and the poems are a retrospective on aging and the resilience of memory that includes tender elegies to old friends, the settling of old scores, and reflective poems on mortality and its influence on his craft. On Earth reminds us what has made Robert Creeley one of the most important and affectionately regarded poets of our time.

    Ashbery fans will welcome this collection of one hundred and twelve poems where the signature qualities of Ashbery's greatest work are on every page with a new intensity and power.

    In “Bhagavad Gita for Beginners: The Song of God in Simplified Prose,” author Edward Viljoen uses contemporary, simplified language to bring this inspiring work to life. That which seems to be forcing people to act in selfish--even evil--ways is really the accumulation of desires coming together in a strong, irresistible appetite for self-satisfaction. These desires are rooted in the senses, and sense information can be misleading. More powerful than the senses, though, is the mind. And more powerful than the mind is the will (or intellect), and that which is above it all,--the Real Self, that part of us not deluded by the information of the sense world. The Bhagavad Gita For Beginners: The Song Of God In Simplified Prose will inspire uninitiated readers of the Bhagavad-Gita to delve into the original text, as well as bring a newly-found clarity and perspective to those already familiar with it.

    There was a woman.There was a cross. But in factthey have hung him too high to be touched.—from "A Woman Wipes the Face of Jesus"

    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.

    It offers humorous reflection upon our species' endless attempts to transmit insight regarding our human condition.

    The Outernationale locates us "just off the grid," in an emotional and spiritual frontier, where reverie, outrage, history, and vision merge. Thinking and feeling become one in the urgent music of Gizzi's poems. Saturated with luminous detail, these original poems possess, even in their sorrowing moments, a dizzying freedom. This is both a poetry of conscience and the embodiment of a genuinely poetic consciousness. Objects, images, and their histories are caught here in their half-life, their profoundly human after-life. Gizzi has written a brilliant follow-up to Some Values of Landscape and Weather, a book hailed by Robert Creeley as "a breakthrough book in every way: for reader, for writer, and for the art."

    . . is strikingly different. Michael's poems are interior, fragmentary, and austere, often stripped down to single-word lines; they seethe with incipient violence. Matthew's are effusive, ecstatic, and all-embracing, spilling over with pop-cultural references and exuberant carnality." —The New YorkerIdentical twins Michael and Matthew Dickman once invented their own language. Now they have invented an exhilarating book of poem-plays about the fifty states. Pointed, comic, and surreal, these one-page vignettes feature unusual staging and an eclectic cast of characters—landforms, lobsters, and historical figures including Duke Ellington, Sacajawea, Judy Garland, and Kenneth Koch, the avant-garde spirit informing this book introduced by playwright John Guare."Lucky in Kansas"Judy Garland: This is always the worst partTin Man: The coming backJudy Garland: Yes, it fucking sucks, it's depressing as shitThe Lion: Well, we're lucky to still be employed at this farmStraw Man: I wouldn't call it luckyThe Lion: We were lucky to get backStraw Man: That's not really lucky either I don't think you know what lucky meansJudy Garland: It's funny what you missTin Man: The runningJudy Garland: The flyingTin Man: The flying monkeysJudy Garland: The beautiful flying monkeys above the endless emeralds the unbelievably green worldMichael Dickman and Matthew Dickman are identical twins who were born and raised in Portland, Oregon. Michael received the 2010 James Laughlin Award for his second collection Flies (Copper Canyon Press, 2011). Matthew won the prestigious APR/Honickman Award for his debut volume, All-American Poem.