Written as a catharsis in the months following the loss of her father in late 2016, Jessica has taken pen to page to say things he and others will never read, either because they can't, or just won't. Containing entirely new works, this is a can't miss release.

    I am not impatient—My skin will wait to greet its old complexions.I'll lie here till the world swims back again. —from "Mummy of a Lady Named Jemutesonekh"Thomas James's Letters to a Stranger—originally published in 1973, shortly before James's suicide—has become one of the underground classics of contemporary poetry. In this new edition, with an introduction by Lucie Brock-Broido and four of James's poems never before published in book form, this fraught and moving masterpiece is at last available.Letters to a Stranger is a new book in the Graywolf Poetry Re/View Series, edited by Mark Doty, dedicated to bringing essential books of contemporary American poetry back into print.

    Unfurling and unrelenting in its delivery, Candrilli has painted “the mountain” in excruciating detail. They show readers a world of Borax cured bear hides and canned peaches, of urine-filled Gatorade bottles and the syringe and all the syringe may carry. They show a violent world and its many personas. What Runs Over, too, is a story of rural queerness, of a transgender boy almost lost to the forest. The miracle of What Runs Over is that Candrilli has lived to write it at all."When Roethke said 'energy is the soul of poetry,' he might have been anticipating a book like What Runs Over, which is so full of energy it practically vibrates in your hand. Here, Candrilli’s speaker sticks their tongue 'into the heads / of venus fly traps just to feel the bite,' then later, burns holy books in the backyard and rolls around in the ashes until they become 'a painted god.' This is the verve of an urgent new poetic voice announcing itself to the world. As Candrilli writes: 'This is what I look like / when I’m trying to save myself.'"-Kaveh Akbar

    Nominated for the 1998 National Book Critics Circle Award for PoetryRecommended Reading from EmergeAn epic poem on kin estranged, the death of a brother from AIDS, and the possibility of reconciliation and love in the face of loss.

    Best of all, he's packed us in his suitcase. He represents an ever-changing population of those raised elsewhere who find themselves beckoned by the history, mystique, and magic-makers of New York City. These poems inhabit their own contradictions, and exquisitely navigate the many complicated sides of what it means to be alive. About The Author: Jon Sands has been a professional teaching and performing artist since 2007. He's a recipient of the 2009 NYC-LouderARTS fellowship grant, and has represented New York City multiple times at the National Poetry Slam. He is the Director of Poetry and Arts Education Programming at the Positive Health Project, as well as a Youth Mentor with Urban Word-NYC. His work has appeared in decomP magazine, The Millions, Suss, The Literary Bohemian, Danse Macabre, The November 3rd Club, and others. He lives in New York City, where he makes better tuna salad than anyone you know.

    "STARS OF THE NIGHT COMMUTE haunts in three dimensions, knit by a below-words rumble in the sure rhythm of dreams"—Annie Finch. "Bozicevic's poetry has everything—a mastery of language, a distinct and singular voice and a worldview so visionary and all-encompassing, so as to both terrify and astound"—Noelle Kocot. "How does she do it?"—Eileen Myles. "Absolutely anything can happen next but whatever it is, it will be perfect.... She is able to stretch language to its most ineffable and musical limits while maintaining a masterful grasp of the colloquial.... She is able to perceive with the eyes of language—then render with lyrical immediacy—the experience of our collective sleepwalking soul, who may well soon awaken to discover that its terror was not a dream"—Franz Wright.

    Among the poems he left behind are a particularly unsettling four that feature the mysterious Robinson: both a prototypical member of the smart set—masking his desperation with urbane savoir-faire—and an alter ego for the troubled Kees himself.In ROBINSON ALONE, Kathleen Rooney performs a bold act of literary mediumship, conjuring Kees through his borrowed character to sketch his restless journey across locales and milieus—New York, San Francisco, the highways between—and to evoke his ambitions, his frustrations, and his skewed humor. The product of a decade-long engagement with Kees and his work, this novel in poems is not only a portrait of an under-appreciated genius and his era, but also a beam flashed into haunted boiler-rooms that still fire the American spirit, rooms where energy and optimism are burnt down to ash.

    Poet Laureate for 2004-2006, Ted Kooser is one of America's masters of the short metaphorical poem. Dana Gioia has remarked that Kooser has written more perfect poems than any poet of his generation. Long admired and praised by other poets, Kooser is also accesible to the reader not familiar with contemporary poetry.

    These poems take the reader on surprising journeys of healing, hard-won amid personal and social vicissitudes – including triumph over addiction, and alcoholism – and open spaces in which to share in emotional, quasi-spiritual transcendence despite. Who could ask for more? Rabbit was chosen for the PBS Wild Card Choice for Winter, 2018.

    It takes Odysseus ten years to reach Ithaca after the ten-year Trojan War. In his absence, it is assumed he has died, and his wife Penelope and son Telemachus must deal with a group of unruly suitors who compete for Penelope's hand in marriage. In this Book you will also find 7 Bonus works for your enjoymentThe complete interactive table of content includes:THE ODYSSEYBonus book: THE ILIAD OF HOMERMore free Bonuses PARADISE LOST-by John MiltonTHE GOLDEN ASS-by Lucius Apuleius "Africanus"PLAYS OF SOPHOCLES•OEDIPUS THE KING • OEDIPUS AT COLONUS • ANTIGONETHE AENEID-by VirgilAll in one book elegantly formatted for ease of use and enjoyment on your Kindle device. Enjoy!

    Narrative elaboration becomes speed and song. Less embattled than earlier work, less actively violent, these new poems have, by conceding time's finalities and triumphs, acquired a dark radiance unlike anything seen before in Bidart's long career. Mortality--imminent, not theoretical--forces the self to question the relation between the actual life lived and what was once the promise of transformation. This plays out against a broad landscape. The book opens with Marilyn Monroe, followed by the glamour of the eighth-century Chinese imperial court (seen through the eyes of one of China's greatest poets, Tu Fu). At the center of the book is an ambitious meditation on the Russian ballerina Ulanova, "Giselle," and the nature of tragedy. All this gives new dimension and poignance to Bidart's recurring preoccupation with the human need to leave behind some record or emblem, a made thing that stands, in the face of death, for the possibilities of art. Bidart, winner of the 2007 Bollingen Prize in American Poetry, is widely acknowledged as one of the significant poets of his time. This is perhaps his most accessible, mysterious, and austerely beautiful book.

    By turns seductive and self-deprecating, Women in Public navigates a world where the erotics of the body and mind do battle against the constructs that would demean and define them, using lyric, fragment, humor, and repetition to create a space flexible enough to hold the many contradictions of reality. Where expectations and desires can be piled too easily upon the body, Kahn digs in her heels, writing in attempt to liberate physical form from society's confines.Praise for Women in Public:"'Do you think that you are greater than a mom?' This is an intensely honest, honestly intense poetry. Humorous, carnal, accusatory, celebratory––Women in Public tells me to get lost so I do. When I find myself later, I'm re-reading Women in Public."––Rod Smith"In these exhilarating poems, Elaine Kahn shoots from the groin, championing a ferociousness that rages against asperity while playfully seducing the reader to misbehave. Hers is a realm where oceans beat against genitals, and Hannah Wilke warms the earth. I don’t want to let go of Women in Public for I want its boldness all to myself."––Dodie BellamyAbout the Author:Musician, poet, artist, Elaine Kahn was born in Evanston, Illinois and is currently based in Oakland, California. She received an MFA from the Iowa Writers' Workshop and a BA from California College of the Arts. Kahn is the author of three poetry chapbooks, A Voluptuous Dream During an Eclipse (2012), Customer (2010), and Radiant Bottle Caps (2008), and is a contributor to Art Papers. Her music project, Horsebladder, has toured widely throughout the U.S. and Canada. She is also co-founder of the feminist puppet troop P. Splash Collective and managing editor of the small press Flowers & Cream.

    This book contains the poem “Grace”, which the Poetry Society of America chose for their Poetry in Motion series to entertain public transit passengers in major metropolitan areas.

    The poems in The Book of Endings try to make sense of, or at least come to some kind of reckoning with absence--the death of the author's mother, the absence of the beloved, the absence of an accountable god, cicadas, the dead stars arriving, the dead moon aglow in the night sky.

    It was an unusual choice—even an unpopular one—for a poet in a midcentury American literary scene that was less interested in forms. But it was the right choice, for Berryman found himself in a situation that called for the sonnet: after several years of a happy marriage, he had fallen helplessly, hopelessly in love with the young wife of a colleague.     “Passion sought; passion requited; passion delayed; and, finally, passion utterly thwarted”: this is how the poet April Bernard, in her vivid, intimate introduction, characterizes the sonnet cycle, and it is the cycle that Berryman found himself caught up in. Of course the affair was doomed to end, and end badly. But in the meantime, on the page Berryman performs a spectacular dance of tender, obsessive, impossible love in his “characteristic tonal mixture of bravado and lacerating shame-facedness.” Here is the poet as lover, genius, and also, in Bernard’s words, as nutcase.     In Berryman’s Sonnets, the poet draws on the models of Petrarch and Sidney to reanimate and reimagine the love-sonnet sequence. Complex, passionate, filled with verbal fireworks and the emotional strains of joy, terror, guilt, and longing, these poems are ripe for rediscovery by contemporary readers.