Steinem has spent her life working for racial justice and women’s rights. In this interview, she speaks humorously and insightfully on everything from politics to pop culture. She reveals that the backlash she received for supporting Hillary Clinton’s 2008 presidential bid was “one of the worst experiences of my life,” and criticizes a history of feminism that forgets the deep alliances between early civil rights and women’s rights activists. Whether she’s defending Kim Kardashian from public vitriol or calling out the antiquated sexual assault policies of the U.S. military, Gloria Steinem is always engaged, always fighting for what she believes in. The interview was conducted by Salamishah Tillet, an Associate Professor of English at the University of Pennsylvania. Tillet blogs for The Nation, and is the author of Sites of Slavery: Citizenship and Racial Democracy in the Post-Civil Rights Imagination. She is also the co-founder of A Long Walk Home, a non-profit organization that uses art therapy and the visual and performing arts to end violence against girls and women. Cover design by Adil Dara Kim.

    His lines are so clear and simple."—Michael Dirda,The Washington Post“Readers [of Splitting an Order] will find ‘characters’ both strange and wonderful, animal or human. There is a sense that time is passing quickly and that everything worthy must be captured and savored, from an old couple lovingly sharing a sandwich to another sowing seed potatoes to a tribute to an old dog who waits as age and winter approach… Master of the single-metaphor poem, Kooser offers images that evolve, fluid and unforced.”—Library Journal, starred review"Wisdom, compassion, and dignity continue to mark the poetry of Ted Kooser...Splitting an Order [is] a quiet collection that honors small victories and gives reasons to be hopeful."—Elizabeth Lund, The Christian Science Monitor"Kooser's ability to discover the smallest detail and render it remarkable is a rare gift."—Bloomsbury ReviewPulitzer Prize winner and best selling poet Ted Kooser calls attention to the intimacies of life through commonplace objects and occurrences: an elderly couple sharing a sandwich is a study in transcendent love, while a tattered packet of spinach seeds calls forth innate human potential. This long-awaited collection from the former U.S. Poet Laureate—ten years in the making—is rich with quiet and profound magnificence.From "Splitting an Order":I like to watch an old man cutting a sandwich in half… and then to see him lift halfonto the extra plate that he asked the server to bring,and then to wait, offering the plate to his wifewhile she slowly unrolls her napkin and places her spoon,her knife and her fork in their proper places,then smoothes the starched white napkin over her kneesand meets his eyes and holds out both old hands to him.Ted Kooser is the author of numerous books of poetry and prose, including Delights and Shadows (Copper Canyon Press), which won the Pulitzer Prize. A former US Poet Laureate, Kooser serves as editor for "American Life in Poetry," a nationally syndicated weekly newspaper column.

    The poems mythologize family histories until they break open, using them to explore aspects of Sudan’s history of colonial occupation, dictatorship, and diaspora. Several of the poems speak to the late Egyptian singer Abdelhalim Hafez, who addressed many of his songs to the asmarani—an Arabic term of endearment for a brown-skinned or dark-skinned person. Elhillo explores Arabness and Africanness and the tensions generated by a hyphenated identity in those two worlds.No longer content to accept manmade borders, Elhillo navigates a new and reimagined world. Maintaining a sense of wonder in multiple landscapes and mindscapes of perpetually shifting values, she leads the reader through a postcolonial narrative that is equally terrifying and tender, melancholy and defiant.

    After all, he was instrumental in erasing the memories of several patients—including one he claimed to love. With a lifetime of regret stretched before him, Realm vows to set things right. Along with his friend, James Murphy, Realm will track down those he’s hurt in an attempt to give them back their lives—starting with Dallas Stone. He’s not looking for forgiveness or redemption; he’s not a hero. But Realm hopes that with each recovered past, he’ll be able to reclaim a small bit of his own.

    Taking the stage after the 46th president of the United States, Joe Biden, Gorman captivated the nation and brought hope to viewers around the globe. Her poem “The Hill We Climb: An Inaugural Poem for the Country” can now be cherished in this special gift edition. Including an enduring foreword by Oprah Winfrey, this keepsake celebrates the promise of America and affirms the power of poetry.

    

    In this virtuosic array of poems, lists, shards, and sequences, Sharif assembles her family’s and her own fragmented narratives in the aftermath of warfare. Those repercussions echo into the present day, in the grief for those killed, in America’s invasions of Afghanistan and Iraq, and in the discriminations endured at the checkpoints of daily encounter.At the same time, these poems point to the ways violence is conducted against our language. Throughout this collection are words and phrases lifted from the Department of Defense Dictionary of Military and Associated Terms; in their seamless inclusion, Sharif exposes the devastating euphemisms deployed to sterilize the language, control its effects, and sway our collective resolve. But Sharif refuses to accept this terminology as given, and instead turns it back on its perpetrators. “Let it matter what we call a thing,” she writes. “Let me look at you.”

    Like Emily Dickinson, she lived in self-imposed isolation, writing of God and lost love with a sensuality and passion that seemed to emanate from the soul.This edition of 53 works combines a number of her best-known sonnets, ballads, and shorter lyrics with her long masterpiece, the narrative fable Goblin Market. A haunting fairy tale in verse, Goblin Market was once labeled a children's poem, yet its intricate symbolism and themes of temptation, sin, and redemption mark it for an adult audience. Among other works included in this choice collection are "The Convent Threshold," "Up-hill," "Cousin Kate," "Winter: My Secret," "Maude Clare," "No, Thank You, John," and "After Death."

    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.

    With acute irony tempered by a generous curiousity, she documents life's improbability as well as its transient beauty.

    These fifteen poems, including “Death of a Lady’s Man,” “On Hearing a Name Long Unspoken,” and “The Embrace,” are drawn from across his remarkable career and appear here for the first time with his illustrations. With its lyrical intensity and sensual immediacy, Fifteen Poems offers a potent distillation of the genre-crossing genius of one of the most admired artists of our time.

    known for writing unique, raw and captivating pieces on everything from love and politics, to abuse and womanhood, catarine knows how to tug at both your heartstrings and your mind. cover art by mikaela bailey.

    It’s Rays/Mariners, and David Price is breezing through the line-up. Suddenly, in a seat a few rows up beyond the batter, Evers sees the face of someone from decades past, someone who shouldn’t be at the ballgame, shouldn’t be on the planet. And so begins a parade of people from Evers’s past, all of them occupying that seat behind home plate. Until one day Dean Evers sees someone even eerier….

    Brave in its nakedness, her work like a lucid stream enjoys itself as it keeps its surefooted course. Written with the precision only passion can ensure, the poems commend us to the gay gravity of angels. This is a collection to be indeed relished and prized.' - Theodore Weiss

    in fact most of these words i wish i didn’t write. just to the small fact of, i wish i didn’t care… but sadly i do. but if i said the words i wish i did, then they wouldn’t be my little secret, they would be words on paper in a book. they would be words taken out of context, because the world loves to take things out of context. the words i wish i said are between me and my party of a brain. because if you knew the words, then you would have such an advantage over me, and my quiet showers where i ramble on to myself about my words wouldn’t be my secret anymore. you may be able to take most of me but you’ll never be able to take all of me.