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.

    Instead, the late nineteenth century defined modern America, as Southerners, Northerners, and Westerners gradually hammered out a national identity that united three regions into a country that could become a world power. Ultimately, the story of Reconstruction is about how a middle class formed in America and how its members defined what the nation would stand for, both at home and abroad, for the next century and beyond.A sweeping history of the United States from the era of Abraham Lincoln to the presidency of Theodore Roosevelt, this engaging book stretches the boundaries of our understanding of Reconstruction. Historian Heather Cox Richardson ties the North and West into the post-Civil War story that usually focuses narrowly on the South, encompassing the significant people and events of this profoundly important era.By weaving together the experiences of real individuals—from a plantation mistress, a Native American warrior, and a labor organizer to Andrew Carnegie, Julia Ward Howe, Booker T. Washington, and Sitting Bull—who lived during the decades following the Civil War and who left records in their own words, Richardson tells a story about the creation of modern America.

    The historical body of evidence that remains from the Salem witch trials of 1692 touched the hands, mind, and imagination of poet Nicole Cooley, compelling her to seek entry to an inaccessible past of lies. The Afflicted Girls, so named after the young women who claimed to be victims of witchcraft, spans the centuries to give voice to those both audible and silent on history's pages--accusers and accused of several kinds: wife and husband, servant and master, congregant and minister, and, not least, bewitched and witch. Piercing, enchanting, Cooley's poems form a remarkable narrative, one that displays the enormous cultural power the Salem witch trials retain in twenty-first-century America.

    Writing with an audacious swagger and an iconoclastic zeal, and declaiming their verse with dramatic flourish in smoke-filled cafés, the Beats gave birth to a literature of previously unimaginable expressive range.The defining work of Allen Ginsberg and Jack Kerouac provides the foundation for this collection, which also features the improvisational verse of such Beat legends as Gregory Corso, Lawrence Ferlinghetti, Gary Snyder, and Michael McClure and the work of such women writers as Diane DiPrima and Denise Levertov. LeRoi Jones’s plaintive “Preface to a Twenty Volume Suicide Note” and Bob Kaufman’s stirring “Abomunist Manifesto” appear here alongside statements on poetics and the alternately incendiary and earnest correspondence of Beat Generation writers. Visceral and powerful, infused with an unmediated spiritual and social awareness, this is a rich and varied tribute and, in the populist spirit of the Beats, a vital addition to the libraries of readers everywhere.

    The poems gathered here are delivered by a narrator who both loves the world and has intense quarrels with it. Often set against vivid landscapes - the rural America of Lux's childhood and unidentified places south of the border - these poems speak from rivers and swamps, deserts and lawns, jungles and the depths of the sea.

    Simultaneously, this compilation unpacks the contentious relationship that exists between Róisín and her mother, her platonic and romantic heartbreaks, and the cognitive dissonance felt as a result of being so divided among her broad spectrum of identities.

    His new passion causes him to form a band, track down out-of-print records that he loves and begin to reissue them, open a record store, begin a record distribution operation as a public service, mentor a host of young musicians, and befriend all manner of punk luminaries along the way. Slowly, his life’s pursuit pushes him to the point of personal ruination and ultimately redemption.

    “What is a body in a stolen country,” Yoon asks. “What is right in war.”Moving readers through time, space, and different cultures, and bringing vivid life to the testimonies and confessions of the victims,Yoon takes possession of a painful and shameful history even while unearthing moments of rare beauty in acts of resistance and resilience, and in the instinct to survive and bear witness.

    The misunderstandings caused by language recur throughout the book: contemplating what "yes" means in different cultures; watching Nickelodeon's "Nick at Nite" with a husband who grew up in the Philippines and never saw The Patty Duke Show; misreading another poet's title "The Difference Between Pepsi and Coke" as "The Difference Between Pepsi and Pope" and concluding that "Pepsi is all for premarital sex. / The Pope won't stain your teeth." Misunderstandings also abound as characters mingle with others from different classes. In "Cockroaches," a father-in-law refers to budget-minded American college students backpacking in Europe as cockroaches, not realizing his daughter-in-law was once, not so long ago, such a student/roach herself.With welcome levity and refreshing irreverence, The Star-Spangled Banner addresses issues of ethnicity, class, and gender in America.

    Direct, humorous and disquieting, Satellite further develops the unique sensibility of an important young poet.

    Want more poems? Wait till I’m dead. —Allen Ginsberg, August 8, 1990, 3:30 A.M.The first new Ginsberg collection in over fifteen years, Wait Till I’m Dead is a landmark publication, edited by renowned Ginsberg scholar Bill Morgan and introduced by award-winning poet and Ginsberg enthusiast Rachel Zucker. Ginsberg wrote incessantly for more than fifty years, often composing poetry on demand, and many of the poems collected in this volume were scribbled in letters or sent off to obscure publications and unjustly forgotten. Wait Till I’m Dead, which spans the whole of Ginsberg’s long writing career, from the 1940s to the 1990s, is a testament to Ginsberg’s astonishing writing and singular aesthetics.Following the chronology of his life, Wait Till I’m Dead reproduces the poems together with extensive notes. Containing 104 previously uncollected poems and accompanied by original photographs, Wait Till I’m Dead is the final major contribution to Ginsberg’s sprawling oeuvre, a must-read for Ginsberg neophytes and longtime fans alike.

    Facing the sudden loss of his father, Young pays homage to his significant clan: to aunties and double cousins, and a great-grandfather's grave in a segregated cemetery. At the book's heart is a series of highly original food odes, poems that grow out of hunger and pain and find a way to satisfy both. Whether in Ode to Pork (I know you're the blues / because loving you / may kill me) or in addresses to collard greens, catfish, and kitchen grease, Young counts his losses and our blessings, knowing inside / anything can sing. And Young is still singing the blues, though now with a touch of country and western, burnished by loss and a hard-won maturity, delivering poems that speak to our cultural losses, even as he buries his own, sadder than / a wedding dress / in a thrift store. What we love will leave us or is it we leave what we love, Today, belly full enough to walk the block after all week too cold outside to smile-- from I shall be released

    Disappointing lovers surface in the bedroom; in the bathroom, "the drained tub ticks with mollusks & lobsters;" revenge fantasies and death lurk in the basement where they rightly belong. With lush imagery and au courant asides, Hothouse surprises and delights.Karyna McGlynn is the author of I Have to Go Back to 1994 and Kill a Girl and three chapbooks. She is currently a Visiting Assistant Professor of Creative Writing and Translation at Oberlin College.

    Bilel is the French right-hand man of the most dangerous militant in the world, Abu Bakr al-Baghdadi, the Caliph of Islamic State. He offers Mélodie a way to fill the boredom in her young life: he cares about her, offers beautiful things, spiritual purpose and, in less an idyllic life. Bilel’s seduction is honey-tongued and forceful – and all Mélodie must do is join him and ISIS in their Syrian jihad. Every day he gives more detail, telling her how he drives a jeep filled with guns and bottles of the chocolate milk he loves for hundreds of miles on murderous missions of execution. Every night he lures, seduces and manipulates this vulnerable young woman.A riveting page-turner In the Skin of a Jihadist is a shocking inquiry into how technology is spreading radicalism, the lure of ISIS propaganda, and the factors that motivate young people – including many British teenagers – to join extremist wars in Syria and elsewhere.