In a New York of increasingly frequent superstorms and social unrest, he must reckon with his own mortality and the prospect of fatherhood in a city that might soon be underwater. A writer whose work Jonathan Franzen has called "hilarious . . . cracklingly intelligent . . . and original in every sentence," Lerner captures what it's like to be alive now, during the twilight of an empire, when the difficulty of imagining a future is changing our relationship to both the present and the past.

    Henry Prize for "Cigarettes"“Sam Savage manages to be both artful and literal-minded in this faux autobiographical tale of childhood and a mother afflicted and finally driven mad by her wish for artistic success. Savage writes knowingly about the uncertainties of childhood memory, but creates a convincing world of sibling combat and adult pretension. A wonderful, absorbing novel.”—C. Michael Curtis, Fiction Editor, The Atlantic Monthly“If the world—all its hysteric noise—was muted for just one minute, Sam Savage is what you might be fortunate enough to hear. His elegant laconism, his leaps across the self-evident, his soft aplomb, and the rarified air he bestows upon the mundane make him the only American writer worthy of the label the true eccentric."—Valeria LuiselliIt Will End With Us is Sam Savage’s latest deep dive into the mind and voice of a character, and his most personal work yet. Brick by textual brick, his narrator, Eve, builds a memorial to the mother who raised her, emotionally abandoned her, and shaped her in her own image. Eve’s memories summon a childhood in rural South Carolina, a decaying house on impoverished soil, and an insular society succumbing to the influences of a wider world. It Will End With Us is a portrait of a place full of hummingbirds and wild irises, but also of frustration and grief. It is the story of a family tragedy, provoked by a mother’s stifled ambitions, and seized by the wide-open gaze of a child. Rarely has a novel so brief taken on so much, so powerfully.Sam Savage is the best-selling author of Firmin: Adventures of a MetropolitanLowlife, The Cry of the Sloth, Glass, and The Way of the Dog, all from CoffeeHouse Press. A finalist for the Barnes & Noble Discover Great New WritersAward, Savage holds a PhD in philosophy from Yale University and resides inMadison, Wisconsin.

    William Wright’s best-selling, award-winning books in a single volume! Maximum Insecurity chronicles Wright’s true-life metamorphosis from suburban ear surgeon to life as the sole physician at Colorado’s maximum-security prison. Jailhouse Doc follows Wright’s transition from prison medicine to running the clinic at the county jail. Should be easy right? Not on your life. Told with a humor and biting wit, both books reveal the real inside operation of correctional facilities.

    Or she is and she isn’t. If you just want to boss people around, you’re a control freak, but if you can joke about it, then your bossiness is leavened by a yeast that’s all too infrequent in contemporary poetry, that of humor.”—New York Times“Shaughnessy’s voice is smart, sexy, self-aware, hip . . . consistently wry, and ever savvy.”—Harvard Review“Brenda Shaughnessy . . . writes like the love-child of Mina Loy and Frank O’Hara.”—Exquisite Corpse"In its worried acceptance of contradiction, its absolute refusal of sentimentality and its acute awareness of time's 'scarce infinity,' this is a brilliant, beautiful and essential continuation of the metaphysical verse tradition." —Publishers Weekly, starred review“Human Dark with Sugar is both wonderfully inventive (studded with the strangenesses of ‘snownovas’ and ‘flukeprints’) and emotionally precise. Her ‘I’ is madly multidexterous—urgent, comic, mischievous—and the result is a new topography of the debates between heart and head.”—Matthea Harvey, a judge for the Laughlin Award"Seriously playful, sexy, sharp-edged, and absolutely commanding throughout....Here you'll meet an 'I' boldly ready to take on the world and just itching to give 'You' some smart directives. So listen up."—Library JournalIn her second book, winner of the prestigious James Laughlin Award, Brenda Shaughnessy taps into themes that have inspired era after era of poets. Love. Sex. Pain. The heavens. The loss of time. The weird miracle of perception. Part confessional, part New York School, and part just plain lover of the English language, Shaughnessy distills the big questions into sharp rhythms and alluring lyrics. “You’re a tool, moon. / Now, noon. There’s a hero.”Master of diverse dictions, she dwells here on quirky words, mouthfuls of consonance and assonance—anodyne, astrolabe, alizarin—then catches her readers up short with a string of powerful monosyllables. “I’ll take / a year of that. Just give it back to me.” In addition to its verbal play, Human Dark With Sugar demonstrates the poet’s ease in a variety of genres, from “Three Sorries” (in which the speaker concludes, “I’m not sorry. Not sorry at all”), to a sequence of prose poems on a lover’s body, to the discussion of a disturbing dream. In this caffeine jolt of a book, Shaughnessy confirms her status as a poet of intoxicating lines, pointed, poignant comments on love, and compelling abstract images —not the least of which is human dark with sugar.Brenda Shaughnessy was raised in California and is an MFA graduate of Columbia University. She is the poetry editor for Tin House and has taught at several colleges, including Eugene Lang College and Princeton University. She lives in Brooklyn.

    Wright interweaves familiar, coloquial speech with strikingly inventive language, leaving each poem a distinctive entity, yet interconnected by linked metaphors and images.

    The extraordinary sequence at the heart of this book taps into the radical power of the sonnet form, bending it into a kind of metaphysical and psychological outcry. Beginning in the cramped space of selfhood―in the bedroom, cluttered with doubts, and in the throes of marital loss―these poems edge toward the clarity of “what I can know and admit to knowing.” In song and in silence, Ford inhabits the rooms of anguish and redemption with scouring exactness. This is poetry that “can break open, // it can break your life, it will break you // until you remain.” If You Have to Go is Ford’s most luminous and moving collection.

    In true McInerney style, this new collection of stories examines post 9/11 America in all its dark and morally complex glory

    In Smoke, Laux revisits familiar themes of family, working class lives and the pleasures of the body in poetry that is vital and artfully crafted—poetry that "gets hard in the face of aloofness," in the words of one reviewer. In Smoke, as in her previous work, Laux weaves the warp and woof of ordinary lives into extraordinary and complex tapestries. In "The Shipfitter’s Wife," a woman recalls her husband’s homecoming at the end of his work day:Then I’d open his clothes and takethe whole day inside me—the ship’sgray sides, the miles of copper pipe,the voice of the foreman clangingoff the hull’s silver ribs. Spark of leadkissing metal. The clamp, the winch,the white fire of the torch, the whistle,and the long drive home.And in the title poem, Laux muses on her own guilty pleasures:Who would want to give it up, the coala cat’s eye in the dark room, no one therebut you and your smoke, the windowcracked to street sounds, the distant criesof living things. Alone, you are almostsafe . . .With her keen ear and attentive eye, Dorianne Laux offers us a universe with which we are familiar, but gives it to us fresh.Dorianne Laux is the author of two previous collections of poetry from BOA Editions, Ltd., and is co-author, with Kim Addonizio, of The Poet’s Companion: A Guide to the Joys of Writing Poetry (W.W. Norton, 1997), chosen as an alternate selection by several bookclubs. Laux was the judge for the 2012 A. Poulin, Jr. Poetry Contest, and is a tenured professor in the creative writing program at the University of Oregon. Laux lives in Eugene, Oregon.

    He has been variously called a New Age surrealist, son of the New York School, a comically tragic poet who knows the pain at the heart of a joke, a lunatic, a stuffed bunny, and a fire engine of the Romantic imagination. But if these things are true, they come at us in a unique, compelling, warm, funny, poignant, and sometimes cracked voice. Each of his poems is an enactment, a representation of psychic life as it moves through modes of argument, autobiography, and conventional lyric impulses while making room for textual experimentation. For Young, what is most important is that the poem be felt and that through his work one can participate in the alarm and beauty, the fury and injury inherent in being alive.

    Over and over these poems leave us convinced that we’ve learned something very important and mysterious, yet we can’t say exactly what.

    Her writing is gorgeous and cerebral (imagine Anne Carson) but she doesn't skimp on the wit (imagine Anne Carson's ne'er-do-well niece). Poetry-fearers, don't back away from this beautiful book; these might be the pages that bring you back into the form.” --Dave Eggers

    One cannot categorize these poems simply as confessional, narrative, or lyrical. They are all these things at once. They move beyond usual explorations of childhood or family to blend themes and influences that range from Neruda to Coltrane, Fat Albert to Orpheus, John Shaft to Gershwin. This book gives us an almost Whitmanesque account of an America, and an African American, replete with grace and imperfection. Moreover, it gives us a voice that does not sacrifice truth for music or music for accessibility. At the end of a poem that includes Bill Strayhorn, Andrew Carnegie, and Dante, Hayes says, "I know one of the rings of hell is reserved for men who refuse to weep. So I let it come. And it does not move from me." These lines reflect what is always at the core of Hayes's poetry: a faithfulness, not to traditional forms or themes, but to heart and honesty. It is a core bounded by and cradled by a passion for the music in all things.

    . . . Poetry busts guts." —Frank StanfordThe poetry publishing event of the season, this six-hundred-plus page book highlights the arc of Frank Stanford's all-too-brief and incandescently brilliant career.Despite critical praise and near-mythic status as a poet, Frank Stanford's oeuvre has never fully been unified. The mystery and legend surrounding his life—and his suicide before the age of thirty—has made it nearly impossible to fully and accurately celebrate his body of work. Until now.This welcome and necessary volume includes hundreds of previously unpublished poems, a short story, an interview, and is richly illustrated with draft poems, photographs, and odd ephemera.As Dean Young writes in the Foreword to the book: "Many of these poems seem as if they were written with a burnt stick. With blood in river mud... Frank Stanford, demonically prolific, approaches the poem not as an exercise of rhetoric or a puzzle of signifiers but as a man 'looking for his own tongue' in a knife-fight with a ghost."When It's After DarkI stealall the light bulbsand hide them like eggsin a basketgoing to some outlawI put on the best I can findI cover them with a swatchof somethingthat swells like a bitethat bleeds greencloth that smellsof a feed storebut looksto of been wornI go over to nasty willy's bridgeand throw them into the creekthere in the shade I listenfor themto make nests to escapeagony and burst

    Paul Muldoon, the distinguished poet and international literary eminence, has selected -- from a pool of several thousand published candidates -- the top seventy-five poems of the year. With insightful comments from the poets illuminating their work, and series editor David Lehman's perspicacious foreword, The Best American Poetry 2005 is indispensable for every poetry enthusiast.

    a collection of eighty-five poems, was Brautigan's sixth collection of poetry; his eighth poetry book publication. Brautigan visited Roxy and Judy Gordon in Austin, Texas, in August 1970. While there he was issued a Texas fishing license (August 14, 1970). It notes his height (6'4") and weight (165 pounds). The poem "Autobiography (Polish It like a Piece of Silver)," collected in Loading Mercury with a Pitchfork, contains a reference to Judy Gordon and Byrds, a town in central Texas, near Brownwood. Two poems, "A Study in Roads" and "Stone (real," both collected in June 30th, June 30th contain references to Bee Caves, Texas, a small town twelve miles west of Austin. Brautigan may have visited Bee Caves with the Gordons. Roxy Gordon, in turn, dedicated his book, Some Things I Did (Austin, Texas: The Encino Press, 1971) toRICHARD BRAUTIGANwhose favorite gun isthe Colt Navy .36In publicity materials associated with the publication of Gordon's book Brautigan wrote:Roxy and Judy Gordon are two very nice people with an open and perceptive way. Reading Roxy's book is to meet them.As to Gordon's reference to Brautigan's interest in the Colt Navy .36 handgun, novelist Tom McGuane said[Brautigan] had a fascination with the . . . Colt because it seemed to sum up gun owning, democratic gun manufacture, and excellence, all in one thing.