"Poignant, sexy. . . lyrical, passionate. . . cool and delicate. . . hot as a chili pepper."--Boston Globe.

    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.

    Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality.Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

    It still startles, and is just as iconoclastic as ever.These poems occupy all at once the intimate, the political, and the mythic. Here Atwood makes us realize that we may think our own personal dichotomies are unique, but really they are multiple, universal. Clear, direct, wry, unrelenting -- Atwood's poetic powers are honed to perfection in this important early work.

    The miracle in the mundane.One day, while browsing an antique store in Helena, Montana, photographer Tyler Knott Gregson stumbled upon a vintage Remington typewriter for sale. Standing up and using a page from a broken book he was buying for $2, he typed a poem without thinking, without planning, and without the ability to revise anything.He fell in love.Three years and almost one thousand poems later, Tyler is now known as the creator of the Typewriter Series: a striking collection of poems typed onto found scraps of paper or created via blackout method. Chasers of the Light features some of his most insightful and beautifully worded pieces of work—poems that illuminate grand gestures and small glimpses, poems that celebrate the beauty of a life spent chasing the light.

    There is no Table of Contents. Instead, there is a "Track List," making it easy to refer to them to your friends with a, "Hey did you read track seven?!" There are no chapters. Instead, the book is divided into two parts, or as one would say in the 90's, two "sides." Side A holds poetry that touches on all aspects of the human condition like life, death, love, moving on, evolving, growing up, hometowns, family dynamic, life after trauma, and make-ups and breakups. Side B holds the "remixes" of these poems, in the form of blackout poetry, also known as "found poetry." Side B gives the material a fresh twist by creating new poetry out of Side A. There is also a very special surprise at the end of each track. Alicia decided to self publish this effort after leaving her publishing house. She views this book as her "independence" and official separation from that venture. She also drew the front and back cover herself. Alicia is a contributing writer for many blogs and news outlets, including the Huffington Post and multiple Gannett Publications. She writes regularly on drug addiction and how it directly affects families. Because of this, she has chosen to donate 100% of royalties to the Willow Tree Center in New Jersey. www.willowtree.org. Follow Alicia on Instagram: @thealiciacook or check out her website: www.thealiciacook.com.

    A daughter tends to aging parents. A woman struggles with infertility—“What if, instead of carrying / a child, I am supposed to carry grief?”—and a body seized by pain and vertigo as well as ecstasy. A nation convulses: “Every song of this country / has an unsung third stanza, something brutal.” And still Limón shows us, as ever, the persistence of hunger, love, and joy, the dizzying fullness of our too-short lives. “Fine then, / I’ll take it,” she writes. “I’ll take it all.”In Bright Dead Things, Limón showed us a heart “giant with power, heavy with blood”—“the huge beating genius machine / that thinks, no, it knows, / it’s going to come in first.” In her follow-up collection, that heart is on full display—even as The Carrying continues further and deeper into the bloodstream, following the hard-won truth of what it means to live in an imperfect world.

    It is essentially a conversation among hundreds of women of all nationalities—famous, anonymous, religious, secular, married, single, young, old—on the subject of clothing, and how the garments we put on every day define and shape our lives. It began with a survey. The editors composed a list of more than fifty questions designed to prompt women to think more deeply about their personal style. Writers, activists, and artists including Cindy Sherman, Kim Gordon, Kalpona Akter, Sarah Nicole Prickett, Tavi Gevinson, Miranda July, Roxane Gay, Lena Dunham, and Molly Ringwald answered these questions with photographs, interviews, personal testimonies, and illustrations. Even our most basic clothing choices can give us confidence, show the connection between our appearance and our habits of mind, express our values and our politics, bond us with our friends, or function as armor or disguise. They are the tools we use to reinvent ourselves and to transform how others see us. Women in Clothes embraces the complexity of women’s style decisions, revealing the sometimes funny, sometimes strange, always thoughtful impulses that influence our daily ritual of getting dressed.

    That place gives its name to Louise Glück's tenth collection: in a landscape turned irretrievably to winter, it is a gate or passageway that invites traffic between worlds while at the same time resisting their reconciliation. Averno is an extended lamentation, its long, restless poems no less spellbinding for being without conventional resoltution or consolation, no less ravishing for being savage, grief-stricken. What Averno provides is not a map to a point of arrival or departure, but a diagram of where we are, the harrowing, enduring present.Averno is a 2006 National Book Award Finalist for Poetry.

    They had a blond Clairol wave in their hair. They wore girdles and waist-pinchers. . . . In recent years good girls join the army. They climb the corporate ladder. They go to the gym. . . . They wear painful pointy shoes. They don’t eat too much. They . . . don’t eat at all. They stay perfect. They stay thin. I could never be good.”The Good Body starts with Eve’s tortured relationship with her own “post-forties” stomach and her skirmishes with everything from Ab Rollers to fad diets and fascistic trainers in an attempt get the “flabby badness” out. As Eve hungrily seeks self-acceptance, she is joined by the voices of women from L.A. to Kabul, whose obsessions are also laid bare: A young Latina candidly critiques her humiliating “spread,” a stubborn layer of fat that she calls “a second pair of thighs.” The wife of a plastic surgeon recounts being systematically reconstructed–inch by inch–by her “perfectionist” husband. An aging magazine executive, still haunted by her mother’s long-ago criticism, describes her desperate pursuit of youth as she relentlessly does sit-ups.Along the way, Eve also introduces us to women who have found a hard-won peace with their bodies: an African mother who celebrates each individual body as signs of nature’s diversity; an Indian woman who transcends “treadmill mania” and delights in her plump cheeks and curves; and a veiled Afghani woman who is willing to risk imprisonment for a taste of ice cream. These are just a few of the inspiring stories woven through Eve’s global journey from obsession to enlightenment. Ultimately, these monologues become a personal wake-up call from Eve to love the “good bodies” we inhabit.From the Hardcover edition.

    Hand Games, poems of the first section, is the daily bread of my past two years or so. They are the artifacts of loving in a personal way, of struggles in a wide and a narrower frame, of planting and harvesting in the earth and on paper, of building new friendships and mourning the death of friends. They speak of zucchini and oaks and cats, of jogging and writing, of nuclear power plants and suicide, of fat and of street hassling. ”The Lunar Cycle forms the second part. I first heard of the lunar calendar in my childhood, when I asked why Passover falls on a different date every year and was answered that it falls on Nisan 14, the fourteenth day of the lunar month of Nisan. The next time I came across the moon-month was in reading Robert Graves in search of the old goddess religions. But the lunar calendar has really only been an intimate part of my life since I moved near the ocean and the bay and had to become conscious of the tides; for one thing, to get the sweet Wellfleet oysters. For more precise understanding I owe a lot to Nancy F. W.Passmore of the Luna Press, who every year produces The Lunar Calendar with thirteen months, their old Celtic names, associations from around the world, time of moon rise and set and all the phases. It tells me at a glance when my period will come and when I can expect to ovulate, and it is the most beautiful calendar I have ever seen, with the months in the form of spirals rather than grids.”Not being constrained by commerce to produce a calendar to sell by January first, Roman time, I begin when my year opens, in the spring; with Nisan, the first month of the Jewish religious year – although I have used the Celtic names, as does The Lunar Calendar, in homage to that labor of love. Rediscovering the lunar calendar has been a part of rediscovering women’s past, but it has also meant for me a series of doorways to some of the non-rational aspects of being a living woman: Thus The Lunar Cycle, explorations of my last two years.”

    Her voice came back, whispering at first, then screaming. Ceremony for the Choking Ghost contains the sound of that voice returning, bringing poems about grief and its effect on the body, the body politic, memory and, of course, poems about love. From the intensely personal, "How My Family Grieved," to the political, "What Lot's Wife Would Have Said (If She Wasn't a Pillar of Salt)," Finneyfrock engages the reader with the chiseled images of a precise storyteller.

    With The No You Never Listened To, she takes the personal and makes it universal. As a sexual assault survivor, Meggie is well-acquainted with trauma: the aftermath, the guilt, the anger. She has never shied away from taking Hemingway’s advice – write hard and clear about what hurts – and that strength has never been more of an asset than with this body of work.The No You Never Listened To is the book you will wish you’d had when trauma climbed into your bed. It is the book you will give to friends who are dragged from their “before” into a dark and terrifying “after”. And yes, it is the book you will wish didn’t exist.But it is also the one that will remind you, in your darkest moments, where the blame really belongs. It will remind you that your memory will not always be an enemy. And it will remind you that none of us have ever been alone in this.”– Claire BiggsTo Write Love on Her Arms Editor / Writer

    The poems’ subject is the natural world, but their images would never occur in nature. This book is serious and funny at the same time, like a big grave with a clown lying in it.

    The artistry of QUESTIONS FOR ADA defies words, embodying the pain, the passion, and the power of love rising from the depths of our souls.  Ijeoma Umebinyuo’s poetry is a flower that will blossom in the spirit of every reader as she shares her heart with raw candor.  From lyrical lushness to smoky sensuality to raw truths, this tome of transforming verse is the book every woman wants to write but can’t until the broken mirrors of their lives have healed.  In this gifted author’s own words—“I am too full of life to be half-loved.”  A bold celebration of womanhood.