The language, the invention, the imagination, and the sheer fun of his poems is astounding. It's not all dazzle either. The poems are also moving. This man reminds us that there is nothing more serious than a joke' - Charles Simic, final judge and author of "Jackstraws", "Walking the Black Cat", and "A Wedding in Hell".

    He delves into his youth to analyze its repercussions.

    Fidelito’s mother, Maria Elena, tries to keep her son grounded while struggling with her own moorings. Meanwhile, Domingo, Fidelito's fisherman father, is always at sea, even when among them. From the archipelago of the Philippines to San Francisco, horizontal and vertical movements shape moments of displacement and belonging for this marginalized family. Fidelito approaches life with a sense of wonder, finding magic in the mundane and becoming increasingly uncertain whether he is in the sky or whether his feet are planted firmly on the ground.

    Eliot, Elizabeth Bishop, John Ashbery -- and Jorie Graham. The New Yorker places Ms. Graham in this distinguished line of poets, heralding the Pulitzer Prize winner as a profound voice in American poetry. Now, in her eighth collection, she further enhances her reputation with a book-length sequence of verse that is a stunning work of grandeur.The New Republic writes, "for 'swarm,' in other words...read 'be born again.' Graham is writing about a spiritual turning point, a new beginning.... Beauty -- that is, the pure sense-perception which has long been a concern for Graham -- is no longer the most important criterion. Now goodness is...[and] the idea of submission, of obedience, without understanding: one must 'yield' before 'hearing the reason' for yielding."

    Poems discuss a journey across the ocean, a veterans' cemetery, money, an abandoned collection of dolls, and a man who escapes from his prison cell to commit a murder.

    Her poems comprise some of the most inviting lyrics I've found in a living poet."—Bookslut"Phrase by phrase Nguyen's work can be conversational, playful, funny, angry, acutely self-aware, and loaded with sensory information."—Anselm Berrigan, from the introductionRed Juice represents a decade of poems written roughly between 1998 and 2008, previously only available in small-run handmade chapbooks, journals, and out-of-print books. This collection of early poems by Vietnamese American poet Hoa Nguyen showcases her feminist ecopoetics and unique style, all lyrical in the post-modern tradition.[BUDDHA'S EARS ARE DROOPY TOUCH HIS SHOULDERS]Buddha's ears are droopy touch his shouldersas scarves fly out of windows and I shriekat the lotus of enlightenmentTravel to Free Street past Wacoto the hole in the Earthwearing waterI'm aiming my mouthfor apple pieBorn in the Mekong Delta and raised in the Washington, DC, area, Hoa Nguyen studied Poetics at New College of California in San Francisco. With the poet Dale Smith, Nguyen founded Skanky Possum, a poetry journal and book imprint. She is the author of eight poetry books and chapbooks and lives in Toronto, Ontario, where she teaches poetics at Ryerson University and curates a reading series.

    She seem snot only interested in using the natural world as a metaphoric lens in her poems but is set on building them item by item into natural worlds themselves."

    Here are the early poems which first brought Denise Levertov's work to prominence -- from early uncollected poems, selections from The Double Image (London, 1946), and her three books Here and Now (1957), Overland to the Islands (1958) and With Eyes at the Back of Our Heads (1960), which established her as one of the more lyrical and most influential poets of the New American poetry.

    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.

    What is form's time? Here the form of life called a poem speaks with the body's mortality, its thickness, its play. The 10 poem-sequences in 3 Summers inflect a history of textual voices — Lucretius, Marx, Aby Warburg, Deleuze, the Sogdian Sutras — in a lyricism that insists on analysis and revolt, as well as the pleasures of description. The poet explores the mysterious oddness of the body, its languor and persistence, to test how it shapes the materiality of thinking, which includes rivers and forests. But in these poems' landscapes, the time of nature is inherently political. Now only time is wild, and only time — embodied here in Lisa Robertson’s forceful cadences — can tell.‘Robertson proves hard to explain but easy to enjoy. . . . Dauntlessly and resourcefully intellectual, Robertson can also be playful or blunt. . . . She wields language expertly, even beautifully.’—The New York Times‘Robertson makes intellect seductive; only her poetry could turn swooning into a critical gesture.’— The Village VoiceLisa Robertson's books include Cinema of the Present, Debbie: An Epic, The Men, The Weather, R's Boat and Occasional Works and Seven Walks from the Office for Soft Architecture. Lisa Robertson's Magenta Soul Whip was named one of The New York Times' 100 Notable Books. She lives in France.

    The depth and diversity of perceptual awareness-so steadfast and radiant in American Primitive-continue in Dream Work. Additionally, she has turned her attention in these poems to the solitary and difficult labors of the spirit-to accepting the truth about one's personal world, and to valuing the triumphs while transcending the failures of human relationships. Whether by way of inheritance-as in her poem about the Holocaust-or through a painful glimpse into the present-as in "Acid," a poem about an injured boy begging in the streets of Indonesia-the events and tendencies of history take on a new importance also. More deeply than in her previous volumes, the sensibility behind these poems has merged with the world. Mary Oliver's willingness to be joyful continues, deepened by self-awareness, by experience, and by choice.

    

    Dinh's gift is for constructing, in the manner of Italo Calvino, simple narratives that quickly frame larger questions; with a poet's timing, the author builds his stories to the one or few climactic sentences that brand them with unforgettable meaning. In one tale, a Vietnamese boy's self-guided, haphazard study of English gives way to a meditation on the universality of language: Everything seems chaotic at first, but nothing is chaotic. One can read anything: ants crawling on the ground; pimples on a face; trees in a forest. In another story, a man opens a newspaper and sees the photograph of a man he may have murdered, which he impulsively clips, only to feel that in doing so he unwittingly has sealed his crime: As soon as I finished, I realized what I had done: by cutting my father's likeness out of the newspaper, I had removed him from the world. The collection crescendoes in displays of raw creative power, as in Eight Plots, a rapid-fire of three- and four-sentence summaries, and the brilliant, impressionistic !Blood and Soap is an arresting collection from one of a small number of writers on the vanguard of American fiction.

    Sin's first book of poetry.

    Hard to imagine that no one counts,that only things endure.Unlike the seasons, our shirts don't shed,Whatever we see does not see us,however hard we look,The rain in its silver earrings against the oak trunks,The rain in its second skin.--from "Scar Tissue II"In his new collection, the Pulitzer Prize-winning poet Charles Wright investigates the tenuous relationship between description and actuality--"thing is not an image"--but also reaffirms the project of attempting to describe, to capture the natural world and the beings in it, although he reminds us that landscape is not his subject matter but his technique: that language was always his subject--language and "the ghost of god." And in the dolomites, the clouds, stars, wind, and water that populate these poems, "something un-ordinary persists."Scar Tissue is a groundbreaking work from a poet who "illuminates and exalts the entire astonishing spectrum of existence" (Booklist).