H. Auden endowed poetry in the English language with a new face. Or rather, with several faces, since his work ranged from the political to the religious, from the urbane to the pastoral, from the mandarin to the invigoratingly plain-spoken.This collection presents all the poems Auden wished to preserve, in the texts that received his final approval. It includes the full contents of his previous collected editions along with all the later volumes of his shorter poems. Together, these works display the astonishing range of Auden's voice and the breadth of his concerns, his deep knowledge of the traditions he inherited, and his ability to recast those traditions in modern times.

    This collection takes you through a night of insomnia, ruminating on ideas of self-doubt, loss, and hope for the future.

    Simultaneously vulnerable and fierce, this collection of short-form poems engages themes of femininity, identity, violence, and healing.

    Those who turn to poetry to become confidants for another's stories and secrets will not be disappointed.”—Publishers Weekly“In her fifth book of poetry, Bass addresses everything from Saturn’s rings and Newton’s law of gravitation to wasps and Pablo Neruda. Her words are nostalgic, vivid, and visceral. Bass arrives at the truth of human carnality rooted in the extraordinary need and promise of the individual. Bass shows us that we are as radiant as we are ephemeral, that in transience glistens resilient history and the remarkable fluidity of connection. By the collection’s end—following her musings on suicide and generosity, desire and repetition—it becomes lucidly clear that Bass is not only a poet but also a philosopher and a storyteller.”—BooklistEllen Bass brings a deft touch as she continues her ongoing interrogations of crucial moral issues of our times, while simultaneously delighting in endearing human absurdities. From the start of Like a Beggar, Bass asks her readers to relax, even though "bad things are going to happen," because the "bad" gets mined for all manner of goodness.From "Another Story":After dinner, we're drinking scotch at the kitchen table.Janet and I just watched a NOVA specialand we're explaining to her motherthe age and size of the universe—the hundred billion stars in the hundred billion galaxies.Dotty lives at Dominican Oaks, making her way down the long hall.How about the sun? she asks, a little farmshit in the endlessness.I gather up a cantaloupe, a lime, a cherry,and start revolving this salad around the chicken carcass.This is the best scotch I ever tasted, Dotty says,even though we gave her the Maker's Markwhile we're drinking Glendronach...Ellen Bass's poetry includes  Like A Beggar (Copper Canyon Press, 2014), The Human Line  (Copper Canyon Press, 2007), which was named a Notable Book by the San Francisco Chronicle, and Mules of Love (BOA, 2002), which won the Lambda Literary Award.  She co-edited (with Florence Howe) the groundbreaking No More Masks! An Anthology of Poems by Women (Doubleday, 1973). Her work has frequently been published in The New Yorker, American Poetry Review, The New Republic, The Sun  and many other journals. She is co-author of several non-fiction books, including The Courage to Heal: A Guide for Women Survivors of Child Sexual Abuse (HarperCollins, 1988, 2008) which has sold over a million copies and been translated into twelve languages. She is part of the core faculty of the MFA writing program at Pacific University.

    And from the beginning, her practice placed her at the vanguard of American writing. Guest's poetry, saturated in the visual arts, extended the formal experiments of modernism, and played the abstract qualities of language against its sensuousness and materiality. Now, for the first time, all of her published poems have been brought together in one volume, offering readers and scholars unprecedented access to Guest's remarkable visionary work. This Collected Poems moves from her early New York School years through her more abstract later work, including some final poems never before published. Switching effortlessly from the real to the dreamlike, the observed to the imagined, this is poetry both gentle and piercing seemingly simple, but truly and beautifully dislocating.

    

    Wallace's best poems, contained within this collection, have been described as the work of someone sympathetic, magnanimous, brightly and deeply intelligent.

    Holland, a timely collection of poetry that follows the final girl of slasher cinema - the girl who survives until the end - on a journey of retribution and reclamation. From the white picket fences of 1970s Haddonfield to the apocalyptic end of the world, Holland confronts the role of women in relation to subjects including feminism, violence, motherhood, sexuality, and assault in the world of Trump and the MeToo movement. Each poem centers on a fictional character from horror cinema, and explores the many ways in which women find empowerment through their own perceived monstrousness.

    None of these he allows to overwhelm his spirit or his poems, which demonstrate, through breath and cadence and unrepentant enthrallment, that a gentle palm on a chest can calm the fiercest hungers.

    One of the most challenging poets writing today, Graham is no easy read, but the rewards are well worth the effort. While thematically present, her concern is not exclusively the demise of natural resources and depletion of species, but the philosophical and perceptual difficulty in capturing and depicting a physical world that may be lost, or one that we humans have limited sight of and into. As she notes in "The Taken-Down God": "We wish to not be erased from the / picture. We wish to picture the erasure. The human earth and its appearance. / The human and its disappearance."With a style that is fragmented and somewhat whirling--language dips and darts and asides are taken--Graham stays on point and presents an honest intellect at work, fumbling for an accurate understanding (or description) of the natural world, self-conscious about the limitations of language and perception.

    Her debut collection The Bones Below delicately carries the reader to a place of brutal, beautiful honesty. DeMulder's personal revelations complete a touching portrait of the young artist and her fearless exploration of the human experience, bare in its rawest and most tender forms.

    Featuring poems, excerpts from his private notebooks, lyrics, and hand-drawn self-portraits, The Flame offers an unprecedentedly intimate look inside the life and mind of a singular artist.A reckoning with a life lived deeply and passionately, with wit and panache, The Flame is a valedictory work.“This volume contains my father’s final efforts as a poet,” writes Cohen’s son, Adam Cohen, in his foreword. “It was what he was staying alive to do, his sole breathing purpose at the end.”Leonard Cohen died in late 2016. But “each page of paper that he blackened,” in the words of his son, “was lasting evidence of a burning soul.”

    Dr. Martina McGowan is a retired MD, a mother, grandmother, and a poet. Her poetry provides insights that no think piece on racism can; putting readers in the uncomfortable position of feeling, reflecting, and facing what it means to be a Black American.This entire collection was created during 2020, many shortly after the deaths of Breonna Taylor and George Floyd, to name but a few.

    The Uses of the Body is her best book, its acerbic tone interspersed with lines of grave and startling beauty.” —Los Angeles Times"Like Richard Linklater's Boyhood,but for girls (and women): Deborah Landau's vividly relatable third collection, The Uses of the Body, reminds us that coming of age lasts well beyond adolescence.” —Vogue* “As freshly immediate as ever, award-winning poet Landau reveals that ‘the uses of the body are manifold,’ moving in four sections with a roughly chronological feel from wedding parties to flabby bodies around the pool to the realization ‘But we already did everything’—all with an underlying sense of urgency: ‘Life please explain.’ As Landau explores her physical self and her sexuality, she’s tart, witty, fluid, direct, and brutally honest, and her work can be appreciated by any reader.”—Library Journal,starred review"Deborah Landau . . . is both confessional and direct, like Sylvia Plath and Allen Ginsberg. Her taut, elegant, highly controlled constructions meditate upon yearning and selfhood."—BooklistDeborah Landau's Uses of the Body presents the very specific challenges of womanhood. Her poems address what it means to be alive—right now—in a female body. She fills her poetry with compelling nouns: wine glasses, bridal gowns, and "books and teacups and ghosts." And what ghosts: underneath evocative images and poetic play, there's a moving, yearning mysticism.From "Mr and Mrs End of Suffering":The uses of the body are wake up.The uses of the body, illusion.The uses of the body. Rinse repeat.To make another body.September. Draw the blanket up.Lace your shoes.The major and minor passions. Sunlight. Hair.The basic pleasures. Tomatoes, Keats, meeting a smart man for a drink.The uses of the body.It is only a small house. It gets older.Its upper and lower.Its red and white trim.It's tempting to gloss over this part,so you won't really see me.Deborah Landau is the author of two books of poetry. She was educated at Stanford, Columbia, and Brown, where she earned her PhD. Currently she is the director of the NYU Creative Writing Program and lives in New York City.

    Winner of the 2009 Gil Ott Book Award, this expanded edition of The Book of Frank features additional "Frank" poems and an essay by Eileen Myles.Praised by poet Anne Waldman as a "voyeuresque surreal portrait," The Book of Frank is also, in the words of “candid portrayal of human cruelty and its resultant fantasies of escape."