. . . 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 Until now.This welcome and necessary volume includes hundreds of previously unpublished poems, a short story, an interview, and is richly illustrated with draft poems, photographs, and odd ephemera.As Dean Young writes in the Foreword to the book: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

    #1 Best Seller for nearly 3 years, Black Book of Poems is a collection of poems in which Hunanyan touches on the subjects of love, loss, abandonment, religion, depression and pain.

    But Poe is also the author of some of the most haunting poetry ever written--poems of love, death and loneliness that have lost none of their power to enthrall in this unique Signet Classic edition.

    Divided into four chapters—waking up, growing pains, crushing realities, and disappointing beginnings—this collection covers everything from self-discovery and heartbreak to chronic illness and fresh starts.

    Riley’s debut collection is an arsenal of deeply personal poems that embody an intensity that is truly impressive yet their hands are tender. She enlists you. She gives you camouflage & a pair of boots so you can stay the course through the minefield of her heart. You will track the lovely flow of her soft yet fierce voice through a jungle of powerful imagery on womanhood, relationships, family, grief, sexuality & love, amidst other matters. Battles with the heart aren’t easily won but Riley hits every mark. You’ll be relieved that you’re on the same side. Much like war, you’ll come back from this book changed.

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

    These darkly humorous poems illuminate far corners of the heart, revealing teeth, tails, and more than a few dreams.I watched a lion eat a man like a piece of fruit, peel tendons from fascialike pith from rind, then lick the sweet meat from its hard core of bones.The man had earned this feast and his own deliciousness by ringing a stickagainst the lion's cage, calling out Here, Kitty Kitty, Meow!With one swipe of a paw much like a catcher's mitt with fangs, the lionpulled the man into the cage, rattling his skeleton against the metal bars.The lion didn't want to do it—He didn't want to eat the man like a piece of fruit and he told the crowdthis: I only wanted some goddamn sleep . . . Natalie Diaz was born and raised on the Fort Mojave Indian Reservation in Needles, California. After playing professional basketball for four years in Europe and Asia, Diaz returned to the states to complete her MFA at Old Dominion University. She lives in Surprise, Arizona, and is working to preserve the Mojave language.

    Reflecting her transcendent electric voice, this searing poetry collection is filled with moving, original stanzas that speak to both Black women’s creative and intellectual power, and express the pain, sadness, and anger of those who suffer constant scrutiny because of their gender and race. Fierce and passionate, Jessica Care moore argues that Black women spend their lives building a physical and emotional shelter to protect themselves from misogyny, criminalization, hatred, stereotypes, sexual assault, objectification, patriarchy, and death threats.We Want Our Bodies Back is an exploration—and defiant stance against—these many attacks.

    Featuring over one hundred and twenty of Cleo’s original poems, mantras, and affirmations, including fan favorites and never before seen ones, this book is a daily pep talk to keep you feeling empowered and motivated. With relatable, practical, and digestible advice, including “Hearts break. That’s how the magic gets in,” and “Baby, you are the strongest flower that ever grew, remember that when the weather changes,” this is a portable, replenishing pause for your daily life. Keep Heart Talk by your bedside table or in your bag for an empowering boost of spiritual adrenaline that can help you discover and unlock what is blocking you from thriving emotionally and spiritually.

    The book details Chilombo's thoughts in their most raw and honest form taken directly from a collection of notebooks she has kept since age 12.

    The words are redolent with his Cuban heritage: Marina making mole sauce; Tía Ida bitter over the revolution, missing the sisters who fled to Miami; his father, especially, “his hair once as black as the black of his oxfords…” Yet this is a volume for all who have longed for enveloping arms and words, and for that sanctuary called home. “So much of my life spent like this-suspended, moving toward unknown places and names or returning to those I know, corresponding with the paradox of crossing, being nowhere yet here.” Blanco embraces juxtaposition. There is the Cuban Blanco, the American Richard, the engineer by day, the poet by heart, the rhythms of Spanish, the percussion of English, the first-world professional, the immigrant, the gay man, the straight world. There is the ennui behind the question: why cannot I not just live where I live? Too, there is the precious, fleeting relief when he can write "…I am, for a moment, not afraid of being no more than what I hear and see, no more than this:..." It is what we all hope for, too.

    Remember: you don’t always notice the sun rising in the sky until, one day, you feel it’s warmth touching your face and you realise how much you have grown.” From the author of the bestselling book ‘Bloom for Yourself,' comes a collection of poetry and prose for courage. This empowering collection explores the transformation from low self-worth, to the bravery of letting go, and the wisdom that comes from truly believing in yourself. April Green has an extraordinary gift for helping you understand that you are never truly alone. Her words are shared by thousands of people all over the world, including Jenna Dewan, and Shantel Vansanten. Her voice serves as a reminder to all of us that healing, transformation, freedom, and self-love are possible.

    With echoes of Gwendolyn Brooks and Sonia Sanchez, Mans writes to call herself—and us—home. Each poem explores what it means to be a daughter of Newark, and America--and the painful, joyous path to adulthood as a young, queer Black woman.Black Girl, Call Home is a love letter to the wandering Black girl and a vital companion to any woman on a journey to find truth, belonging, and healing.

    Lorca (1898-1937) is admired all over the world for the lyricism, immediacy and clarity of his poetry, as well as for his ability to encompass techniques of the symbolist movement with deeper psychological shadings. But Lorca's poems are, most of all, admired for their beauty. Undercurrents of his major influences--Spanish folk traditions from his native Andalusia and Granada, gypsy ballads, and his friends the surrealists Salvador Dali and Luis Bunuel--stream throughout Lorca's work. Poets represented here as translators are as diverse as Stephen Spender, Langston Hughes, Ben Belitt, William Jay Smith, and W.S. Merwin.

    Sink asks and answers hard questions about grief, lineage, death and all manner of inheritance. What is one left with when they come from a family that has nothing to its name but loss? Throughout, Dallagiacomo weighs the cost of what it is to be alive and a woman in a landscape that makes being alive and a woman uninviting. Sink approaches grief and depression not as a tourist, but instead with the power and nuance of someone who has survived and made the most of their survival.