She has since published many more books in multiple genres and for readers of all ages, but poetry remains at the heart of her work. Many-Storied House is her fifth collection. While teaching aspiring writers, Lyon asked her students to write a poem based on memories rooted in a house where they had lived. Working on the assignment herself, Lyon began a personal

    A satiric edge, tempered by profound compassion, cuts through many of the poems in Lux’s book. While themes of intolerance, inhumanity, loss, and a deep sense of mortality mark these poems, a lighthearted grace instills even the somberest moments with unexpected sweetness. In the title poem Lux writes, “there’s no reason for God to feel guilt / I think He was downhearted, weary, too weary / to be angry anymore . . . / He wanted each of us, / and all the things we touch . . . / to have a tiny piece of Him / though we are unqualified, / of even the crumb of a crumb.” Dark, humorous, and strikingly imaginative, this is Lux’s most compassionate work to date.

    Speaking in the unique lyrical voice that he called his "Ohioan," Wright created poems of immense sympathy for sociey's alienated and outcast figures and also of ardent wonder at the restorative power of nature.Selected Poems fills a significant gap in Wright's bibliography: that of an accessible, carefully chosen collection to satisfy both longtime readers and those just discovering his work. Edited and with an introduction by Wright's widow, Anne, and his close friend the poet Robert Bly, who also wrote an introduction, Selected Poems is a personal, deeply considered collection of work with pieces chosen from all of Wright's books. It is an overdue--and timely--new view of a poet whose life and work encompassed the extremes of American life.

    The commentary will contain background on the poems or more deeply delve into themes or topics discussed in the poems themselves. The spiritual seeker as well as the mature in faith will both benefit from the poems.

    She writes about what having an abortion alone felt like because her boyfriend wouldn’t sell his guitar to buy a plane ticket. She writes about the purple flesh of her nipple and pleasure so loud that the world must sigh and shut its blinds—for it cannot taste the desire it has not lived. She writes when grief takes her down to the white tile floor of her kitchen and keeps her there all night. She writes how the brown of an espresso smells in white sheets brought by an Italian who played her legs like a harp all night. She writes her disdain for the commercialization of spiritualism and in the same breath demands that people heed their gut before their guru. She writes how the numbness of grief feels the Monday morning after a suicide. She writes of surfing naked in broad daylight—what freedom tastes like, what dust feels like hitting the back of her legs in the muggy heat of May as she tears through the jungle with the teeth of her heart. She writes about the yellow of fireflies, the bitterness of kicking horse coffee in a blue tin cup, and the taste of air cleaned by hemlocks. She writes of Austin, where cowboys walk in boots that echo on sidewalks stained with love. She writes about her disdain for marriage, politics, pensions, the military, and university—she questions everything and writes the truths we are too afraid to tell ourselves. She doesn’t find her radical vulnerability brave, she finds it common sense—like breathing.This Is For The Women Who Don’t Give A Fuck is a poetry collection of Robinson’s heart. Her work is a diverse assortment of gut-wrenching stories, powerful anecdotes, whimsical observations, and overall joyful expressions. She relinquishes social constructs with command and grace. Her rare eloquence is mesmerizing and inclusive to all readers. This collection takes you to extraordinary places and doesn’t return you quite the same.

    Predator, the debut collection by Michael Robbins, became one of the hottest and most celebrated works of poetry in the country, winning acclaim for its startling freshness and originality, and leading critics to say that it was the most likely book in years to open up poetry to a new readership.   Robbins’s poems are strange, wonderful, wild, and irrationally exuberant, mashing up high and low culture with “a sky-blue originality of utterance” (The New York Times). The thirty-six new poems in The Second Sex carry over the music, attitude, hilarity, and vulgarity of Alien vs. Predator, while also working deeper autobiographical and political veins.

    The wit and wisdom of the West, as documented by Dalton Wilcox, poet laureate of the West.

    D. A. Powell What is it about the poems in Red Sugar, Jan Beatty's astonishing third collection, that brings to mind the incomparable music of Miles Davis? 'It's just that I can't play like anybody else... I can't do anything like anybody else, ' Davis insisted. These poems go their own sure way, making their own fierce music, charting 'the fluid stages of / empire & slavery' in the human body, yours and mine, as we rehearse our sometimes sorry but always necessary seductions. Jan Beatty is the author of Boneshaker and Mad River, winner of the 1994 Agnes Lynch Starrett Poetry Prize. She is the recipient of the Pablo Neruda Prize for Poetry and two fellowships from the Pennsylvania Council on the Arts

    These poems are allusive and tough. While they celebrate the pleasures of the natural world--mutability, desire, and the flowering of things--they are compounded by a critical awareness of contemporary culture. As we traverse their associative leaps, we discover a linguistic landscape that is part garden, part wilderness, where a poem can perform its own natural history. Divided into four cantos interrupted by lyrics and errata, Meteoric Flowers mirrors the form of Erasmus Darwin's 18th-century scientific pastorals. In attending to poetry's investigative potential, Willis shifts our attention from product to process, from commodity to exchange, from inherited convention to improvisational use.

    With pithy, razor-sharp prose, Sennah dissects and reassembles pop culture through personal anecdotes, crafting a love-hate letter to the media and the microaggressions that have shaped how she sees herself and the world. How Do I Look? is a raw and vulnerable reflection on identities real and imagined.

    It is an epic journey not only affirming that “there is a difference between sadness and suffering;” but that Schomburg is one of the most unusual poets writing today, pushing his work beyond our familiarity. These poems have a thirst for blood, but they don't yet know exactly what to do with their hands. The Book of Joshua calls out in hunger and loneliness, “I didn’t feel like living in anything not shaped like me anymore.”

    A former resident of St. Louis, where he founded the Observable Poetry reading series, he now lives in Hillsborough, North Carolina.

    Sex. Detox. Art. Recovery. Prostitution. Music. Street life. Poetry. Toxic love. And, those are just on the surface. The layers and complexities of Addictarium will shock and enthrall you... When wild-child, and south Florida escapee, Danielle Martino finds herself curled in a ball on the cold tile floors of her filthy rank bathroom in the tiny studio she rents with her fiancé and partner-in-crime, she knows it's time to quit abusing heroin. Severely impaired from shooting a bad batch of black tar heroin, and already partially blind from the infection that the muddy poison has caused, she is forced to hitch a greyhound bus to New York City, and to abandon her care-free, American-bohemian, drug infested life-style.Hailed by many as a beautiful, unique, honest, raw and poetic account of recovery, Addictarium takes readers on a compelling journey through the life and eyes of the narrator; a creative, nomadic, deep--but, incidentally broken--young woman, and underlines the contributing factors to what it's really like to suffer from addiction. With magnificent candor--and sometimes emotionally crippling descriptions--we witness Danielle's fight towards recovery from more than just heroin, as Addictarium brings the readers on a fascinating and harrowing, brutal tale of a young women's recovery from total and mass self-destruction. --Addictarium highlights in the starkest of lights, why it is so difficult for addicts to receive the recovery they seek, when they finally do decide to put the drug down.

    A librarian is called to a remote Canadian island to inventory the estate of a secretive Colonel whose most surprising secret is a bear who keeps the librarian company--shocking company.

    His third book in a decade, Some Values of Landscape and Weather revives poetic architectures such as elegy, song and litany, to build what he calls "a comprehensive music." Here musical and pictorial values perform against a backdrop of political, social and ethical values. These intense and exacting poems traverse a landscape of cultural memory that opens into the explosive, vibrant registers of the now. John Ashbery has written that Gizzi's poems are "simultaneously all over the page and right on target. He is the most exciting poet to come along in quite a while."