Instead of going away to college or turning up every weekend, she spent her days behind the counter at McDonalds. With a mother fighting Lupus and bills that had to be paid, Azuri put her life on hold to be whatever her mother needed her to be. A night working the late shift changed her life. It was the day she met Kashmir “Gotti” Banks. Gotti is an arrogant, smart mouthed boss from Harlem and used to getting everything he wanted, that is until he met Azuri. Love ‘em and leave ‘em had been his way of life for the past twenty five years. Chasing women was never his style and being caught, had never been Azuri’s style. The chemistry between the two was far more than either of them could ever imagine. Not sure if Gotti is good for her, Azuri built a wall up that he was determined to tear down. A day at the Rucker started a whirlwind romance between the two, but will they have a happily ever after? Lies, drama, murder, sex and deceit threaten to destroy the union the two have built. Will their love stand the test of time? Or will too many lines being crossed, tear the two apart? Find out in this juicy tale, unlike anything you’ve ever read...

    It is in her poetry, however, where she achieves the full extent of her revelation as artist and human. The poems in this first selection from her whole work were written over a period of forty years. They convey a wonderfully energetic alternation of mood, idea, and experience that are part of her unique creative process.

    Drama. Elisa Gabbert's L'HEURE BLEUE, OR THE JUDY POEMS, goes inside the mind of Judy, one of three characters in Wallace Shawn's The Designated Mourner, a play about the dissolution of a marriage in the midst of political revolution. In these poems, Gabbert imagines a back story and an emotional life for Judy beyond and outside the play. Written in a voice that is at once intellectual and unselfconscious, these poems create a character study of a many-layered woman reflected in solitude, while engaging with larger questions of memory, identity, desire, surveillance, and fear.

    The wonderful writings in Thalia Field's long-awaited new book Point and Line deny categorization, they are "nicheless." Perhaps describable as "epic poetries," these riveting pieces represent a confluence of genres in which Thalia Field has been involved over the course of her career: fiction, theater, and poetry. Written from a constructivist, post-genre sensibility, they elude classification, and present the author's concern with clarity in a world that resists it. For instance, in "Hours" and "Setting, the Table," Field uses indeterminate performance techniques to emphasize the categorical/conceptual nature of thought. Other pieces use generative schemes, portraits of mental shapes, which create meaning out of noise. Visually, each chapter is captivating, showing the author's need for shapes and colors in her work, her fascination with the contours of speech.

    Gatwood's poems deftly deconstruct traditional stereotypes. The focus shifts from childhood to adulthood, gender to sexuality, violence to joy. And always and inexorably, the book moves toward celebration, culminating in a series of odes: odes to the body, to tough women, to embracing your own journey in all its failures and triumphs.

    The inaugural winner of the annual American Poetry Review/Honickman First Book Award.

    Formally innovative and blazingly direct, The Bad Wife Handbook cross-examines marriage, motherhood, monogamy, and writing itself. Rachel Zucker's upending of grammatical and syntactic expectations lends these poems an urgent richness and aesthetic complexity that mirrors the puzzles of real life. Candid, subversive, and genuinely moving, The Bad Wife Handbook is an important portrait of contemporary marriage and the writing life, of emotional connection and disconnection, of togetherness and aloneness.

    We at Zoo are eminently pleased to have such a fine book of verse for our inaugural Kenyon Review Prize volume. Fennelly's poems are well poised in their witty and sometime sassy ruminations, often "maximalist" in their scope (see "From L' HUtel Terminus Notebooks") and the pleasure one takes within them is of the rarest breed: it is the pleasure of unexpected revelation. Open House comes introduced by series judge and Kenyon Review poetry editor, David Baker.

    Of course he wasn’t an established author back then, just the only man that has ever truly owned Jade’s heart. During the height of their passionate engagement, Jade made a decision that changed their lives forever. A decision she has regretted ever since. Unfinished business and a past seared with regret is what leads Jade to pay an unexpected visit to Ellis’s Brooklyn book signing event with a glimmer of hope that all isn’t lost. For Ellis, Jade was undoubtedly the love of his life. Seeing her again not only brings back memories of the love they used to share, it reminds him of the painful way things ended. Although it was so long ago, Ellis can’t help but wonder if he could allow himself to fall again. They’ve lived a life a part, both becoming successful in their own rights. And yet there’s always been that one missing piece to each of their happiness. Jade and Ellis, along with their charming and funny cast of friends travel through a roller coaster romance that proves love will always find its way back home.

    For the rest of the readers that already know what's up? Welcome back. Let's continue with Montana's story.

    It immediately became a literary sensation on publication, and was the biggest selling book on Amazon – anywhere in the world.Replete with a forty page description of marital sex, details of worms, and even, following an abortion, ‘the best anal sex ever’, ‘Wrecked’ reannounced Charlotte Roche, and showed her exploring the detrimental pressures placed on women as mothers and wives.

    Written as a catharsis in the months following the loss of her father in late 2016, Jessica has taken pen to page to say things he and others will never read, either because they can't, or just won't. Containing entirely new works, this is a can't miss release.

    When it comes to her family, her wrath knows no bounds. As she scratches and claws her way to the top, she feels like a woman on a mission. She's proven that she's about the life she leads. From murder to extortion, Caprice has done it all. The only question remains, is she ready to have it all?

    His voice and sensibility are distinctive, and the places he goes are ones where not many writers are able or willing to venture. The dark world of his poems, which face many of the hardest truths we must learn to live with, is lit by humor, tenderness, compassion, and honesty. For this edition, the poet has selected from the best of his previous collections, in some cases making substantial revisions, and has added his newest poems. The resulting collection is exciting in its breadth, consistency, depth, and distinction.

    Best of all, he's packed us in his suitcase. He represents an ever-changing population of those raised elsewhere who find themselves beckoned by the history, mystique, and magic-makers of New York City. These poems inhabit their own contradictions, and exquisitely navigate the many complicated sides of what it means to be alive. About The Author: Jon Sands has been a professional teaching and performing artist since 2007. He's a recipient of the 2009 NYC-LouderARTS fellowship grant, and has represented New York City multiple times at the National Poetry Slam. He is the Director of Poetry and Arts Education Programming at the Positive Health Project, as well as a Youth Mentor with Urban Word-NYC. His work has appeared in decomP magazine, The Millions, Suss, The Literary Bohemian, Danse Macabre, The November 3rd Club, and others. He lives in New York City, where he makes better tuna salad than anyone you know.