It brings together (but is not limited to) estranged lovers, despairing mothers and the avenging spirits of murdered women, in an assortment of words that celebrate queer desire, obsessive longing and a general disregard for "proper" subject matter. Comprising selected work written over the course of a decade, the largely confessional collection has been described as dark and hysterical ... but in a good way.

    And he also showed that within him beat the heart of an artist -- a major factor in his resilience and recovery.Now with Who Will Cry for the Little Boy?, his first collection of poetry, Antwone Fisher reveals the inner truths that took him from a tumultuous childhood to the man he is today. The powerful poems presented here range from impressions and expressions of Antwone's years growing up to the love that he has gained from the family he made for himself as an adult.From the title poem -- which is featured prominently in the movie Antwone Fisher -- a plaintive, haunting tribute to a childhood lost to abuse and neglect, to "Azure Indigo," the uplifting and touching poem about his daughters, many readers will find their own feelings and experiences reflected in this lyrical and passionate collection.

    During that time, some of these poems appeared in various journals and on Web sites, including The Poetry Daily site, which ran thirty of Lehman's poems in as many days throughout the month of April 1998. For The Daily Mirror, Lehman has selected the best of these "daily poems" -- each tied to a specific occasion or situation -- and telescoped two years into one. Spontaneous and immediate, but always finely crafted and spiced with Lehman's signature irony and wit, the poems are akin to journal entries charting the passing of time, the deaths of great men and women, the news of the day. Jazz, Sinatra, the weather, love, poetry and poets, movies, and New York City are among their recurring themes. A departure from Lehman's previous work, this unique volume provides the intimacy of a diary, full of passion, sound, and fury, but with all the aesthetic pleasure of poetry. More a party of poems than a standard collection, The Daily Mirror presents an exciting new way to think about poetry.

    Reflecting a new editorial approach, this volume demonstrates the breadth of Ted Berrigan's poetic accomplishments by presenting his most celebrated, interesting, and important work. This major second-wave New York School poet is often identified with his early poems, especially "The Sonnets, " but this selection encompasses his full poetic output, including the later sequences "Easter Monday" and "A Certain Slant of Sunlight, " as well as many of his uncollected poems. The Selected Poems of Ted Berrigan provides a new perspective for those already familiar with his remarkable wit and invention, and introduces new readers to what John Ashbery called the "crazy energy" of this iconoclastic, funny, brilliant, and highly innovative writer.Praise for" The Collected Poems of Ted Berrigan: ""This is a great, great book for all seasons of the mind and heart."--Robert Creeley"Thanks to this invaluable "Collected Poems, " one can hear, as never before, Ted Berrigan dreaming his dream."--"The Nation"""The Collected Poems of Ted Berrigan "is not only one of the most strikingly attractive books recently published, but is also a major work of 20th-century poetry. . . . It is a book that will darken with the grease of my hands. There is no better way to praise it than by saying, 'If you enjoy poetry, you should have it.'" --"Bloomsbury Review ""It's a must-have, a poetic knockout."--"Time Out New York"

    Each chapter serves a different purpose. The chapters are For The Healing, For The Erasing, For the Loving, For the Oppressed, and For the Broken. This book teaches you to love yourself and others. It's better experienced than described, so sit down with some coffee and allow yourself to feel-- and heal.

    Enjoy modern poetry, scanned pieces of typed words on scraps, and full color original artwork.Open your mind and let your heart go on an adventure.

    . . But among the many writers who have come of age in our fin de siècle, none have succeeded more completely as poet, critic, and translator than Robert Pinsky." --James Longenbach, The NationThe poems in Robert Pinsky's At the Foundling Hospital consider personality and culture as improvised from loss: a creative effort so pervasive it is invisible. An extreme example is the abandoned newborn. At the Foundling Hospital of eighteenth-century London, in a benign and oddly bureaucratic process, each new infant was identified by a duly recorded token. A minimal, charged particle of meaning, the token might be a coin or brooch or thimble--or sometimes a poem, such as the one quoted in full in Pinsky's poem "The Foundling Tokens." A foundling may inherit less of a past than an orphan, but with a wider set of meanings. The foundling soul needs to be adopted, and it needs to be adaptive.In one poem, French and German appear as originally Creole tongues, invented by the rough needs of conquered peoples and their Roman masters. In another, creators from scorned or excluded groups--among them Irving Berlin, Quintus Horatius Flaccus, and W.E.B. Du Bois--speak, as does the Greek tragic chorus, in the first-person singular.In these poems, a sometimes desperate, perpetual reimagining of identity, on the scale of one life or of human history, is deeply related to music: The quest is lyrical, whether the subject is as specific as "the emanation of a dead star still alive" or as personal as the "pinhole iris of your mortal eye."

    But these unpretentious vignettes are laced with compassion, as she learns to balance the sting of death with the tender strangeness of life.

    When she comes down with blinding headaches, she reluctantly takes time away from work to go and see the doctor. Dr. Burnett is a gorgeous young blonde woman, and she comes to a decision very quickly. Stacy has stress headaches, and needs some rest and physical pleasure to distract her from the pain. Luckily, this is the good doctor's specialty, and she gives Stacy a treatment right there in the office!

    The first section of this collection pays homage to the poet's roots in a place where the world hands you nothing and promises less, so you are left to invent yourself or disappear. From there these poems both recount and embody repeated acts of defiant self-creation in the face of despair, loss, and shame, and always in the shadow of annihilation.With darkly raucous humor and wrenching pathos, Seuss burrows furiously into liminal places of no dimension—state lines, lakes' edges, the space "between the m and the e in the word amen." From what she calls "this place inbetween" come profane prayers in which "the sound of hope and the sound of suffering" are revealed to be "the same music played on the same instrument."Midway through this book, a man tells the speaker that beauty is that which has not been touched. This collection is a righteous and fierce counterargument: in the world of this imagination, beauty spills from that which has been crushed, torn, and harrowed. "We receive beauty," Seuss writes, "as a nail receives / the hammer blow." This is the poetry that comes only after the white dress has been blown open—the poetry of necessity, where a wild imagination is the only hope.

    The steady, reliable one. Lauren Roberts has had her fill of it.Running her bed-and-breakfast like clockwork and hosting her younger, glamorous, songbird sister for the holidays only underscores Lauren’s choice of order over risk. Kelly’s vibrant and impetuous nature doesn’t stick to anything—or any one woman—for long. That includes an old girlfriend of Lauren’s who was dazzled by Kelly, then dumped, shortly after Lauren stepped aside.Old memories are sharply painful with Kelly under her roof. With the inn full, Lauren’s patience and control is stretched to the limit. When Kelly brings home Lauren’s friend Gaylin Hart, Lauren realizes Kelly has again laid claim to something she might well have wanted for herself. It looks like history might repeat itself—if Lauren lets it.Bestselling author Kenna White (Romancing the Zone, Comfortable Distance) weaves a story of sisters and the choices as a woman struggles to claim the love she has earned.

    Lyly took up the story of two young women, Galatea (or Gallathea) and Phillida who are dressed up in male clothes by their fathers so that they can avoid the requirement of the god Neptune that every year "the fairest and chastest virgin in all the country be sacrificed to a sea-monster." Hiding together in the forest, the two maidens fall in love, each supposing the other to be a young man. "Galatea" has become the subject of considerable feminist critical study in recent years. "Midas" (1590) uses mythology in quite a different way, dramatizing two stories about King Midas in such a way as to fashion a satire of King Philip of Spain (and of any tyrant like him) for colossal greediness and folly. In the wake of the defeat of Philip's Armada fleet and its attempted invasion of England in 1588, this satire was calculated to win the approval of Queen Elizabeth and her court.

    She has never been on a plane before. She’s upset and nervous enough, but she just has to get out of Chicago for a little while to clear her head. Lindsey never thought one meeting on a plane would change her life forever. Is there true love out there? She didn’t think so after what she’s just been through. After meeting Kelli Monroe, Lindsey can see that she’s bubbly, kind and nice. They sit beside each other on the plane. Lindsey likes her positive attitude. It’s just the thing she needs to pull her out of her gloom and pity. Kelli comforts Lindsey on the plane without even personally knowing her! Lindsey finds out quickly that Kelli is also from Chicago. What are the odds that they are from the same place, going to the same place? Lindsey thinks. So when Kelli asks to exchange telephone, Lindsey is all in. There’s nothing wrong with making a friend along this rough road of life. Little does Lindsey know just how much Kelli is going to change her life, how much she is going to learn from her. How she can turn any heart that’s bitter, into wanting to love again. Kelli shows Lindsey just how strong she is when she feels like Lindsey can’t make it through at all. Please Note: This book contains adult language and steamy adult activities, it is intended for 18+ Adults Only. Novel, approximately 40,000 words in length. HEA (happy ever after ending). Does not end with a "cliffhanger."

    

    If she let her, Elizabeth would threaten her carefully erected walls. Louka has no intention of allowing her close.In Provence for a summer of teaching at the Maritima archaeological centre, Oxford University lecturer Elizabeth McLean would have no such qualms. She is absolutely up for some fun on the side, and the sexy coastguard has got under her skin.As the weeks unfold, and the two women get close, not all is as it seems.In the end…What’s the best that could happen?