The wildly inventive imagery in these cinematic pieces lodges them somewhere between the surreal and the pure symbol, colorful and smooth like the lyrics of John Ashbery or Linda Pastan. In Chelotti’s poems, diamonds talk and sheriffs balance frogs on the tips of pens.The rain says, Listen to Debussy,go ahead, Debussy will fix you.—From “Migraine Cure”The secret to including everythingis to intricately divide your mindand then, all of a sudden,undivide it.—From “Still Life on a Scrolling Background”

    But while the selected poems in this volume may focus upon loss and grief, they also reflect solace, respite, and joy.  A goodbye is an opportunity for kindness, for forgiveness, for intimacy, and ultimately for love and a deepening acceptance of life as it is rather than what it was. Goodbyes can be poignant, sorrowful, sometimes a relief, and—now and then—even an occasion for joy.  They are always transitions that, when embraced, can be the door to a new life both for ourselves and for others. In this inspiring and consoling volume, Housden encourages readers to embrace poetry as a way of enabling us to better see and appreciate the beauty of the world around and within us.

    With her marriage shattered, Erin Belieu sifts the wreckage for the black box, the record of disaster. Propelled by a blistering and clarifying rage, she composed at fever pitch and produced riveting, unforgettable poems, such as the ten-part sequence “In the Red Dress I Wear to Your Funeral”:I root through your remains,looking for the black box. Nothing leftbut glossy chunks, a pimp’s platinumtooth clanking inside the urn. I play youover and over, my beloved conspiracy,my personal Zapruder film—look. . .When Belieu was invited by the Poetry Foundation to keep a public journal on their new website, readers responded to the Black Box poems, calling them “dark, twisted, disturbed, and disturbing” and Belieu a “frightening genius.” All true.

    The Longest Night combines strikingly poignant quotations, powerfully emotive poetry and captivating silhouette imagery to form a mournful lover's journal that explores a side of love that is deep, dark and hauntingly beautiful.Each of the book's elements are skilfully woven together to reveal fragments of thoughts and feelings that seem almost to belong to the reader as years of painful longing are condensed into the context of a single night.The journal begins with 'Sunset', in which poems convey the initial feelings of shock and loss first felt when a relationship with a loved one ends. As the poetry descends into an emotional downward spiral, the book progresses into its next chapter, 'Darkness', in which emptiness, jealousy, sorrow and despair are passionately portrayed.The concluding chapter, 'First Light', sees the gradual dawning of a new outlook. The final poems express a gratitude for what once was, an acceptance of what now is, and come to the uplifting conclusion that even though a relationship can be fated to end tragically, the memories gained and lessons learned from it are, in their own way, treasured gifts that will last a lifetime.A book for anyone who has found themselves separated from someone they love no matter the circumstance, The Longest Night is a companion for the broken heart on the painful emotional journey that is losing someone you love from your life. Its words serve as a comforting reminder, whether you are travelling this road or have recently completed this journey yourself, that despite the loneliness you may sometimes feel along the way none of us walk this path alone.

    Concludes the end of this series.

    Whittled down to song and fragments of story, these poems teeter at the edge of dread. A gang of unchaperoned children, grappling with blame and forgiveness, speak with tenderness and disdain about “the mothers” and “the fathers,” absent figures they seek in “the faces of clouds” and in the cars that pass by. Other poems investigate the force of maternal love and its at-times misguided ferocities. The final poem, a long sequence of nocturnes, eschews almost everything but the ghostly erotic. These are bodies at the edge of experience, watchful and defamiliarized.

    After meeting Dr. Lachele, Taryn decides to turn over her search for a husband to the capable matchmaker. The day of the wedding, Taryn sneaks a peek of her groom and sees something that brings her painful past to the front of her mind. Army soldier Andrew Dawson is used to being the hero, but he never expected that his mom would end up with something he can’t save her from—breast cancer. He chooses to move back to Grace Lake, Idaho—the town he’s been running away from for the past eight years—to care for her. He soon realizes there will be no time to date—if there was anyone to date—and he isn’t confident in his ability to care for his mom alone. At the recommendation of his Aunt Eileen, he decides to give Dr. Lachele Simpson’s Matchrimony service a try. Can he trust that Dr. Lachele has picked the right woman for him? Or will he regret his choice to meet his wife at the altar? www.keirakbarton.com

    Whether in business or his personal life. Not many people tell him, “No.” Until Kourtney Deen, a striking beauty, refused to sell her business to him so that he could put up a luxury spa and golf course. Business is business that’s what Zac has always believed. He refuses to get caught in the marriage trap like his cousins. However, the day he meets the feisty shop owner face to face, he can’t resist the attraction he has for her. Kourtney refuses to allow herself to get distracted. No matter how tall, grey-eyed and handsome he maybe. That road has already been traveled. Years ago, she made some mistakes and had to make some tough choices. Now, the only two things she cares about are her daughter and the success of her shop. In Zac’s structured life, things have always gone how he planned it, but one unexpected event leads to another. When he discovers that nothing is what it seems and there are secrets, yet revealed, he learns quickly that it is not his wallet he has to lean on, but his heart.

    VERA & LINUS is a series of short sketches. The book's theme is the love between the two protagonists, Vera and Linus. They are mischief makers and tricksters of the most daring sort, and they are constantly up to no good, but the language holds them with a clear restraint, a restraint born perhaps out of the peculiar nature of their love, a love both for each other and the things of the world. Their mastery, and shifting natures allow them to compel the workaday world as they see it, but not to rule over each other, and so their game begins, as Vera struggles to outwit Linus, and Linus to outwit Vera.

    Arranged in seven parts and culminating in the superb "The Showings: Lady Julian of Norwich," Breathing the Water draws the readers deep into spiritual domains––not in order to leave the world behind, but to reanimate our sometimes dormant love for it.

    

    

    But when her perfect husband turns out to be a lying, cheating slimeball - and bad in bed to boot - Savannah kicks the jerk to the curb and embarks on life on her own terms. With a new apartment, a new career, and a brand new outlook on life, she's all set to take the world by storm. If only the world would stop throwing her curveballs... CLOSE TO HOME - book #4 Savannah's late. The kind of late that comes with midnight feedings and the pitter-patter of little feet. And while it's a circumstance that should make everyone happy - now she can finally settle down and marry Todd Satterfield, the way everyone's been hoping and praying! - it isn't Todd's baby. And Rafe, whose baby it is, didn't sign on for fatherhood. Add in the murder of Savannah's sister-in-law Sheila, the trial of Sheila's friend Marley, and the disappearance of Rafe's twelve year old son David - the kid he never knew he had! - and things get complicated fast. And there is worse to come: When Rafe comes back to Nashville to help look for David, and learns that Savannah's pregnant, things do not work out the way Savannah had hoped. In the end, she's left with nothing she wanted and a whole lot of trouble she didn't, and for once, Rafe's not there to save the day. A DONE DEAL - book #5 Silver bells, silver bells... It's Christmas time in Nashville, and all Savannah wants to unwrap on Christmas morning is Rafe Collier. Unfortunately, things don't look so good. He's back in town, but not alone: on his arm is a stunning brunette, just the kind of woman Savannah always suspected was his type. When Alexandra Puckett asks her help in figuring out a way to stop Maybelle Driscoll from marrying Alex's father Steven, Savannah jumps on the chance. It'll give her something to think about other than Rafe and the mysterious Carmen, and anyway, she doesn't like Maybelle much herself. Between investigating Maybelle's past, helping her clients Aislynn and Kylie buy a house, and stalking Carmen and Rafe, Savannah soon has her hands full. And that's before someone starts gunning for her. Suddenly it's not a question of unwrapping anything on Christmas morning anymore; it's a question of whether she'll even survive to see another Christmas. CHANGE OF HEART - book #6 It’s late February, just two months after Savannah Martin and Rafael Collier finally worked things out between them, and Rafe is already sneaking out of bed in the wee hours. Catching fellow realtor Tim Briggs rinsing blood from his hands in the office sink makes for a welcome distraction, and when Tim disappears just as one of his clients is found dead in a nearby park, Savannah throws herself into the investigation with abandon. But even the murder mystery taking place right under her nose can’t completely distract her from worrying about personal problems. Has Rafe changed his mind about their relationship, or is something else going on? And what are the chances of Savannah coming out of this latest debacle with her life – and her heart – intact? *** Contains an excerpt of Savannah Martin Mystery #7, Kickout Clause ***

    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.

    could have predicted the delayed depth-charge of this explosive second book, motored by vividly earthly language and disguised philosophical sophistication." —Publishers Weekly, starred review"Throughout Made Flesh, one of the most powerful poetry books this year, Arnold gets at both the contradictions and timelessness of love." —Time Out New York"The readers delighted with (Arnold's) first book (Shells) will be differently enchanted with these. They contain a wealth of contemplation as well as observation and experience. Their unpunctuated free style carries the reader into the poems, piling up events and details in a breathless rush....The poems of Made Flesh are unforgettable, and it is tragic that readers will have no new books from Craig Arnold."—Magill Book ReviewsA girl wakes up to find out just how completely her lover has possessed her. A couple realizes they’ve been trapped inside an ancient myth. A traveler glances out through a train window and catches the dim reflection of another world.This is the world of Made Flesh, the long-awaited second book by Craig Arnold, a finalist for the Utah Book Award and the High Plains book award. Made Flesh delineates a new mythology of what it means to be in the body. Marrying narrative precision to lyric ecstasy, the archaic to the avant-garde, these poems celebrate the fragility of our very selves and “the joy of self-forgetting,” the acts of surrender that loves asks of us. Fierce, exuberant, and erotic, they invite the reader to share a rare and startling vision: how, if we would only permit ourselves to be drawn out of our mental privacies, out to the very surface of our skin, we might admit the beauty of being for a moment in the world, and with each other.Craig Arnold is the author of Shells, a Yale Series of Younger Poets selection chosen by W.S. Merwin. He taught at the University of Wyoming in Laramie. In late April 2009, Craig Arnold went missing on the Japanese island of Kuchinoerabu-jima, where he was working on a book about volcanoes as part of a Creative Artists' Exchange Fellowship from the Japan-United States Friendship Commission. He was forty-one years old.