There Felicia finds herself wedded to an uncanny and dangerous world, full of mystery and violence, where objects tell tales, the dead come and go, and the past is as potent as the present. First published in Holland in 1955, Maria Dermoût's novel was immediately recognized as a magical work, like nothing else Dutch—or European—literature had seen before. The Ten Thousand Things is an entranced vision of a far-off place that is as convincingly real and intimate as it is exotic, a book that is at once a lament and an ecstatic ode to nature and life.

    She speaks of sexual politics and family in a fierce, determined tone voracious in its opinions about freedom and responsibility.    The author engages in mythology and art history, musically wooing the reader with texture and voice. As she references such disparate cultural figures as filmmaker Lars Von Trier, Annie from the film Annie Get Your Gun, Nabokov’s Lolita, facebook entries and Greek gods, they appear as part of the poet’s cultural critique.    Phrases such as “the caustic domain of urchins” and “the gelatin shiver of tea’s surface” take the poems from lyrical images to comic humor to angry, intense commentary. On writing about “downgrading into human,” she says, “Then what? Amorality, osteoporosis and not even a marble estuary for the ages.”     Giménez Smith’s poetic arsenal includes rapier-sharp wordplay mixed with humor, at times self-deprecating, at others an ironic comment on the postmodern world, all interwoven with imaginative language of unexpected force and surreal beauty. Revealing a long view of gender issues and civil rights, the author presents a clever, comic perspective. Her poems take the reader to unusual places as she uses rhythm, images, and emotion to reveal the narrator’s personality. Deftly blending a variety of tones and styles, Giménez Smith’s poems offer a daring and evocative look at deep cultural issues.

    A boy waits at a bus stop, mocking businessmen struggling to keep their umbrellas open in a typhoon--until an old man shows him that they hold the secret to flying. A woman working in a clothing boutique waits endlessly on a customer who won't come out of the fitting room--and who may or may not be human. A newlywed notices that her husband's features are beginning to slide around his face--to match her own.In these eleven stories, the individuals who lift the curtains of their orderly homes and workplaces are confronted with the bizarre, the grotesque, the fantastic, the alien--and, through it, find a way to liberation. The English-language debut of one of Japan's most fearlessly inventive young writers.

    For the people who need an extra dose of positivity in their day. This is not a poetry book for you to read and relate to in a sorrow filled way. It is for you to read and say yes, I can be better, and I will.

    Directions: apply to your soul gently, whilst sitting under the stars.

    —from “Poem of My Humiliations”“What is life but a cross / over rotten water?” Poet, novelist, and essayist Erika L. Sánchez’s powerful debut poetry collection explores what it means to live on both sides of the border—the border between countries, languages, despair and possibility, and the living and the dead. Sánchez tells her own story as the daughter of undocumented Mexican immigrants and as part of a family steeped in faith, work, grief, and expectations. The poems confront sex, shame, race, and an America roiling with xenophobia, violence, and laws of suspicion and suppression. With candor and urgency, and with the unblinking eyes of a journalist, Sánchez roves from the individual life into the lives of sex workers, narco-traffickers, factory laborers, artists, and lovers. What emerges is a powerful, multifaceted portrait of survival. Lessons on Expulsion is the first book by a vibrant, essential new writer now breaking into the national literary landscape.

    The poetry he chose supplied qualities that were lacking from the literary culture of this country. For the first time Robert Bly’s brilliant translations, from several languages, have been brought together in one book. Here, in The Winged Energy of Delight, the poems of twenty-two poets, some renowned, others lesser known, are brought together.At a time when editors and readers knew only Eliot and Pound, Robert Bly introduced the earthy wildness of Pablo Neruda and Cesar Vallejo and the sober grief of Trakl, as well as the elegance of Jiménez and Tranströmer. He also published high-spirited versions of Kabir and Rumi, and Mirabai, which had considerable influence on the wide culture of the 1970s and 1980s. Bly’s clear translations of Rilke attracted many new readers to the poet, and his versions of Machado have become models of silence and depth. He continues to bring fresh and amazing poets into English, most recently Rolf Jacobsen, Miguel Hernandez, Francis Ponge, and the ninteenth-century Indian poet Ghalib. As Kenneth Rexroth has said, Robert Bly “is one of the leaders of a poetic revival which has returned American literature to the world community.”

    Autoportrait is a physical, psychological, sexual, political, and philosophical triumph. Beyond "sincerity," Levé works toward an objectivity so radical it could pass for crudeness, triviality, even banality: the author has stripped himself bare. With the force of a set of maxims or morals, Levé's prose seems at first to be an autobiography without sentiment, as though written by a machine—until, through the accumulation of detail, and the author's dry, quizzical tone, we find ourselves disarmed, enthralled, and enraptured by nothing less than the perfect fiction . . . made entirely of facts.

    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.

    SmithCo-published by Graywolf Press and the Library of Congress, American Journal presents fifty contemporary poems that explore and celebrate our country and our lives. Poet Laureate of the United States and Pulitzer Prize winner Tracy K. Smith has gathered a remarkable chorus of voices that ring up and down the registers of American poetry. In the elegant arrangement of this anthology, we hear stories from rural communities and urban centers, laments of loss in war and in grief, experiences of immigrants, outcries at injustices, and poems that honor elders, evoke history, and praise our efforts to see and understand one another. Taking its title from a poem by Robert Hayden, the first African American appointed as Consultant in Poetry to the Library of Congress, American Journal investigates our time with curiosity, wonder, and compassion. Among the fifty poets included are: Jericho Brown, Natalie Diaz, Matthew Dickman, Mark Doty, Ross Gay, Aracelis Girmay, Joy Harjo, Terrance Hayes, Cathy Park Hong, Marie Howe, Major Jackson, Ilya Kaminsky, Robin Coste Lewis, Ada Limón, Layli Long Soldier, Erika L. Sánchez, Solmaz Sharif, Danez Smith, Susan Stewart, Mary Szybist, Natasha Trethewey, Brian Turner, Charles Wright, and Kevin Young.

    Written with compassionate realism and wit, the stories in this mesmerizing collection depict the disparities of town and village life in South America, of the frightfully poor and the outrageously rich, of memories and illusions, and of lost opportunities and present joys.

    Among his expansive and impressive body of work, Gitanjali is regarded as one of his greatest achievements, and has been a perennial bestseller since it was first published in 1910.

    And the discovery of her corpse—by a group of children playing near the irrigation canals—propels the whole village into an investigation of how and why this murder occurred. Rumors and suspicions spread. As the novel unfolds in a dazzling linguistic torrent, with each unreliable narrator lingering on new details, new acts of depravity or brutality, Melchor extracts some tiny shred of humanity from these characters that most would write off as utterly irredeemable, forming a lasting portrait of a damned Mexican village.Like Roberto Bolano’s 2666 or Faulkner’s greatest novels, Hurricane Season takes place in a world filled with mythology and violence—real violence, the kind that seeps into the soil, poisoning everything around: it’s a world that becomes more terrifying and more terrifyingly real the deeper you explore it.

    This is our mouth on paper, our hearts on our sleeves, our refusal to shut up and swallow our silence. These poems are tough, honest, astute, perceptive, lyrical, blunt, sad, funny, heartbreaking, and true. They shout, they curse, they whisper, and sing. But most of all, they tell it like it is.” –Tony Medina, from the Introduction

    Rebelling against the business of bestsellers and in search of an ideal place where their literary dreams can come true, Ivan and Francesca open a store where the passion for literature is given free rein. Tucked away in a corner of Paris, the store offers its clientele a selection of literary masterpieces chosen by a top-secret committee of likeminded literary connoisseurs. To their amazement, after only a few months, the little dream store proves a success. And that is precisely when their troubles begin. At first, both owners shrug off the anonymous threats that come their way and the venomous comments concerning their store circulating on the Internet, but when three members of the supposedly secret committee are attacked, they decide to call the police. One by one, the pieces of this puzzle fall ominously into place, as it becomes increasingly evident that Ivan and Francesca’s dreams will be answered with pettiness, envy and violence.