He grew up in Buffalo, New York and lives in St. Paul, Minnesota, where he is active in the labor movement.

    Drawing its name from the spacecraft currently departing our solar system on an embassy to the beyond, Voyager unfolds as three books within a book and culminates in a chilling Dantean allegory of leadership and its failure in the cause of humanity. At the heart of this volume lies the historical figure of Kurt Waldheim—Secretary-General of the U.N. from 1972-81 and former intelligence officer in Hitler’s Wehrmacht—who once served as a spokesman for humanity while remaining silent about his role in the collective atrocities of our era. Resurrecting this complex figure, Reddy’s universal voyager explores the garden of forking paths hidden within every totalizing dream of identity.

    As always, she is a poet of dark hilarity and telling social comment. Shifting between poetic and vulgar registers, the surreal imagery of her early work is re-deployed to venture into the badlands of the human psyche. Her poems hold their subjects in an unflinching grip, addressing faces behind the veneer, asking what it is that keeps us alive. These days of prohibition are days of intoxication and inebriation, rehab in a desert and adultery for atheists, until finally Bird edges us out of danger, ‘revving on a wish’.

    Gazingnowhere in particular, the slenderThunderer surrounded by thunder,Fire zigzag in his grasp, labeled "SpiritOf Communication"---unhistorical,Pure, the merciless messenger.--from "A Phonebook Cover Hermes of the Nineteen-forties"Innovative, engaging poems from a leading American poet.Stone wheel that sharpens the blade that mows the grain,Wheel of the sunflower turning, wheel that turnsThe spiral press that squeezes the oil expressedFrom shale or olives. Particles that turn mudOn the potter's wheel that spins to form the vesselThat holds the oil that drips to cool the blade.--from "Biography"Jersey Rain takes up a central American subject: the emotional power of inventions, devices, and homemade imaginings -- from the alphabet and the lyre through the steel drum and piano to the record player, digital computer, and television. Formally innovative and highly readable poems like "ABC," "Ode to Meaning," "To Television," and "The Green Piano" meditate a life guided by the quick, artful tinkerer-god Hermes: deity of music and deception, escort of the dead, inventor of instruments, brilliant messenger, and trickster of heaven.Tiptoe on the globe. Gazingnowhere in particular, the slenderThunderer surrounded by thunder,Fire zigzag in his grasp, labeled "SpiritOf Communication"---unhistorical,Pure, the merciless messenger.--from "A Phonebook Cover Hermes of the Nineteen-forties"Jersey Rain -- at once complex and aboveboard -- marks a new, strong, lyrical stage of Robert Pinsky's work. Assembled here are poems -- some of the finest of his career -- that together compose a sweeping and embattled meditation on the themes of a life guided by Hermes: deity of music and deception, escort of the dead, inventor of instruments, brilliant messenger and trickster of heaven.

    A potpourri of musings assembled with a hint of practical spirituality, to be savoured passably as an oracle of hearts to the many answers, whose questions our minds are yet to comprehend. Ivory Gleam is split into three chapters of learning, longing and loving. Each chapter is a journey traversing a different road to the ultimate destination of self-reflection.

    These poems take the reader on surprising journeys of healing, hard-won amid personal and social vicissitudes – including triumph over addiction, and alcoholism – and open spaces in which to share in emotional, quasi-spiritual transcendence despite. Who could ask for more? Rabbit was chosen for the PBS Wild Card Choice for Winter, 2018.

    Within its pages, everyday flora take on an extraordinary life, jostling tragically at times, at times comically, for a foothold in a busying world. Stunningly visualised and skilfully animated, this imaginative collaboration beckons us toward a landscape of botanical characters, and invites us to see ourselves among them.

    From her first book, AWE, Lasky has been crafting her hallmark voice, a mixture of language that is "boldly colored, unabashed, and wildly human" (Timothy Donnelly), presenting her readers with poetry full of "blood-red realness" (Boston Globe) and haunting lines that "recall Frank O’Hara and Allen Ginsberg" (Chicago Tribune). With each new book, from the grand religiosity of AWE to the flat sadness and nihilism of Black Life to the witchery of Thunderbird, her poems have kept gaining an increasingly robust readership and have influenced an entire generation of new poets, fusing the transcendent vision of the New York School with a kind of performative confessionalism, bringing the force and power of the classical world into the everyday.ROME, her fourth collection, marks the arrival of this seminal American poet to the classic Liveright imprint. This work finds her in the arena of eternal longing and heartsick desire, confronting her ghosts and demons, savaged by grief and lust. ROME is a book populated with love's proxies, its wounded animals and desiccated bodies, in league with her chosen poetic company: Catullus and Anne Sexton, Nicki Minaj and Drake. Pulitzer Prize winner Tracy K. Smith writes, "Dorothea Lasky's ROME is dark, fearlessly frank, unabashedly vulnerable, and full of real live heart." In these poems of high lyricism, Lasky fuses the ancient world, with all its grandiosity and power, with the fierceness and heartbreak of our everyday world, where sometimes all a poet can do is to carry her line like a weapon in an awful blood sport––the blood jet––taking no prisoners as she slashes across a landscape of language, strange fascinations, real people, and the imagination.

    This program of Bukowski's raucous poetry, recorded live in 1980, takes as its theme the poet's intimate relationship with the urban underbelly.

    Influenced by everyday moments of Washington, DC living, the poems live outside of the outside and beyond the language of categorical difference, inviting anyone listening to listen a bit closer. Inheritance is about the self’s struggle with definition and assumption.

    Vincent Millay (1892–1950) sounded a clarion call for the impassioned youth of her generation. Her rare mixture of clever cynicism and wistful tenderness captivated readers, who reveled in the jubilant defiance of such poems as the title piece of this collection, "First Fig": "My candle burns at both ends;/It will not last the night;/But ah, my foes, and oh, my friends — /it gives a lovely light!"Their brilliance undimmed by the passage of time, these gemlike verses continue to dazzle poetry lovers. This new anthology represents the quintessential Edna St. Vincent Millay, comprising 67 poems from two of her most popular works, A Few Figs from Thistles and Second April. Its contents include such well-known and much-studied poems as "Recuerdo" and "The Philosopher," along with an abundance of sonnets, a genre in which the Pulitzer Prize–winning poet excelled.The perfect introduction for those as yet unacquainted with one of the most distinctive voices of 20th-century poetry, this volume also offers a high-quality, inexpensive treasury of favorite Millay works for devotees of her verse.

    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.

    Snow and sunshine, barns and cornfields and cars on the empty nighttime roads, abandoned Minnesota lakes and the mood of America now--these are his materials. He sees and talks clearly: he uses no rhetoric nor mannered striving for effect, but instead the simple statement that in nine lines can embody a mood, reveal a profound truth, illuminate in an important way the inward and hidden life. This is a poet of the modern world, thoroughly aware of the complexities of the moment but equally mindful of the great stream of life--all life--of which mankind is only a part.

    . . A violently skewed portrait of the female poet and her Muse, a hyped-up version of Stevens and his interior paramour, locked in a soliloquy 'in which being there together is enough' . . . Something in Brock-Broido likes stealth, toxicity, wildness, neon--'perfect mean lines' . . . The poems lead off the page." --Helen Vendler, The New Yorker"These poems are out of Stevens in the abundance, glitter, and seductiveness of their language, out of Browning in the authority of their inhabiting, and out of Plath in the ferocity and passion of their holding on--to feeling, to life, and to us . . . An astonishing first book." --Cynthia Macdonald"Brock-Broido's brilliant nervosity and taste for the fantastic impel her to explore the obscure corners of the psyche and the fringes of ordinary human experience . . . The poems in A Hunger are original, strange, often unsettling, and mostly beautiful." --Stanley Kunitz

    He is the author of The Darker Fall and Want and teaches at the MFA Program for Writers at Warren Wilson College.