As the mother drives, she and the boy, Roy, trade impressions of the landscape and of life, in the process approaching an understanding of each other and their shared inner landscape."Mom, can we drive to Wyoming?" "You mean now?" "Uh-huh. Is it far?" "Very far. We're almost to Georgia." "Can we go someday?" "Sure, Roy, we'll go." "We won't tell anyone, right, Mom?" "No, baby, nobody will know where we are." "And we'll have a dog." "I don't see why not." "From now on when anything bad happens, I'm going to think about Wyoming. Running with my dog." "It's a good thing, baby. Everybody needs Wyoming." —from Wyoming

    Phipps ruminates on the ways we are shaped as humans. Is it nature or nurture? Is it fate or a happen chance? What teaches us to love our generational inheritance, no matter how harmful? Phipps takes us to the most intimate parts of family matters in hopes of underantdatning conflict as a means of overcoming.

    From his humble village beginnings in the great island kingdom of Lanka, he has risen to the prestigious position of court poet and now delights in his life of ease: composing romantic verses for love-struck courtiers, enjoying the confidence of his king and covertly teaching Sarasi, a beautiful and beguiling palace maid, the secrets of his art.But when Kalinga Magha, a ruthless prince with a formidable army, arrives upon Lanka's shores, Asanka's world is changed beyond imagining. Violent, hubristic and unpredictable, Magha usurps the throne, laying waste to all who stand in his way. Under his terrifying rule, nothing in the city is left untouched and, like many of his fellow citizens, Asanka retreats into the shadows, hoping to pass unnoticed by the tyrant. But it seems his new master is a lover of poetry...To Asanka's horror, Magha tasks him with the translation of an epic Sanskrit poem, a tale of Gods and nobles, love and revenge, which the king believes will have a civilising effect on his subjects, soothing their discontent and snuffing out the fires of rebellion he suspects are igniting across the island.Asanka has always believed that poetry makes nothing happen, but as each new chapter he writes is disseminated through the land and lines on the page become cries in the street, his belief and his loyalties are challenged. And, as Magha circles ever closer to the things Asanka treasures most, the poet will discover that true power lies not at the point of a sword, but in the tip of a pen.

    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.

    Set in a rural southern landscape as vivid as its indelible characters, As a Friend tells the story of Les, a gifted man and land surveyor, whose impact on those around him (his friend Clay, his girlfriend Sarah) provokes intense self-examination and an atmosphere of dangerous eroticism. With poetic insight, Gander explores the nature of attraction, betrayal, and loyalty. What he achieves is brilliant in style and powerfully unsettling.

    A passionate exploration of the forces that shape us, The Last Love Poem I Will Ever Write explores themes of survival and the powerlessness of the self in a chaotic and unfair world, finding hope in the emotions and vitality of poetry. With characteristic meditative lyricism, the poet reflects on grief and the power of language in extended odes (“Ode to Nothing,” “Ode to Words”) and slips effortlessly from personal trauma (“Song of What Happens”) to public catastrophe (“Charlottesville Elegy”).The Last Love Poem I Will Ever Write confirms Orr’s place among the preeminent lyric poets of his generation, engaging the deepest existential issues with wisdom and humor and transforming them into celebratory song.

    However, Charity soon discovers that her grandfather’s objective in making this trip is to get her married off and settled somewhere. Since her beloved grandmother’s passing several months earlier, her grandfather has worried about what would become of Charity should he, too, pass away. And, given his advanced age, he somehow senses that time is near; he does not want to die and leave young Charity alone and desolate. He and his wife reared Charity after her mother and father both died in a yellow fever epidemic when she was 3 years old. As they travel to Fort Charlotte, her grandfather tells her that before going to Fort Charlotte they will be making an overnight stop at his friend’s house. And, that a year or so earlier, he and his long-time friend, Eli Gulledge, talked about what would happen to Charity should both he and his wife pass away and have arranged for Charity and Eli’s son Henry to meet before that time comes to see if they will take a liking to one another. When Charity, who has never met Eli or his family, hears that, she threatens to act rude in order to make them not like her so that she can go back home with him, but her grandfather tells her that she cannot go back home with him and assures her that if young Henry doesn’t take a liking to her, he is sure that some young buck down in Fort Charlotte will be looking for a wife. Faced with the stark realization that her life is changing and she has no control of that change, many thoughts run through young Charity’s mind- she even contemplates running away, but doesn’t want to leave her grandfather alone. When her grandfather suddenly passes away that night at Eli’s house, that threat never comes to fruition. Young, Charity is forced to abide by her grandfather’s wishes and stay there with Eli’s family… When the Yellow Mocker Calls is based on my great-great-grandmother’s life; her spiritual journey, her never ending quest for knowledge, her love of family and storytelling, and, most importantly, her love for Henry…

    With many job offers in hand, Neera is in a quandary about the choice she has to make. A brilliant scholar who secured his Ph.D. at the young age of twenty-six, Dr. Prakash Rao has had a long-standing relationship with crime and espionage from his college days. In a riveting tale of crime, perseverance, valiance, and quick-wit, The Invisible Protectors is about the resolve of these two agents as they delve into the truth behind the death of three Indian spies. Though they died in accidents, the Agency believes they were murdered.

    His life changes when he meets a stranger one fateful night and is enamoured by her.ANAMIKA is a mystery, who is searching for herself. She tells Kabir her story, but on the condition that they would never meet again. The night ends, but their story has just begun!Their paths cross again, but Anamika disappears. With no clue about where she is, Kabir is lost and disheartened.To what extent will Kabir go to find Anamika? What is Anamika hiding from him? Will they meet again?Read this electrifying tale of destiny, love and courage to know more about The Girl I Met that Night.

    Blood Lyrics is a mother's song, one seared with the knowledge that her country wages long, aching wars in which not all lives are equal. There is beauty imparted, too, but it arrives at a cost: "Don't say it's the beautiful / I praise," Ford writes. "I praise the human, / gutted and rising."

    For Kahlil Gibran (1883-1931), no single religious tradition revealed the whole truth, so he wove together insights from Eastern Christianity, Islam, Buddhism, American Transcendentalism and the folklore of his native Lebanon to create his own universal Anthem of Humanity.

    Great Freedom, whereby you are not bound by the life you live in.The writings of Truth that guides you to the life of wisdom, cleanses your mind and leads you to the true and eternal world.

    Imbued with the poet’s characteristic precision and passion, the collection charts a hazardous course through heartache, climate change, dental work, Outlander, semiotics, and more.Combatting existential gloom with a wicked, seductive energy, Addonizio investigates desire, loss, and the madness of contemporary life. She calls out to Walt Whitman and John Keats, echoes Dorothy Parker, and finds sisterhood with Virginia Woolf.Sometimes confessional, sometimes philosophical, these poems weave from desolation to drollery and clamor with raucous imagery: an insect in high heels, a wolf at an uncomfortable party, a glowing and self-serious guitar.A poet whose “voice lifts from the page, alive and biting” (Sky Sanchez, San Francisco Book Review), Addonizio reminds her reader, "if you think nothing / no one can / listen I love you joy is coming."

    Of her most recent book, Raptus, Carolyn Forché has written that she is “a genuine poet, a born poet, and I am in awe of her achievement.” The poems in Klink’s new collection offer a closely keyed meditation on being alone—on a self fighting its way out of isolation, toward connection with other people and a vanishing world.

    The collection follows a restless, nervy, cosmically abandoned speaker failing at the aspirational markers of adulthood as she flips from city to city, from enchantment to disgust, always reemerging—just barely—on the trains and bridges and bar stools of New York City. A child of the Indian ocean diaspora, Fernandes enacts the humor and devastation of what it means to exist as a body of contradictions. Her interpretations are muddied. Her feminism is accusatory, messy. Her homelands are theoretical and rootless. The poet converses with goats and throws a fit at a tarot reading; she loves the intimacy of strangers during turbulent plane rides and has dark fantasies about the “hydrogen fruit” of nuclear fallout. Ultimately, these poems possess an affection for the doomed: false beloveds, the hounded earth, civilizations intent on their own ruin. Fernandes skillfully interrogates where to put our fury and, more importantly, where to direct our mercy.