Oh cabbage leaves, oh roses, oh orange-slice childhood grins: this book broke my heart. Its sad memory-tropes come from fairy tales and childhood books. With language, Gaudry is as loving and careful as one is with a matchbook . . . when wishing to set the whole world on fire.” —KATE BERNHEIMER“Molly Gaudry’s debut evokes the spirit of iconic fairy tales that have transported readers for centuries. Her variations on these themes delineate the psychological journey from girlhood to womanhood. But We Take Me Apart is more than a retelling. In it, Gaudry reconstitutes the essence of what makes fairy tales compelling, and she does so imaginatively and with great attention to language, the earmarks of poetry.” —CHRISTOPHER KENNEDY“If you consider her novella poetry, then it borrows much from prose. And if you see it as prose, it allows for a poetic flavor. Gaudry walks this line with great poise and in that poise we find her greatest strength as a writer.” —THE BROAD SET WRITING COLLECTIVE“A Molly Gaudry word is so precise, it feels like a sentence.” —GREAT TWIN CITIES POETRY READ & ROAD SHOW“An epic poem of epic mastery, We Take Me Apart centers on a girl who grows into a woman who grows into a heroine.” —PRICK OF THE SPINDLE“This incredible verse novel(la) is infused with fairy tales and Gertude Stein, not to mention Gaudry’s own dreamlike, luscious voice. An almost visceral delight.” —FLAVORWIRE“Gaudry’s mastery of language, [her] use of . . . silence, the wet white space around the burn of language, reads at times as if a character from Beckett had crawled or hobbled into a fairy tale—the kind of Beckett character that keeps his or her silence, only to suddenly wax eloquent in manic bursts.” —AMBER SPARKS“A cross between silence and fairy tale, Gaudry’s Beckettian narrative sews bright bits to near-faint whispers, slowly swaddling us in quiet and darkness.” —BRIAN EVENSON“Amid this stark environment, Gaudry’s gorgeous lyric voice guides us through.” —ASIAN AMERICAN LITERATURE FANS“Molly Gaudry must have revised this gem of a novella over and over and over to get the wording, the rhythms, the images, etc. just so. . . . Not a word is out of place, nothing is missing, no extra words are added. Molly Gaudry has worked this section, and every other section in the book, to the very essence of what is necessary to capture her readers and not let them go.” —EMERGING WRITERS NETWORK“[Cormac McCarthy’s Blood Meridian] is famous for its poetic prose and unflinching violence, but there’s a void of femininity. . . . Enter Molly Gaudry. . . . [Her] prose, steeped in poetry as much as McCarthy’s, spirals upward, elevating and exploding. The creators and destroyers, the beautiful and the gory, and the mythical and contemporary all thrive in balance. To read Molly Gaudry is to read Angela Carter’s cutthroat narrative spoken through the hopelessly hopeful characters of Lydia Millet, all arranged in space with the care of an impressionist painter.” —HOBART“We Take Me Apart is a dazzleflage of a book. The stuttering disrupted language of this cubist concoction disappears before your ears, sinks into your eyes. This aggressive dress camouflage reweaves Gertrude Stein’s rewoven grammar of worsted silk-screened gabardine into a fully ripped patois-ed pattern of stunning wonder.” —MICHAEL MARTONE“Molly Gaudry’s We Take Me Apart works ‘thread into lace.’ . . . Especially vivid in this book-length work is the mother’s entrance and exit, where the ragged lines swell and turn sonnet-like with love.” —TERESE SVOBODA“In Molly Gaudry’s We Take Me Apart, the ordinary becomes mythical, what may be autobiographical becomes a fable, and simple lines or sentences ring with ominous music. Even the empty space between the lines seems to resonate with invisible narrative. A stunning debut.” —RICHARD GARCIA “White space, planes and planes of it. . . . We Take Me Apart is a novel’s answer to a room. . . . I read it three times . . . inhaling its perfume. . . . The scent is delicate and leaves a trace of itself. . . . The book details grace. . . it will haunt like a remembrance of fragrance or swoosh of hair or panoply of mother as tart then sweet and suddenly elusive as memories of one’s own.” —AMERICAN BOOK REVIEW“Gaudry’s work implies that life, at its most essential, is the memory of love, hope, and the rooms it has occupied. . . . We Take Me Apart is an exercise in empathy for the reader. It is pure song and story. This book is a gift.” —[PANK]

    H. Auden for the Yale Series of Younger Poets Award. Out of print for decades, this initial collection launched the career of a poet whose work has been crucial to discussions of gender, race, and class, pushing formal boundaries and consistently examining both self and society.

    More immediate if less polished than his later work, these poems enchant and impress with their classical learning, wit, perceptiveness and lyricism—all facets of Vikram Seth's now celebrated poetic achievement.

    No Matter the Wreckage presents readers with new and beloved work that showcases Kay's knack for celebrating family, love, travel, history, and unlikely love affairs between inanimate objects ("Toothbrush to the Bicycle Tire"), among other curious topics. Both fresh and wise, Kay's poetry allows readers to join in on her journey of discovering herself and the world around her. It's an honest and powerful collection.

    It is an insightful account of the larger governance phenomenon in India—coalition politics—as seen through the eyes of one of the chief architects of the post-Congress era of Indian politics.From the inexplicable defeat of the Congress in the 1996 general elections and the rise of regional parties like the TDP and the TMC, to the compelling factors that forced the Congress to withdraw support to the I.K. Gujral government and the singular ability of Sonia Gandhi to forge an alliance with diverse political parties that enabled the Congress to lead the coalitions of UPA I and II, Pranab Mukherjee was a keen observer and an active participant in the contemporary developments that reshaped the course of the country’s political, economic and social destiny.Beyond the challenges, complications and compulsions of coalition governments, this book is also a recollection of Mukherjee’s journey as the Cabinet Minister in the key ministries of defence, external affairs and finance, beginning from 2004. He recounts each of these events with candour—the path-breaking meeting with Henry Kissinger in 2004 that altered the course of the Indo–US strategic partnership, his timely advice to Bangladesh Army Chief Moeen Ahmed in 2008 that led to the release of political prisoners there and the differing views with RBI Governor D. Subbarao on the structure of the FSDC.The third volume of Mukherjee’s autobiography is a sharp and candid account of his years at the helm. It offers the most authoritative account of contemporary Indian politics by one of the tallest leaders and statesmen of our generation.

    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

    Arranged by spiritual ailment, the sections include a range of verse, new and old, which may be of comfort to those in need of a pick-me-up for the soul. The collection has been carefully compiled by Deborah Alma, the world's first and only emergency poet, who travels to schools, libraries, festivals and other events in her 1970s ambulance to offer consultations and prescribe poems as cures for various maladies. This collection is designed to lift your mood and offers poetic help whenever it may be required.

    Everything you need to hear, but already know.

    Moods for strong women who are weary from heartache.

    Beautifully captured in poetry, prose, and short stories, Faudet's whimsical and sometimes erotic writing has captured the hearts and minds of thousands of readers from around the world.

    Sin comes a new voice, Samantha King’s raw, relatable poetry both celebrates love and mourns the human “curse to feel.” Her verse transports readers to the most private reaches of love and longing. Born to Love, Cursed to Feel is about love—the good, the bad, and the confusing. It touches on morals and how when emotions are involved it’s not as black and white. The poetry is frequently written in a narrative manner that evocatively pulls you in and makes you feel. This book is about falling in love, bad decisions, and ultimately growth. The essence of it all is to show that no matter how far one falls all the mistakes don’t have to be what defines them.

    A chapbook of poetry.friday night alone in the library reading nietzsche / i'm going to touch you very hard / i'm tired / i have high self-esteem and it's making me stare / i'll write another poem instead of looking for a job / terrible asshole / i am fucked if i really think all human beings are terrible assholes / a young hamster / a poem written by a bear

    This anthology of poems and essays is a forceful argument for the continuing cultural relevance of poetry.

    Gathered into a 95 page compilation with accompanying images, "Poems from the Attic" is at once playful and pensive. It is a love letter to the reader, singed at the edges and creased many times over. It is a walk through the creative process and an ode to the shadowy, quiet places we all carry inside of us.

    Filled with lyric wisdom, Taplin’s second book expands on the themes introduced in Bloom, offering insight and comfort.