I love how thick this writing is, sublimely claustrophobic yet expansive, like a child's nightmare of scale."—Dodie Bellamy"Autodidact and knight-errant, Ward often betrays the procedural forms he tries to impose on his labyrinthine ruminations in order to remain faithfully engaged to the traditional task of the post-Romantic poet, an 'ecstatic commingling' of okay-you know and 'starry anaphor.'"—Tyrone Williams"I should write a real blurb with real blurb-like things in it, but TCOIW, a kind of lullaby arranging the psychic terrain of my future prosodically, is saving my stupid ass."—Anselm Berrigan

    In contrast, the prophet Jacob dreamed of a ladder sent down from heaven by God, with rungs—steps—that we could ascend to return to Him. In The Way Back to Heaven: The Parable of the Crystal Stairs, award-winning author S. Michael Wilcox helps us discern the "stairs of man" from the "stairs of God." Using the metaphor of a beautiful crystal stairway, he shows us the difference between a focus on "being and becoming" and "believing and doing" in our life's journey. While we may think we know the steps we'll need to take, the author suggests some unexpected—even counterintuitive—yet essential stairs each of us will encounter as we make our way back to our Father in Heaven.

    There was a woman.There was a cross. But in factthey have hung him too high to be touched.—from "A Woman Wipes the Face of Jesus"

    Rudy's poems and quotes have been viewed and shared millions of times as he has traveled the country and the world performing for sell-out crowds. Helium is filled with work that is simultaneously personal and political, blending love poems, self-reflection, and biting cultural critique on class, race and gender into an unforgettable whole. Ultimately, Rudy's work rises above the chaos to offer a fresh and positive perspective of shared humanity and beauty.

    And he also showed that within him beat the heart of an artist -- a major factor in his resilience and recovery.Now with Who Will Cry for the Little Boy?, his first collection of poetry, Antwone Fisher reveals the inner truths that took him from a tumultuous childhood to the man he is today. The powerful poems presented here range from impressions and expressions of Antwone's years growing up to the love that he has gained from the family he made for himself as an adult.From the title poem -- which is featured prominently in the movie Antwone Fisher -- a plaintive, haunting tribute to a childhood lost to abuse and neglect, to "Azure Indigo," the uplifting and touching poem about his daughters, many readers will find their own feelings and experiences reflected in this lyrical and passionate collection.

    The past year has seen a resurgence of poetry and inspiring quotes--posted on social media, appearing on bestseller lists, shared from friend to friend. Honoring this communal spirit, How Lovely the Ruins is a timeless collection of both classic and contemporary poetry and short prose that can be of help in difficult times--selections that offer wisdom and purpose, and that allow us to step out of our current moment to gain a new perspective on the world around us as well as the world within.The poets and writers featured in this book represent the diversity of our country as well as voices beyond our borders, including Maya Angelou, W. H. Auden, Danez Smith, Rumi, Emily Dickinson, Naomi Shihab Nye, Alice Walker, Adam Zagajewski, Langston Hughes, Wendell Berry, Anna Akhmatova, Yehuda Amichai, and Robert Frost. And the book opens with a stunning foreword by Elizabeth Alexander, whose poem "Praise Song for the Day," delivered at the inauguration of President Barack Obama, ushered in an era of optimism. In works celebrating our capacity for compassion, our patriotism, our right to protest, and our ability to persevere, How Lovely the Ruins is a beacon that illuminates our shared humanity, allowing us connection in a fractured world.Includes poetry, prose, and quotations from: Elizabeth Alexander - Marcus Aurelius - Karen Armstrong - Matthew Arnold - Ellen Bass - Brian Bilston - Gwendolyn Brooks - Elizabeth Barrett Browning - Octavia E. Butler - Regie Cabico - Dinos Christianopoulos - Lucille Clifton - Ta-Nehisi Coates - Leonard Cohen - Wendy Cope - E. E. Cummings - Charles Dickens - Mark Doty - Thomas Edison - Albert Einstein - Ralph Ellison - Kenneth Fearing - Annie Finch - Rebecca Foust - Nikki Giovanni - Stephanie Gray - John Green - Hazel Hall - Thich Nhat Hanh - Joy Harjo - Vaclav Havel - Terrance Hayes - William Ernest Henley - Juan Felipe Herrera - Jane Hirshfield - John Holmes - A. E. Housman - Bohumil Hrabal - Robinson Jeffers - Georgia Douglas Johnson - James Weldon Johnson - Paul Kalanithi - Robert F. Kennedy - Omar Khayyam - Emma Lazarus - Li-Young Lee - Denise Levertov - Ada Limon - Henry Wadsworth Longfellow - Nelson Mandela - Masahide - Khaled Mattawa - Jamaal May - Claude McKay - Edna St. Vincent Millay - Pablo Neruda - Anais Nin - Olga Orozco - Ovid - Pier Paolo Pasolini - Edgar Allan Poe - Claudia Rankine - Adrienne Rich - Rainer Maria Rilke - Alberto Rios - Edwin Arlington Robinson - Eleanor Roosevelt - Christina Rossetti - Muriel Rukeyser - Sadhguru - Carl Sandburg - Vikram Seth - Charles Simic - Safiya Sinclair - Effie Waller Smith - Maggie Smith - Tracy K. Smith - Leonora Speyer - Gloria Steinem - Clark Strand - Wislawa Szymborska - Rabindranath Tagore - Sara Teasdale - Alfred, Lord Tennyson - Vincent van Gogh - Ocean Vuong - Florence Brooks Whitehouse - Walt Whitman - Ella Wheeler Wilcox - William Carlos Williams - Virginia Woolf - W. B. Yeats - Saadi Youssef - Javier Zamora - Howard Zinn

    

    Moving between a childhood marked by love and abuse and the breaking marriage of that adult child, Donika Kelly charts memory and the body as landscapes to be traversed and tended. These poems construct life rafts and sanctuaries even in their most devastating confrontations with what a person can bear, with how families harm themselves. With the companionship of “the oracle”—an observer of memory who knows how each close call with oblivion ends—the act of remembrance becomes curative, and personal mythologies give way to a future defined less by wounds than by possibility.In this gorgeous and heartrending second collection, we find the home one builds inside oneself after reckoning with a legacy of trauma—a home whose construction starts “with a razing.”

    In this sequence of memoir-esque poems, Sierra DeMulder pulls at the threads of a past abusive relationship and the long road to forgiveness. The poems themselves become an act of recovery and reclamation, wherein the poet finds again the voice which was taken from her. These are hard poems, made up of clarity and healing, which attempt to share some of their peace with the world.

    Through poetry, prose, and compassionate encouragement you would expect from someone who knows exactly what you’re working through, Sparacino is here with the words you need. “The Strength In Our Scars” tackles the gut-wrenching but relatable experiences of moving on, self-love, and ultimately learning to heal. In this book you will find peace, you will find a rock, you will find understanding, and you will find hope. Remember: Whatever is dark within you has also carved light into your soul. Whatever is lost within you has also brought you back home to yourself. Whatever is hurt within you is also healing you in ways you may not understand at that moment in time. This book hopes to show you that.

    They are truly delightful and robustly original—a poetic joy."—Tony HoaglandSelected by Bernadette Mayer for the National Poetry Series, these poems engage the structures of family and intimacy, exposing the viscera of the everyday, all its frailties and familiarity rendered absurd and remade through language.Outside there's a world where every love-scenebegins with a man in a doorway;he walks over to the woman and says "Open your mouth."Hannah Gamble has received fellowships from Rice University, The University of Houston, and The Edward F. Albee Foundation. She teaches literature and writing at Prairie State College and is the poet-in-residence at Children's Memorial Hospital in Chicago, Illinois.

    It is when children are sick, even dying, that they can suddenly bring us closer to God ourselves. Children's minister and former children's hospital chaplain Leanne Hadley has been ministering to hurting children for years. In "Touching Heaven," she recounts the poignant stories and simple faith of the remarkable children she has been privileged to serve. She shares their encounters with God, Jesus, and angels. And with humor and tenderness, she offers their inspiring testimonies to the presence of God in our lives--even as earthly life is ending. Anyone who has lost a child or another loved one, or anyone who is currently supporting a dying person along the journey, will find in these stories comfort, inspiration, and hope of everlasting life.

    Drawn from Dorianne Laux’s five expansive volumes, including her confident debut Awake, National Book Critics Circle Finalist What We Carry, and Paterson Prize–winning The Book of Men, the poems in this collection have been "brought to the hard edge of meaning" (B. H. Fairchild) and praised for their "enormous precision and beauty" (Philip Levine). Twenty new odes pay homage to Laux’s mother, an ordinary and extraordinary woman of the Depression era.The wealth of her life experience finds expression in Laux’s earthy and lyrical depictions of working-class America, full of the dirt and mess of real life. From the opening poem, "Two Pictures of My Sister," to the last, "Letter to My Dead Mother," she writes, in her words, of "living gristle" with a perceptive frankness that is luminous in its specificity and universal in its appeal. Exploring experiences of survival and healing, of sexual love and celebration, Only as the Day Is Long shows Laux at the height of her powers.

    In Diane Seuss’s new collection, the notion of the still life is shattered and Rembrandt’s painting is presented across the book in pieces―details that hide more than they reveal until they’re assembled into a whole. With invention and irreverence, these poems escape gilded frames and overturn traditional representations of gender, class, and luxury. Instead, Seuss invites in the alienated, the washed-up, the ugly, and the freakish―the overlooked many of us who might more often stand in a Walmart parking lot than before the canvases of Pollock, O’Keeffe, and Rothko. Rendered with precision and profound empathy, this extraordinary gallery of lives in shards shows us that “our memories are local, acute, and unrelenting.”

    Poetry Of Lucy Maud Montgomery is published by Fitzhenry and Whiteside.