"The Himalayas Within Him" finds Heart worrying about the sound of his own heartbeat, wondering why it doesn't "blare like a quartet of trombones" as it reflects his "ardent complexity." In "Goodbye to the Hands That Have Touched Him" Heart, after suffering many sleepless nights, decides "that love exists at the root of his problems. Without love his path would be as smooth as a plate of glass and he'd sleep like a kitten." Dividing the Heart poems is the long "Oh, Immobility, Death's Vast Associate, " a jazzy disquisition on human isolation and inaction in the midst of a planet full of people feeling similarly. Throughout Pallbearers Envying the One Who Rides Dobyns has painstakingly sculpted straight-forward language into a distinct sound, creating an unforgettable collection of poems that offers readers unexpected revelations about the complexities of the heart.

    The topics may vary widely, from love to mental illness to the most recent "Florida Man" headline, but it's all in the same handwriting. Welcome to The Immortal Soul Salvage Yard.

    S. Poet Laureate Ted Kooser at the top of his imaginative and storytelling powers. Here are the richly metaphorical, imagistically masterful, clear and accessible poems for which he has become widely known. Kooser writes for an audience of everyday readers and believes poets "need to write poetry that doesn't make people feel stupid." Each poem in Red Stilts strives to reveal the complex beauties of the ordinary, of the world that's right under our noses. Right under Kooser's nose is rural America, most specifically the Great Plains, with its isolated villages, struggling economy, hard-working people and multiple beauties that surpass everything wrecked, wrong, or in error.

    Bearing passionate testimony to private and public memories, this gathering of poems and prose fragments documenting the intimate challenges of homosexual longing gives voice to an invisible minority still struggling to be recognised today. Now published at last, this book, full of fierce confessions, ambivalences and flinty epiphanies, will shock and devestate. Here is an uncompromising confluence of unfulfilled desires wrought through language by one of Singapore's most outspoken and critical voices.

    Here is a volume of poetry approaching Carolyn Forche's The Angel of History as a stark meditation on Blanchot's sense of writing as the "desired, undesired torment which endures everything." Levine engages the traditional resources of lyric poetry in an exploration of historical and cultural landscapes ravaged by imponderable events. Enola Gay's "mission" can seem spiritual, imaginative, and militaristic as the speaker in these poems surveys marshes and fields and a land on the edge of disintegration. Levine sifts the psychological residue that accumulates in the wake of unspeakable acts and so negotiates that terrain between the banality of language and the need to stand witness and to speak. Levine's stunning second book, with its grave cultural implications and its surveillance of a distinctly postmodern malaise, offers multiple readings. Here are compact poems with uncanny power, rhythm, and a strange, formal beauty echoing and renewing the legacy of Wallace Stevens for a new era.

    Celebrating life with gusto and in inimitable style, he describes a journey fraught with discomfort, mishap, ecstasy, disillusionment, discovery and astonishing human encounters; a journey that would be acceptable madness in a white man but is regarded by the author s fellow Africans as an extraordinary and inexplicable expenditure of time and money.As Sihle's famous counterpart Paul Theroux, author of Dark Star Safari, comments, Dark Continent, My Black Arse is uniquely an African travel story: the story of 'an African travelling on his own money and motivation, from one end of Africa to the other'. An inspiring story, it carries the following warning: Reading this book might cause you to resign from your boring job, leave your nagging / ungrateful / insecure partner, stop merely existing and start living the life you have always longed and yearned for.

    In this book, she has written a few poems, where she has described herself in some complex and in simple words. Most of the poems are about her black and white memories and few are on generic topics. In this book, the reader will see her describing a relationship between mother nature and human nature in a poetic way.

    He, an accountant worn down by the day-to-day struggles of the nine to five, is dreaming of a white Christmas, a little garden and someone to love. She attempts, with scornful wit, to shock him out of his commuter's habits and into an experience of ecstasy.Man Booker Prize shortlisted Deborah Levy whips up a storm of romance and slapstick, of heavenly and earthly delights, in this passionate work of dramatic poetry.Deborah Levy writes fiction, plays, and poetry. Her work has been staged by the Royal Shakespeare Company. Her most recent novel, Swimming Home (2011 And Other Stories, UK publication, and 2012 Bloomsbury US publication), was shortlisted for the 2012 Man Booker Prize, 2012 Specsavers National Book Awards (UK Author of the Year) and 2013 Jewish Quarterly Wingate Prize, while her most recent collection of short stories, Black Vodka: ten stories, was shortlisted for the Frank O'Connor International Short Story Award and its title story "Black Vodka" shortlisted for the 2012 BBC International Short Story Award. An Amorous Discourse in the Suburbs of Hell was first published in 1990 in the United Kingdom and appears now in a new edition, its first US edition.

    and abroad, and remain as urgent today as they were almost forty years ago.

    These stories span characters and emotional states with canny details that touch the depths of your soul. Picturing the complexities of love, misery and mystery, the stories try to gnaw your heart like never before.• What does a flower teach us we often fail to see?• “The belly is an ungrateful wretch.” Is it true?• Ever wondered about the sparseness and illusions in life?• Does death put an end to true love?• Have all the ascetics won over their emotions?With the power of simple language, this book transports the readers to a world scarcely thought of in our bustling lives. The allegories maintain an intense rhythm of life prompting the readers to perceive things from a unique angle.“A whole bookful to make you think, cry, think again and move on.”

    Rogue & Kat Savage.

    I read his work with awe and admiration.”—Ben Marcus “Joe Wenderoth's brave new poetic talent is like nothing so much as a live wire writing its own epitaph in sparks. [His poems] throb brilliantly with a sense of the 'too much.' . . . But in Wenderoth's case the too much is the too little or the too ordinary—a very remarkable discovery to have made so late in the history of poetry. Philip Larkin and a few American poets have approached it, but Wenderoth's instrument is sharper than theirs; he makes quick cuts in the meat of the ordinary, which is the meat of the impossible.”—Cal Bedient This clear-eyed new work from a favorite young poet is searching and solemn, dissatisfied with artificial condolences and pat maxims. Joe Wenderoth’s determination in the face of harsh realities is what rescues us, and him, from hopelessness. “Luck” So a screaming woke you just in time An animal’s scream, or animals’. What kind of animal it was doesn’t matter, and cannot, in any case, be determined. The point is you are saved. Your mouth has been opened. Joe Wenderoth grew up near Baltimore and is the author of five books of prose and poetry. He teaches at the University of California, Davis.

    His profound moral vision and unique ability to bring to the surface the turbulent undercurrents of South African politics and society have been hailed by reviewers of his much acclaimed novels such as A Dry White Season and A Chain of Voices. "No one writes of Africa with more visual power than Andre Brink," wrote the Chicago Tribune in its review of his most recent work, An Act of Terror. Now, in a provocative fable, Brink probes the fateful beginnings of his country's complex cultural situation, the arrival of the first Europeans, and the tormented love affair between a young African tribal leader and a white woman left behind by the sailors. This is a journey through landscapes that are rich in magic and allusion, and emotions that are powerful, primal, and eternal. Brink's novella has its origins in an act of rescue: What, he wondered, lay behind the fragments of myth that had been handed down about the mountains of the cape? Adamastor, the Titan whose body, legend has it, formed the rocks of the Peninsula, first appears in Western literature in the sixteenth century - much about the same time as the first known contact between the seagoing European explorers and the natives of southern Africa. How, Brink asks, would that meeting have looked from the landward side? What role would the visitors take in the mythology of an utterly different culture, with its own deities, its own accumulated story? In a startlingly fresh yet familiar form, Brink takes us to the heart of the ambivalent relationships that define South Africa's modern history. Cape of Storms is a work of ribald charm, mesmerizing beauty, and resounding importance. Brink has unearthed from the sun-carved land itself the missing meaning of a myth that has waited four centuries to be invented.

    This is a short collection of poetry from the pen and mind of Nyles Adams, most of which originally appeared in other Alexandria House works.Read, absorb and snap your fingers if you are so inclined.

    Winner of the 2003 Sawtooth Poetry Prize, judged by Joe Wenderoth, who comments, in his introduction: There are many ways to hear 'it takes off the top of my head.' For me, the most important way to hear it is: it makes me suddenly and oddly aware that I am alive--aware that I am simultaneously at the end and the beginning of my power, which is simply to be there and to say so. Foust's poems do this for me; I feel akin to the mute struggler that lurks all around these poems that eludes so many attempts at saying that and where and how he is. The struggle is, in my view, dignified -- never self-congratulatory, never self-pitying -- and it has produced sounds for us to come back to--sounds for us to set out from--Joe Wenderoth, from the introduction.