The book and the dream are the poet’s primary objects of investigation here. Through deft, quietly authoritative lyrics, Fisher meditates on the problems and possibilities—the frail craft—of perception for the reader, the dreamer, maintaining that “if the eye can love—and it can, it does—then I held you and was held.” In her foreword to the book, Louise Glück writes that Fisher’s poetry is “haunting, elusive, luminous, its greatest mystery how plain-spoken it is. Sensory impressions, which usually serve as emblems of or connections to emotion, seem suddenly in this work a language of mind, their function neither metonymic nor dramatic. They are like the dye with which a scientist injects his specimen, to track some response or behavior. Fisher uses the sense this way, to observe how being is converted into thinking.”

    The historical body of evidence that remains from the Salem witch trials of 1692 touched the hands, mind, and imagination of poet Nicole Cooley, compelling her to seek entry to an inaccessible past of lies. The Afflicted Girls, so named after the young women who claimed to be victims of witchcraft, spans the centuries to give voice to those both audible and silent on history's pages--accusers and accused of several kinds: wife and husband, servant and master, congregant and minister, and, not least, bewitched and witch. Piercing, enchanting, Cooley's poems form a remarkable narrative, one that displays the enormous cultural power the Salem witch trials retain in twenty-first-century America.

    With breathtaking freshness, he writes of mutability, of the passage of time, and of growth, decay, and death as they are reflected in both ourselves and the changing of the seasons. By turns playful, melancholy, and mysterious, the poems in "April Galleons" reaffirm the extraordinary powers that have made Ashbery such a significant figure in the American literary landscape.

    Figures as widely divergent as Bobby Brown, Martin Heidegger, and the 19th-century performance artist Henry Box Brown, as well as Bennett’s own family and childhood best friends, appear and are placed in conversation in order to show that there is always a world beyond what we are socialized to see value in, always alternative ways of thinking about relation that explode easy binaries.

    Drake wrote this book for those who have lost someone in death and in life. This book is a collection of memories and experiences Drake lived after the death of one of his brothers. He promised he would write him a few words after he failed to complete the task while his brother was alive. This book is everything… this book is for all who are breathing and for all who are no longer here. This book is for you.

    . . Brutal, brisk, and believable . . . . The finale sings." -- New York Daily News.A strategy born of desperation: an assassination to end the war. Only one event can turn the tide. Hitler believes that the death of one man—Franklin Delano Roosevelt—will save Nazi Germany. From a prisoner of war camp near Fort Lewis, Washington, where 50,000 German soldiers are interned, Wehrmacht Captain Kurt Monck—a man of frightening resources with ruthless intelligence whose devious determination is sparked by Berlin’s orders via secret channels to escape the camp and head east. Monck’s trail is picked up by U.S. Secret Service agent John Wren, who hunts Monck as the German nears Franklin Roosevelt’s armored train en route to the Democratic Convention in Chicago. Monck’s only aid comes from his reluctant accomplice Margaret Bayerlein, a widow who provokes a haunting triangular relationship. Pursuit evokes the American home front during the war, as well as historic figures such as J. Edgar Hoover and President Roosevelt. The manhunt crosses the country, and Monck, Wren, and Roosevelt finally meet in an electrifying conclusion.Heart-pounding suspense for readers who love the taut thrillers of Jeffrey Deaver and Frederick Forsyth.“I simply could not put it down.” -- St. Louis Post-Dispatch.

    With the help of an old sailing buddy living in Maine, Charlie plans to go AWOL permanently, buy a boat, and hit the high seas, where he will live out the remainder of his life on his own terms.Nothing ever goes quite as planned, though, and as Charlie heads towards Maine on a 46-foot sailboat, he strikes up an unexpected romance with Abigail, a woman decades his junior. Things take a darker turn, though, when he discovers a former FBI agent-turned-insurance-investigator hot on his trail. Agent Roberts has been hired to find out what happened to Charlie: bring him back if he s alive, or determine he s dead so his estranged sons can collect on his life insurance policy. Roberts doesn t expect a fight from the old man, but that s just what he gets. Because Charlie has no intention of ever returning to Sunset, whether in handcuffs or a pine box.Funny, heart-warming, and heart-breaking, "That Good Night" tells the story of a man who, rather than rail against going gentle into that good night, as Dylan Thomas wrote, instead wishes to simply sail into a sunset of his own choosing."

    Marilyn Hacker's poems have been praised for their technical virtuosity, forthright feminism, political acuity, and unabashed eroticism.Included are selections from Hacker's first book, Presentation Piece (1974), the Lamont Poetry Selection of the Academy of American Poets and a National Book Award Winner; Separations (1976); Taking Notice (1980), which was claimed as an integral part of the burgeoning feminist and lesbian canon; Assumptions (1985), which explored the conundrums of gender, race, and identity in contemporary life; and Going Back to the River (1990), which received a Lambda Literary Award.

    But as a penniless and partnerless house-painter with an expired lease on her flat and a twelve-year-old daughter, she could hardly turn down her parents' offer to take them on a once-in-a-lifetime trip to the Caribbean. She'd just have to put up with her sister Theresa (making no secret of preferring Tuscany as a holiday destination) and brother Simon (worrying that there might be some sinister agenda behind their parents' wish to take them all away) with their various spouses, teenagers, young children and au pair. In a luxury hotel, with bright sunshine, swimming, diving, glorious food and friendly locals, any family tensions should have melted away in the fabulous heat. The children should have been angelic, the teenagers cheerful, the adults relaxed and happy. But...some problems just refuse to be left at home.

    He opens with the beautiful “Elegy for Miss Brooks,” invoking Gwendolyn Brooks, who died in 2000, and who makes a perfect muse for the volume: “What the devil / are we without you?” he asks. “I tuck your voice, laced / tight, in these brown shoes.” In that spirit of intimate community, Young gives us a saucy ballad of Jim Crow, a poem about Lionel Hampton's last concert in Paris, an “African Elegy,” which addresses the tragic loss of a close friend in conjunction with the first anniversary of 9/11, and a series entitled “Americana,” in which we encounter a clutch of mythical southern towns, such as East Jesus (“The South knows ruin & likes it / thataway—the barns becoming / earth again, leaning in—”) and West Hell (“Sin, thy name is this / wait—this place— / a long ways from Here / to There”). For the Confederate Dead finds Young, more than ever before, in a poetic space that is at once public and personal. In the marvelous “Guernica,” Young’s account of a journey through Spain blends with the news of an American lynching, prompting him to ask, “Precious South, / must I save you, / or myself?” In this surprising book, the poet manages to do a bit of both, embracing the contradictions of our “Confederate” legacy and the troubled nation where that legacy still lingers.

    His many readers will recognize the musical and formal variety, the voice that can be tender and funny, credibly mystical and savagely skeptical. But there are many new notes in this collection as well, including a moving elegy to the poet's father, sharp observations and distillations of modern American life, and rangy poems that merge and juxtapose different modes of speech and thought. The cumulative effect is extraordinary. Reading Survival Is a Style, one has the sense one is encountering work that will become a permanent part of American literature.

    As a poet who has achieved success in the realms of both grassroots popularity and national critical attention, Kocot is poised to claim her place as America’s boldest new poetic voice.

    That Wagner is in love with the world and its transactions--perceptions, superficial and otherwise; childbearing, painful and otherwise; gains, financial and otherwise--allows for a poetry that is full of song yet brazenly topical.

    Operating somewhere between fiction and poetry, biography and theory, the stories in ATTEMPTS AT A LIFE do what lively stories do best, creating worlds of possibility, worlds filled with surprises. Like the "experiments in found movement" one character conducts (in "Everybody's Autobiography"), Dutton's stories find movement wherever they turn, each sentence a small explosion of images and anthems and odd juxtapositions. This is writing in which the imagination (both writer's and reader's) is capable of producing almost anything at any moment, from a shiny penny to an alien metropolis, a burning village to a bright green bird. "Danielle Dutton's stories remind me of those alluring puzzles where the pool is overflowing and emptying at the same time. Dutton's answer? That the self is a rush of the languages of storytelling and moments of helpless intimacy"--Robert Gluck.

    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.