Line-by-line English translation, with original French text on facing page.

    Koleka Putuma's exploration of blackness, womxnhood and history in Collective Amnesia is fearless and unwavering. Her incendiary poems demand justice, insist on visibility and offer healing. In them, Putuma explodes the idea of authority in various spaces - academia, religion, politics, relationships - to ask what has been learnt and what must be unlearnt. Through grief and memory, pain and joy, sex and self-care, Collective Amnesia is a powerful appraisal, reminder and revelation of all that has been forgotten and ignored, both in South African society, and within ourselves.

    The poems speak intimately of their authors' sexual longing, fulfillment and disillusionment.

    It’s a book with the flow of poetry but the ebb of short stories – rightfully called “Shoetry”. This creation takes you to the roots of humanity - stripping back the veneers of life, society and interaction to see people and their ways in an entirely new light.

    The grief-stricken author responded with one brief poem ("Nothing"), then fell silent for thirty months. In subsequent years, Roubaud--poet, novelist, mathematician--composed a series of prose poems, a collection that is a profound mediation on the experience of death, the devastation it brings to the lover who goes on living, and the love that remains. Despite the universality of this experience, no other writer has so devoted himself to exploring and recording the many-edged forms of grief, mourning, bewilderment, emptiness, and loneliness that attend death. No other writer has provided a kind of solace while facing with honesty and hardness the intricate ways in which the living are affected by such a loss. Some Thing Black is an ongoing monologue from Roubaud to his wife, as death assaults the mind's failure to comprehend absence. Roubaud both refuses to and cannot surrender his wife to the past ("I always wake up in your voice, your hand, your smell"). The death, having occurred in an instant of time, goes on in him ("But inside me your death proceeds slowly, incomprehensibly"). While acknowledging "death calls for a poetry of meditation," Roubaud is enraged at the limitations of language and words to affect the biological reality. Rather, all that language can do is clarify the exactness of his grief and to recall precisely the image of her life and death. But such recollection--the sight of her dead body, her photographs, her things, the rooms they lived in--becomes a "memory infinitely torturous." And his most anguished recollection is of their making love ("These memories are the darkest of all"), and a sense of guilt for somehow not having prevented her death ("I did not save you from that difficult night"). This is a brave and honest book that does not disguise that pain of loss. Its nobility, grace, and humanity rest in its refusal to falsify death's harsh presence ("This dirty rotten life to be mixed up with death") and in its acceptance of the mind's limitations ("I do not understand"). This moving, compassionate, uncompromising book is one of the most significant works of our time. Included in this edition is a portfolio of photographs made by Roubaud's wife in 1980 entitled "If Some Thing Black."

    These poems reflect the effects of such experience: the lines, and often the images within them, are fragmented discordant. But read together, these lines, become a haunting mosaic of grief, evoking the necessary accommodations human beings make to survive what is unsurvivable. As poets have always done, Forche attempts to gibe voice to the unutterable, using language to keep memory alive, relive history, and link the past with the future.

    The finished product is a document of a year’s worth of moments filled with joy, sorrow and unexpected beauty. The book y creates the sense that present moments do not just disappear and provides a visceral understanding of how these moments fit into the context of the rest of our lives.The short verses in Haiku Year stab and elate. They hint at both the transcendence and mediocrity of everyday life. The power of Michael Stipe’s southern, twilight drenched lyrics from early REM albums is present in the volume. Douglas A. Martin’s sparse yet descriptive prose gleams throughout. The thoughtful storytelling of Grant Lee Phillips is pared down to the simplest words to describe an instance.The Haiku Year is about the appreciation of small moments of beauty, ultimately adding up to the appreciation and respect not only for our individual lives but for all the lives that intersect with ours. The Haiku Year effortlessly urges readers to enjoy details and to let spare moments pierce through the numbness of everyday routine.

    The title of this book is taken from Henry Miller's "Into the Night Life" and expresses the way Lawrence Ferlinghetti felt about these poems when he wrote them during a short period in the 1950's—as if they were, taken together, a kind of Coney Island of the mind—a kind of circus of the soul.

    He Felt Unwell (So He Wrote This) is a curated collection of poems and illustrations that create a therapeutic journey and visual experience through the ups and downs of love, loss, fear, and doubt.

    This collection offers extracts translated by the authors from the best of traditional and contemporary Persian poetry and illustrates them with examples of Persian art in the British Museum. It also includes a brief introduction to its tradition and a short biographical note about each of the major poets.

    There was material always, walking or running, fighting or screaming or singing." From the life of Chicago's South Side she made a forceful and passionate poetry that fused Modernist aesthetics with African-American cultural tradition, a poetry that registered the life of the streets and the upheavals of the 20th century. Starting with A Street in Bronzeville (1945), her epoch-making debut volume, The Essential Gwendolyn Brooks traces the full arc of her career in all its ambitious scope and unexpected stylistic shifts."Her formal range," writes editor Elizabeth Alexander, "is most impressive, as she experiments with sonnets, ballads, spirituals, blues, full and off-rhymes. She is nothing short of a technical virtuoso." That technical virtuosity was matched by a restless curiosity about the life around her in all its explosive variety. By turns compassionate, angry, satiric, and psychologically penetrating, Gwendolyn Brooks's poetry retains its power to move and surprise.

    These are some of the things we think about when we think about Japan. This small island nation looms large in the popular imagination, in often contradictory ways: as the epitome of refinement and tradition, and as an embodiment of a shiny, soulless future. What is Japan to those who really know it? This issue includes translated work from the most exciting Japanese writers today, alongside work in English. There will be contributions from the Man Asia-shortlisted Hiromi Kawakami, the Booker-shortlisted Ruth Ozeki, David Mitchell, David Peace, Richard Lloyd Parry and more.

    It includes Emily's verse from Poems by Currer, Ellis and Acton Bell, as well as 200 works collected from various manuscript sources after her death in 1848.

    As his ideas of his life become more entangled with his personal writing, the pangs of his past and his half-forgotten memories overlap and threaten his peace.Owing a debt to French writers from La Fontaine to Proust, the three fable-like tales in The Bear and the Paving Stone are stories of loss, memory and a longing to belong.

    Written by a lady of the court at the height of Heian culture, this book enthralls with its lively gossip, witty observations, and subtle impressions. Lady Shonagon was an erstwhile rival of Lady Murasaki, whose novel, "The Tale of Genji," fictionalized the elite world Lady Shonagon so eloquently relates. Featuring reflections on royal and religious ceremonies, nature, conversation, poetry, and many other subjects, "The Pillow Book" is an intimate look at the experiences and outlook of the Heian upper class, further enriched by Ivan Morris's extensive notes and critical contextualization.