Wright’s most intimate thoughts and images appear before us in dramatic and spectral short narratives: mesmerizing poems whose colloquial sound and rhythms announce a new path for this luminous and masterful poet. In these journeys, we hear the constant murmured “yes” of creation—“it will be packing its small suitcase soon; it will leave the keys dangling from the lock and set out at last,” Wright tells us. He introduces us to the powerful presences in his world (the haiku master Basho, Nietzsche, St. Teresa of Avila, and especially his father, James Wright) as he explores the continually unfolding loss of childhood and the mixed blessings that follow it. Taken together, the pieces deliver the diary of a poet—“a fairly good egg in hot water,” as he describes himself—who seeks to narrate his way through the dark wood of his title, following the crumbs of language. “Take everything,” Wright suggests, “you can have it all back, but leave for a little the words, of all you gave the most mysteriously lasting.” With a strong presence of the dramatic in every line, Kindertotenwald pulls us deep into this journey, where we too are lost and then found again with him.

    Cultural Writing. Essays. A series of essays, ACADEMONIA is also an epic narrative of survival against institutional deadening and the proscriptiveness that shoots the young writer like poison darts from all sides. Here Bellamy, "explores the prickly intersection among these [institutional] spaces as it moves through institutions such as the academy, the experimental writing communities of the Bay Area, feminist and sexual identities, and group therapy. Continuing the work that she began in The Letters of Mina Harker pushing memoir and confession out of its safety zones and into its difficulties, this book provokes as it critiques and it critiques and yet at the same time manages to delight with its hope"-Juliana Spahr.

    Cassiopeia. A sister. A Marco Polo. A somnambulist. A documentary on the voyages of Columbus. A cartographer. Star charts. Young intellectuals in black robes. Jean-Michel Basquiat. More birds and still more birds. A mathematician. All these things appear in The To Sound’s beautifully warped cosmology. This is a stunning book that builds its own world, a world of ambiguous relations and loaded words; a lyrical world that explores the unstated connections between things. . . ."

    His first collection, set in the Midwest, alternately features a childhood Wisconsin farm, the record-breaking storm that destroyed it, and the turbulent marriage that recalls it. Love and wonder mingle in these lines.

    R. Ammons's long poems—following Tape for the Turn of the Year and preceding Garbage—that mark him as a master of this particular form. The sphere in question is the earth itself, and Ammons's wonderfully stocked mind roams globally, ruminating on subjects that range from galaxies to gas stations. It is a remarkable achievement, comparable in importance to Wallace Stevens's Notes Toward a Supreme Fiction.

    . . . Need is everywhere—in the unforgiving images, in lines so delicate they seem to break apart in the hands, and in the reader who will enter these poems and never want to leave."—Adrian MatejkaPhillip B. Williams investigates the dangers of desire, balancing narratives of addiction, murders, and hate crimes with passionate, uncompromising depth. Formal poems entrenched in urban landscapes crack open dialogues of racism and homophobia rampant in our culture. Multitudinous voices explore one's ability to harm and be harmed, which uniquely juxtaposes the capacity to revel in both experiences."Epithalamium":A kiss. Train ride home from a late dinner,City Hall and document signing. Wasn't coldbut we cuddled in an empty car, legal.Last month a couple of guys left a gay barand were beaten with poles on the wayto their car. No one called them faggotso no hate crime's documented. A beat downis what some pray for, a pulse left to count.We knew we weren't protected. We knewour rings were party favors, gold to stealthe shine from. We couldn't protect us,knew the law wouldn't know how. Still, hisbeard across my brow, the burn of his cologne.When the train stopped, the people came on.Phillip B. Williams has authored two chapbooks: Bruised Gospels (Arts in Bloom Inc.) and Burn (YesYes Books). A Cave Canem graduate, he received scholarships from Bread Loaf Writers Conference and a Ruth Lilly Fellowship. His work appeared or is forthcoming in Callaloo, Poetry, the Southern Review, West Branch , and others. Phillip received his MFA in Writing as a Chancellor's Graduate Fellow at the Washington University in St. Louis. He is the poetry editor of Vinyl Poetry.

    The poet wonders at his own existence and struggles between actual living and the desire to die."Cyril Wong continues to explore the nuances of relationships, in language that is lyrical, beautifully crafted, and erotically charged. There are several fine love poems that reach out to embrace a common humanity. Wong swims into the undercurrents of family tensions, hidden desires, and the meaning of a self... as well as questioning our understanding of both life and death."- Rebecca Edwards, author of Scar Country and Holiday Coast Medusa"Reading Cyril Wong is always to encounter risk, the painful suturing of art and life, trials of faith and baptisms of fire. I have only the deepest respect for someone who has razed the walls between the private and the public, and in doing so, carved more space for all of us."- Alfian Sa'at, author of One Fierce Hour and A History of Amnesia

    It was a sample (and not even the correct file - it was an old rough draft that was saved under a new title), and Goodreads will not take it down. The Amazon link directs to the correct, and full, edition. "She is lost, but the world is too. It is a perfect circle.For life is, but a dream /// is not."- "Seeing Ghosts/A Perfect Circle" excerptA. H. SewellCopyright 2015

    His source materials are the U.S. government's record of the trials of the Nazi criminals before the Nuremberg Military Tribunal and the transcripts of the Eichmann trial in Jerusalem. Except for the twelve part titles, none of the words here are Reznikoff's own: instead he has created, through selection, arrangement, and the rhythms of the testimony set as verse on the page, a poem of witness by the perpetrators and the survivors of the Holocaust. He lets the terrible history unfold--in history's own words.

    

    

    The poems collected here investigate the roots of a tragedy that killed hundreds of workers, most of them African American. They are a rare engagement with the overlap between race and environment in Appalachia. Published for the first time alongside photographs by Nancy Naumburg, who accompanied Rukeyser to Gauley Bridge in 1936, this edition of The Book of the Dead includes an introduction by Catherine Venable Moore, whose writing on the topic has been anthologized in Best American Essays.

    (The artists he championed include Jackson Pollock, Joseph Cornell, Grace Hartigan, Jane Freilicher, Joan Mitchell, and Robert Rauschenberg.) The flowering of O'Hara's talent, cut short by a fatal car accident in 1966, produced some of the most exuberant, truly celebratory lyrics of the twentieth century. And it produced America's greatest poet of city life since Whitman.Alternating between O'Hara's poems and LeSueur's memory of the circumstances that inspired them, Digressions on Some Poems by Frank O'Hara is a literary commentary like no other--an affectionate, no-holds-barred memoir of O'Hara and the New York that animated his work: friends, lovers, movies, paintings, streets, apartments, music, parties, and pickups. This volume, which includes many of O'Hara's best-loved poems, is the most intimate, true-to-life portrait we will ever have of this quintessential American figure and his now legendary times.

    Now, in Spring Comes to Chicago, McGrath pushes deeper into the jungle of American culture, exposing and celebrating our native hungers and dreams. In the centerpiece of the book, "The Bob Hope Poem," McGrath confronts the paradoxes that energize and confound us--examining his own avid affection for People magazine and contemplating such diverse subjects as Wittgenstein, meat packers, money, and, of course, Bob Hope himself. Whether viewing this life with existential gravity or consumerist glee, McGarth creates poetry that is at once public and profoundly personal.