The language here is at once disruptive and familiar, political and sensual, and tinged by the melancholy of loss and the discomforting radiance of redemption. A strong debut." —Chris AbaniThe best way to hide is in plain sight. In this politically-charged and candid debut, we follow the chronicles of an undocumented immigrant speaker over a twenty-year span as she grows up in the foreign and forbidding landscape of America.From "Ivan, Always Hiding":I strained for the socketas you pulled me,my bare legs against your legs in the windowless dark. The room,snuffed out, could have been nolarger than a freight car,no smaller than a box van; we couldn't tell anymore, the glintsin the shellacked floor, too, were dulled. This is like death, you said,always joking. I slid my headinto the crook of your neck, and didn't disagree. Raised in the Philippines and California, Janine Joseph holds an MFA from New York University and a PhD from the University of Houston. Her poems have appeared in the Kenyon Review Online, Best New Poets, Hayden's Ferry Review, and elsewhere. Her libretto "From My Mother's Mother" was performed as part of the Houston Grand Opera's "Song of Houston: East + West" series. A Kundiman and Paul and Daisy Soros Fellow, she is an assistant professor of English at Weber State University.

    But she is forced to admit she respects and admires Dr Peter Schmidt and they begin a relationship. Then, however, typhoid strikes.

    He believes that everything will go on his own way but when his long time FuBu left and was nowhere to be found - he found himself dealing with Bathseeba Madlang-Tao - the only one who knows about the person he is looking for.Witness how Ares Consunji's life turn around as he deals with Bathseeba Madlang-Tao.

    Do the right thing, of course-- but better yet, find your inner light and doing the right thing becomes as natural as breathing. THE ZEN COMMANDMENTS offers ten powerful nudges toward that light.Drawing on sources from Zen stories and the Bible to jazz and rock 'n' roll, from American movies to Tibetan meditative techniques, Dean Sluyter steers clear of dogma and emphasizes what works-- a sort of spiritual street smarts. He shows that the state of boundless freedom and happiness isn't something distant or exotic, but is right here, while you're stuck in traffic or taking out the trash. And revisiting the Ten Commandments, he shows how on a deeper level they offer some surprising enlightenment wisdom of their own.“The book is extremely well written and joyously entertaining.”—Publishers Weekly “With sparkling clarity and wit, Sluyter's ten suggestions lay out the practical essentials of the path. My suggestion is: listen to this guy.”—Lama Surya Das, author of Awakening the Buddha Within “Dean Sluyter clearly presents simple but profound ways to live one's life consciously and skillfully. He teaches that the source of universal truth not only rests in the heart of every one of us, but is the essence of what ultimately brings us true happiness and freedom. This is a wonderful book with rich wisdom and deep insight.”—Rabbi David Cooper, author of God Is a Verb “No matter what your religion (or lack of it), this book shows how to live the kind of life people ache for. It turns out to be pretty simple.”—Jane Cavolina, co-author of Growing Up Catholic

    Mega’s tired of playing games and there’s a new chick in his life, but there’s something about Taysia that he just can’t seem to shake. Will they finally let go and throw in the towel? Or is their love for one another strong enough for a happily ever after?

    His punishment? Make a girl in school fall for him and then break up with her just as shes fallen for him. But who would be oblivious enough to fall for that? Her.Enter Sophia Taylor - quiet, brainy, and unassuming - the perfect pawn for their game. And for Drake, that's all it is - a game. But is it? Drake finds that Sophia is quite more than he bargained for. Perhaps he has her figured out all wrong. The real question is, will Drake win the bet, or will Sophia win him over instead?

    Recognizing themselves to be sentient, the inexplicably evolved chickens push to attain rights for themselves as the newest members of the human race.Originally self-published by the author in the Philippines, this is the first US edition of the book and the first edition to be made available to the book and library trade.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    Filipina American debut author displays the contradictions of Asian American experience with irony & enthusiasm, anger & wit.

    This is Ashbery at his wacky best, from long lists that seem to make some sense, to short lists that seem to make no sense, to made-up diary entries. Here we find Joe Brainard's version of Americana. Combined, there is a wonderful innocence to this book that is found in the work of both of these artists. Joe Brainard's popularity is soaring to new heights as the traveling retrospective of his career captivates museum-goers throughout the United States, and this publication will be a valuable addition to the available publications of his work.

    Arceo. A story not only of Filipinos imbued with a strong inner dignity but also more particularly of the young Filipino Andres, who refuses to surrender to either American or Filipino oppressors.

    ‘Chauthi khidaki’ is a fantastic scientific tale built around the concept of Time. ‘Porkhel’ uses theanalogy of a childat play with her dolls, to highlight that human beings are mere pawns in the hands of Fate. ‘Sucheta Chakrapani ani Ticha Kokilkanth’ tackles the tangle between an artiste and her art – a fantastic rendering reminiscent of magical realism. Matkari’s stories give us the feeling of entering a jungle at dusk. The reader begins his journey along the border that separates reality from fantasy. Matkari employs different narrative styles and structure to lead the reader along familiar as well as unfamiliar paths in this jungle.While being immensely attractive, this journey takes the reader into ever deeper regions.

    Written by Yvette Fernandez and illustrated by Nicole Lim, Princess Lea narrates how Lea went from a six-year-old who landed a part in a local production of The King and I to an internationally renowned performer who has starred as Kim in Miss Saigon, Eponine and Fantine in Les Miserables, and Mei-Li in Flower Drum Song; won honors from the US’ Tony Awards and the UK’s Laurence Olivier Awards; and sung for six Philippine presidents, three American presidents, and the Queen of England. To encourage aspiring young entertainers to reach for their dreams, Princess Lea also lets readers in on common terms in the performing industry and imparts the lessons Lea has learned throughout her journey to becoming a singing superstar.

    From Vaudeville, through the big bands and up to the hottest rock acts, the Luxor had them all. It's closed now, a boarded-up relic, standing alone in a run down industrial part of town. But the old dance hall isn't empty. A hideous presence lives there, a monstrous evil that has the ability to invade people's fantasies and nightmares . . . and bring them to life. Three strangers will soon learn the extent of the dance hall's power. As their lives become more and more entangled in its inescapable web, they will come to see that what haunts the Luxor is far worse than any ghost.

    Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.