A MOUTH IN CALIFORNIA, Graham Foust's fourth book of poetry, uses the ironies and anxieties of contemporary life as a foil for mordant and sometimes violent humor. Through mangled aphorisms, misheard song lyrics, and off-key phrasing, Foust creates a unique idiom of tragicomic pratfalls, a ballet of falling down. Yet the elasticity of Foust's language repels the stiff-necked adversaries of thought: what's the wrong way to break / that brick of truth back into music?

    A collection of poetic meditations by the National Book Critics Circle Award-finalist author of Leaving Saturn evaluates the solemn richness of everyday lives, from a grandfather who gardens in a tenement backyard to a teacher to renames her black students after French painters.

    Trethewey's resonant and beguiling collection is a haunting conversation between personal experience and national history.

    With a new introduction by celebrated baseball writer Roger Kahn and a new afterword by the author, updating John Henry's first year of ownership after nearly six decades of the Yawkey dynasty, the legacy of the late Will McDonough, and the author's return to his native Boston after a seventeen-year absence, Shut Out has reopened the discussion of baseball, race, and Boston with a new candor.

    Subjects are revisited–the pain of childhood, adolescent sexual stirrings, the fulfillment of marriage, the wonder of children–but each recasting penetrates ever more deeply, enriched by new perceptions and conceits.Strike Sparks is a testament to this remarkable poet’s continuing and amazing growth.From the Hardcover edition.

    These inspiring words by award-winning poet Elizabeth Alexander celebrate all that has made America what it is today and challenge us—as individuals, as communities, as a nation—to continue working toward the dream of a better world for all.

    From August 23, 2005, the day Tropical Depression Twelve developed, through August 28 when it became a Category Five storm with its “scarlet glare fixed on the trembling crescent,” to the heartbreaking aftermath, these poems evoke the horror that unfolded in New Orleans as America watched it on television.Assuming the voices of flailing politicians, the dying, their survivors, and the voice of the hurricane itself, Smith follows the woefully inadequate relief effort and stands witness to families held captive on rooftops and in the Superdome. She gives voice to the thirty-four nursing home residents who drowned in St. Bernard Parish and recalls the day after their deaths when George W. Bush accompanied country singer Mark Willis on guitar:The cowboy grins through the terrible din,***And in the Ninth, a choking woman wailsLook like this country done left us for dead.An unforgettable reminder that poetry can still be “news that stays news,” Blood Dazzler is a necessary step toward national healing.Patricia Smith is the author of four previous collections of poetry, including Teahouse of the Almighty, winner of the Hurston/Wright Legacy Award and the Paterson Poetry Prize. A record-setting, national poetry slam champion, she was featured in the film Slamnation, on the HBO series Def Poetry Jam, and is a frequent contributor to Harriet, the Poetry Foundation’s blog.

    A work of rare beauty and lyric grace, The Ground is an entire world, drawn and revealed through contemplation of the post-9/11 landscape. With musicality and precision of thought, Phillips’s poems limn the troubadour’s journey in an increasingly surreal modern world (“I plugged my poem into a manhole cover / That flamed into the first guitar”). The origin of mankind, the origin of the self, the self’s development in the sensuous world, and––in both a literal and a figurative sense––the end of all things sing through Phillips’s supple and idiosyncratic poems. The poet’s subtle formal sophistication—toggling between flair and restraint—and sense of lyric possibility bring together the hard glint of the contemporary world and the eroded permanence of the archaic one via remixes, underground sessions, Spenserian stanzas, myths, and revamped translations. These are poems of fiery intelligence, inescapable music, and metaphysical splendor that concern themselves with both lived life and the life of the imagination—equally vivid and true––as they lay the framework for Phillips’s meditations on our connection to and estrangement from the natural world.

    As Roger Reeves said in an interview, "While writing King Me, I became very interested in the mythology of king, the one who is sacrificed at the end of the harvest season. . . . For me, the myth manifests in the killing of young black men, Emmett Till, and in the ways America deems young, black male bodies as expendable—Jean Michel Basquiat, Mike Tyson, Jack Johnson. These are the young kings whom we love to kill—over and over again."From "Some Young Kings":The hummingbirds inside my chest,with their needle-nosed pliers for tonguesand hammer-heavy wings, have left a messof ticks in my lungs and a punctured lullabyin my throat. Little boy blue come blowyour horn. The cow's in the meadow. And Dorothy's alone in the corn with Jack, his black fingers, the brass of his lips, the half-moons of his fingernails clickingalong her legs until she howls—Charlie Parker. Charlie Parker. Charlie Parker . . .

    Hayes was then an undergrad at a small South Carolina college. He has since published four highly honored books of poetry, is a professor of poetry at the University of Pittsburgh, has appeared multiple times in the series, and is one of today’s most decorated poets. His brazen, restless poems capture the diversity of American culture with singular artistry, grappling with facile assumptions about identity and the complex repercussions of race history in this country. Always eagerly anticipated, the 2014 volume of The Best American Poetry begins with David Lehman’s “state-of-the-art” foreword followed by an inspired introduction from Terrance Hayes on his picks for the best American poems of the past year. Following the poems is the apparatus for which the series has won acclaim: notes from the poets about the writing of their poems.

    Scorned by the father who was incapable of showing him affection and nearly consumed by the mean streets of Prince George’s County, Maryland, Carson did what no one else could: he saved himself. After joining the police force and building a family with his wife, Bunny, Carson is finally in control of his life in the enclave where African American wealth and privilege shares the same zip code with black American crime and tragedy. Both Carson and his wife have great careers and three beautiful children: Roslyn, Roseanne, and Juwan. Carson is a devoted father, determined not to be the father that Jimmy Blake was to him. But while Juwan’s astounding artistic talent is his father’s pride, the boy’s close relationship with classmate Will conjures up emotions and questions in Carson that threaten to spill over and poison the entire Blake family.And then, one night in March, nearing the end of a routine shift, Carson stops a young black man for speeding. He orders Paul Houston to exit the car and drop to his knees. But when Houston retrieves something from his waistband and turns to face Carson, three shots are fired, one man loses his life and two families are wrenched from everything that came before and hurled into the haunting future of everything that will come after. When it is revealed that Paul, a son of educators and a teacher in Southeast D.C., was only holding a cell phone, Carson’s carefully woven world begins to unravel.After is a penetrating work of discovery for a man whose life careens more than once off the edge of disaster. Golden’s astounding prose will stay with you long after you’ve turned the last page.

    In Taboo he examines the role of blacks in Western history, and how these roles are portrayed in art and literature. In taut, meticulously crafted three-line stanzas, Rubens paints his wife looking longingly at a black servant; Aphra Behn writes Oroonoko "as if she'd rehearsed it/for years in her spleen"; and in Monticello, Thomas Jefferson is "still/at his neo-classical desk/musing, but we know his mind/is brushing aside abstractions/so his hands can touch flesh." Taboo is the powerful first book in a new trilogy by a Pulitzer Prize-winning poet whose work never ceases to challenge and delight his readers.

    But when a domestic disturbance call takes a turn for the worse, their friendship is put on the line. The result is a difficult journey into a moral gray area where trust and loyalty struggle for survival against a sobering backdrop of pimps, prostitutes, and criminal lowlifes.A dark duologue filled with sharp storytelling and biting repartee, A Steady Rain explores the complexities of a lifelong bond tainted by domestic affairs, violence, and the rough streets of Chicago.

    Perfect timing andcrackling dialogue, as well as heartrending pain balanced by uproarious predicaments, make for a shout-hallelujah tale of transgression and grace, a gospel of lusty and everlasting love."-- Booklist “Like Dostoyevsky, Allen colorfully evokes the gambling milieu—the chained (mis)fortunes of the players, their vanities and grotesqueries, their quasi-philosophical ruminations on chance. Like Burroughs, he is a dispassionate chronicler of the addict’s daily ritual, neither glorifying nor vilifying the matter at hand.”-- The New York Times Book Review , on All or NothingInto an austere community of Christian believers at the Church of Our Blessed Redeemer Who Walked Upon the Waters come the star-crossed African American Romeo and Juliet. In the world of Jesus Boy, Romeo is sixteen-year-old Elwyn Parker, a devout and sincere piano prodigy who learns too late that the saintly girl he has had a crush on all his life is inexplicably pregnant and soon to be wed. Juliet is the beautiful widow, Sister Morrisohn, age forty-two, who, in the pain and confused emotions of her grieving, ends up in Elwyn’s arms.Despite the problems posed by their age difference and the strict prohibitions of their strong religious beliefs, Elwyn and Sister Morrisohn’s love is true, and as it grows among the ascetics, abstainers, and holy ghost rollers of their church, it exposes with wit, poignancy, and insight the dark secrets and ancient crimes of the pious. In Jesus Boy, Elwyn learns through tragedy and epiphany that the holy are no different from the rest of us.

    This is a communal effort by the Pushcart Press staff, contributing editors, and hundreds of small presses. For this edition distinguished poets Julie Sheehan and Tom Sleigh served as poetry editors. The result is an introduction to a literary world that few readers have access to, where much of today's important new writing is published, far from the commercial influence of the conglomerates. In reviewing last year's edition, Donna Seaman of Booklist commented: "A brimming, vibrant anthology-the perfect introduction to new writers and adventurous new work by established writers . . . extraordinary in its range of voices and subjects. Here is literature to have and to hold." The Pushcart Prize has been chosen for the Ivan Sandrof Lifetime Achievement recognition by the National Book Critics Circle and the Writers for Writers award from Poets Writers / Barnes Noble.