The murder rocks their tiny coastal island, but no one is more shaken than Sadie, who is terrified by the thought of a killer in her very own backyard.But it’s not just Morgan’s death that has Sadie on edge. It’s their eerie old home, with its decrepit decor and creepy attic, which they inherited from Will’s sister after she died unexpectedly. It’s Will’s disturbed teenage niece Imogen, with her dark and threatening presence. And it’s the troubling past that continues to wear at the seams of their family.As the eyes of suspicion turn toward the new family in town, Sadie is drawn deeper into the mystery of Morgan’s death. But Sadie must be careful, for the more she discovers about Mrs. Baines, the more she begins to realize just how much she has to lose if the truth ever comes to light.

    From the narratives of army life during World War Two to the domestic and familial scenes of his final book, this selection presents Jarrell's art at its best, comparable in power and variety to that of his contemporaries Robert Lowell and Elizabeth Bishop.

    In a recent profile, The New York Times Magazine paid tribute to her amazing ability to combine the classical and the modern, the mundane and the surreal, in a body of work that is sure to endure.In Men in the Off Hours, Carson offers further proof of her tantalizing gifts. Reinventing figures as diverse as Oedipus, Emily Dickinson, and Audubon, Carson sets up startling juxtapositions: Lazarus among video paraphernalia, Virginia Woolf and Thucydides discussing war, Edward Hopper paintings illuminated by St. Augustine. And in a final prose poem, she meditates movingly on the recent death of her mother. With its quiet, acute spirituality and its fearless wit and sensuality, Men in the Off Hours shows us a fiercely individual poet at her best.

    Mutability – a sense that all matter is unstable in the face of mortality – is at the heart of this new collection and each poem is involved in that drama: the held tension that is embodied life, and life’s losing struggle with the gravity of nature.Working as before with an ear to the oral tradition, these poems attend to the organic shapes and sounds and momentum of the language as it’s spoken as well as how it’s thought: fresh, fluid and propulsive, but also fragmentary, repetitive. These are poems that are written to be read aloud.Orpheus and Tithonus appear at the beginning and end of this book, alive in an English landscape, stuck in the clockwork of their own speech, and the Hours – goddesses of the seasons and the natural apportioning of Time – are the presiding figures. The persistent conditions are flux and falling, and the lines are in constant motion: approaching, from daring new angles, our experience of being human, and coalescing into poems of simple, stunning beauty.

    "Nick Demske writes from culture like the Hollywood version of a rebellious slave, the role shredding off him, culture's synthetic exemplary tales shredding and piling up on the floor of the projector room."—Joyelle McSweeneyHis name is "a transcendant uber-obsenity that can be understood universally by speakers of any language."

    Starting there, this extended poem—part art criticism, part history—considers the phenomenon of glass, revealing the strength and fragility of our age in the minimalist style that has won Cole Swensen such acclaim.

    Cult of Loretta captures the manic fury of Richard Brautigan writing a sequel to The Outsiders during a ketamine binge.”- Jim Ruland, author of Forest of Fortune“I haven’t read a book this great, this funny, this original, this emotional, this bonkers in quite some time. It’s a little like Bukowski and Sam Lipsyte and the drug scene in Beavis and Butthead Do America all smashed together, but also completely and totally Kevin Maloney.”- Aaron Burch, author of Backswing“Cult of Loretta is a hot dose of pleasure. It whistles with the wit of Brautigan, stings with the heart of badly dissolved romance. If a modern day mountain man came out of the wilderness with a story in his eye, this might be the thing he’d tell. Kevin Maloney is that kind of treasure–a wild thing that’s come in from the war of life, lived to tell the tale.”- Brian Allen Carr, author of The Last Horror Novel in the History of the World“Cult of Loretta is a book about a man named Nelson who gets his ass kicked over and over again by the world, and his heart pulverized over and over by the same enigmatic woman. It’s about what happens to love when both halves of a couple are whacked out on the most powerful drug of all time. It’s about the tragedies that parents can make for us, and the tragedies we make for ourselves. Kevin Maloney is an exceptional talent, someone capable of weaving all of these nasty little ingredients into something that is as tender as it is bleak, something that makes you laugh out loud as it rips open your skin and pulls out your veins.”- Juliet Escoria, author of Black Cloud“Kevin Maloney drags the lake of our subconscious, revealing the often startling but always mesmerizing grit that becomes human memory. Cult of Loretta is an impressive debut, a confident showcase of an exciting new literary talent.”- Michael J Seidlinger, author of The Fun We’ve Had

    And that’s when the girls stumble across a copy of The Art of War. With just one glance, they're sure they can use the book to lure Jason back into Lainey’s arms. So Lainey channels her inner warlord, recruiting spies to gather intel and persuading her coworker Micah to pose as her new boyfriend to make Jason jealous. After a few "dates", it looks like her plan is going to work! But now her relationship with Micah is starting to feel like more than just a game.What's a girl to do when what she wants is totally different from what she needs? How do you figure out the person you're meant to be with if you're still figuring out the person you're meant to be?

    Blemishes, scars, freckles, and wrinkles have all disappeared, their fingerprints are different, their vision is impeccable, and most importantly, their illnesses have been cured.But the fresh start they’ve been given is anything but perfect. Without their old bodies, their new physical identities have been lost. Hannah, an artistic prodigy, has to relearn how to hold a brush; David, a Congressman, grapples with his old habits; Connie, an actress whose stunning looks are restored after a protracted illness, tries to navigate an industry obsessed with physical beauty; and Linda, who spent eight years paralyzed after a car accident, now struggles to reconnect with a family that seems to have built a new life without her. As each tries to re-enter their previous lives and relationships they are faced with the question: how much of your identity rests not just in your mind, but in your heart, your body?

    Refusing to leave his home in a small coastal town in Maine, Jack Peter spends his time drawing monsters. When those drawings take on a life of their own, no one is safe from the terror they inspire. His mother, Holly, begins to hear strange sounds in the night coming from the ocean, and she seeks answers from the local Catholic priest and his Japanese housekeeper, who fill her head with stories of shipwrecks and ghosts. His father, Tim, wanders the beach, frantically searching for a strange apparition running wild in the dunes. And the boy’s only friend, Nick, becomes helplessly entangled in the eerie power of the drawings. While those around Jack Peter are haunted by what they think they see, only he knows the truth behind the frightful occurrences as the outside world encroaches upon them all.In the tradition of The Turn of the Screw, Keith Donohue’s The Boy Who Drew Monsters is a mesmerizing tale of psychological terror and imagination run wild, a perfectly creepy read for a dark night.

    At the same time, a hot-air balloon crashes out of the sky. There’s just one survivor.She’s seen the killer’s face – but he’s also seen hers. And he won’t rest until he’s eliminated the only witness to his crime.Alone, scared, trusting no one, she’s running to where she feels safe – but it could be the most dangerous place of all . . .

    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.”

    What Would your life say if it could talk?                                                            —from “No Fly Zone”With allusions to David Bowie and interplanetary travel, Life on Mars imagines a soundtrack for the universe to accompany the discoveries, failures, and oddities of human existence. In these new poems, Tracy K. Smith envisions a sci-fi future sucked clean of any real dangers, contemplates the dark matter that keeps people both close and distant, and revisits the kitschy concepts like “love” and “illness” now relegated to the Museum of Obsolescence. These poems reveal the realities of life lived here, on the ground, where a daughter is imprisoned in the basement by her own father, where celebrities and pop stars walk among us, and where the poet herself loses her father, one of the engineers who worked on the Hubble Space Telescope.

    Having survived the Ebola virus and witnessed the death of his coach in the same 365-day period, he must now withstand the taunts and insults of riders who don't understand his two all-encompassing motivations for living...... the sharing of Agape Love and the protection of bugs everywhere.

    I’m now tempted to believe that Blake himself has sent us Derrick Austin and his remarkable collection, Trouble the Water. At once gospel and troubadour song, these deeply spiritual and expansively erotic poems are lucid, unflinching, urgent. This is an extraordinary debut." —Mary Szybist, winner of the National Book AwardRich in religious and artistic imagery, Trouble the Water is an intriguing exploration of race, sexuality, and identity, particularly where self-hood is in constant flux. These intimate, sensual poems interweave pop culture and history—moving from the Bible through several artistic eras—to interrogate what it means to be, as Austin says, fully human as a “queer, black body” in 21st century America.