One moment she was nothing—no memories, no self—and then suddenly, she's plummeting through a sea of stars. Is she in a coma? She doesn't remember dying, and she has no memories of the life she left behind. All she knows is that she's trapped in a consciousness without a body and she's spending every moment watching a stranger.Breckon Cody's on the edge. He's being ripped apart by grief so intense it literally hurts to breathe. On the surface, Breckon is trying to hold it together for his family and his girlfriend, but underneath he's barely hanging on.Even though she didn't know him in life, Ashlyn sees Breckon's pain, and she's determined to find a way help him. As her own distressing memories emerge from the darkness, she struggles to communicate with the boy who can't see her, but whose life is suddenly intertwined with hers. In alternating voices of the main characters, My Beating Teenage Heart paints a devastatingly vivid picture of both the heartbreak and the promise of teenage life—a life Ashlyn would do anything to recover and Breckon seems desperate to destroy—and will appeal to fans of Sarah Dessen, John Green, and David Levithan.

    She's died hundreds of times. And it never gets easier...The RAGE tournaments the Virtual Gaming League's elite competition where the best gamers in the world compete in a fight to the digital death. Every kill is broadcast to millions. Every player leads a life of ultimate fame, responsible only for entertaining the masses. And though their weapons and armor are digital, the pain is real.Chosen to be the first female captain in RAGE tournament history, Kali Ling is at the top of the world until one of her teammates overdoses. Now she s stuck trying to work with a hostile new teammate who s far more distracting than he should be. Between internal tensions and external pressures, Kali is on the brink of breaking. To change her life, she ll need to change the game. And the only way to revolutionize an industry as shadowy as the VGL is to fight from the inside

    The word as talisman is another of her concerns, and finally, in the section that most typifies the lilt of grace notes, Dove considers the embellishments below the melody of daily life.

    Deborah Garrison, whose work as an editor and writer has enlivened the pages of The New Yorker for more than a decade, evokes the characters and events of her everyday life with intense feeling and, more important, conjures up the universal dilemmas and pleasures of a young woman trying to come to terms with love and work.

    These poems are allusive and tough. While they celebrate the pleasures of the natural world--mutability, desire, and the flowering of things--they are compounded by a critical awareness of contemporary culture. As we traverse their associative leaps, we discover a linguistic landscape that is part garden, part wilderness, where a poem can perform its own natural history. Divided into four cantos interrupted by lyrics and errata, Meteoric Flowers mirrors the form of Erasmus Darwin's 18th-century scientific pastorals. In attending to poetry's investigative potential, Willis shifts our attention from product to process, from commodity to exchange, from inherited convention to improvisational use.

    Ali travels by water and by night, seeking the Far Mosque and its overarching paradox: that when God and Self are one, an ascent into Heaven is a voyage within.

    In a world that teaches us to cling to what we love at all costs, there is an undeniable art to moving on – and it’s one that we are constantly relearning. In this series of honest and poignant essays, Heidi Priebe explores the harsh reality of what it means to let go of the people and situations we love most - often before we are ready to – and how to embrace what comes next.

    The woman who loves him is left scarred and haunted. In her fierce, one-of-a-kind debut, Rebecca Lindenberg tells the story—in verse—of her passionate relationship with Craig Arnold, a much-respected poet who disappeared in 2009 while hiking a volcano in Japan. Lindenberg’s billowing, I-contain-multitudes style lays bare the poet’s sadnesses, joys, and longings in poems that are lyric and narrative, at once plainspoken and musically elaborate.Regarding her role in Arnold’s story, Lindenberg writes with clear-eyed humility and endearing dignity: “The girl with the ink-stained teeth / knows she’s famous / in a tiny, tragic way. / She’s not / daft, after all.” And then later, playfully, of her travels in Italy with the poet, her lover: “The carabinieri / wanted to know if there were bears / in our part of America. Yes, we said, / many bears. Man-eating bears? Yes, of course, / many man-eating bears.” Every poem in this collection bursts with humor, pathos, verve—and an utterly unique, soulful voice.This widely anticipated debut, already selected as a finalist for several prominent book awards, marks the first collection in the newly minted McSweeney’s Poetry Series. MPS is an imprint which seeks to publish a broad range of excellent new poetry collections in exquisitely designed hardcovers—poetry that’s useful and meaningful to anyone in any walk of life.

    A former resident of St. Louis, where he founded the Observable Poetry reading series, he now lives in Hillsborough, North Carolina.

    Unfortunately for Bridget, the voices are demons - the Biblical kind, not the Buffy kind - and Bridget possesses the rare ability to banish them back to whatever hell they came from. Literally.Terrified to tell her friends or family about this new power, Bridget confides in San Francisco's senior exorcist, Monsignor Renault. The monsignor enlists her help in increasingly dangerous cases of demonic possession, but just as she is starting to come to terms with her freakish new role, Bridget receives a startling message from one of the demons. And when one of her oldest friends is killed, Bridget realizes she's in deeper than she ever thought possible. Now she must unlock the secret to the demons' plan before someone else close to her winds up dead - or worse, the human vessel for a demon king.

    See the world through his hilariously self-deprecating eyes as he learns to shed his comic-book-loving, computer-game playing ways. Join him as he makes new friends, tries to hide from his past, and ultimately learns to face the world with a genuine smile. With a fresh and funny combination of text and fully integrated art, Happyface is an original storytelling experience.

    As they learn their family's history, Josh and Hallie will invite disaster into their lives, and will learn, together, to navigate its currents, keeping further losses at bay.Lisa Borders is the author of Cloud Cuckoo Land, winner of the Fred Bonnie Award for Best First Novel and fiction honors in the Massachusetts Book Awards.

    How an unexplained fire ravaged their house, killing four of the five family members. But what people don’t know is who did it. All fingers point at Pearl Haskins’s father, the town drunk, who was the caretaker of the property, but she just can’t believe it. Leave it to a town of rich people to blame “the help.”With her disgraced father now trying to find work in between booze benders, Pearl’s future doesn’t hold much more than waiting tables at the local country club, where the wealthy come to flaunt their money and spread their gossip. This year, Tristan, the last surviving Garrison, and his group of affluent and arrogant friends have made a point of sitting in Pearl’s section. Though she’s repulsed by most of them, Tristan’s quiet sadness and somber demeanor have her rethinking her judgments. Befriending the boys could mean getting closer to the truth, clearing her father’s name, and giving Tristan the closure he seems to be searching for. But it could also trap Pearl in a sinister web of secrets, lies, and betrayals that, once untangled, will leave no life unchanged . . . if it doesn’t take hers first.

    Throughout Two and Two, doubles abound: Noah's animals; Duhamel's parents as Jack and Jill in a near-fatal accident; an incestuous double sestina; a male/female pantoum; a dream and its interpretation; and translations of advertisements from English to Spanish. In two Möbius strip poems (shaped like the Twin Towers), Duhamel invites her readers to get out their scissors and tape and transform her poems into 3-D objects.At the book's center is "Love Which Took Its Symmetry for Granted," a gathering of journal entries, personal e-mails, and news reports into a collage of witness about September 11. A section of "Mille et un sentiments," modeled on the lists of Hervé Le Tellier, Georges Perec, and George Brainard, breaks down emotions to their most basic levels, their 1,001 tiny recognitions. The book ends with "Carbó Frescos," written in the form of an art guidebook from the 24th century.Innovative and unpretentious, Duhamel uses twice the language usually available for poetry. She culls from the literary and nonliterary, from the Bible and product warning labels, from Woody Allen films and Hong Kong action movies--to say difficult things with astonishing accuracy. Two and Two is second to none.

    Channeling "the primal vision of Hart Crane" (Harold Bloom), Adam Fitzgerald helped welcome the modernist aethetic into the twenty-first century. Part Technicolor, part nitrous oxide, Fitzgerald's chimerical poems confront "a surging ocean of sound and language" (Maureen McLane). In these forty-eight poems, he conducts a madcap symphony of language, memory, and fantasy with the "exhilarating assurance of nonstop invention" (Timothy Donnelly).