“Pure appetite,” he writes ironically early in the collection, “I wouldn’t know anything about that.” And the following poem answers:Down there the little star-nosed engine of desireat work all night, secretive: in the morninga new line running across the wet grass, near the surface,like a vein. Don’t you wish the road of excessled to the palace of wisdom, wouldn’t that be nice?Deep Lane is a book of descents: into the earth beneath the garden, into the dark substrata of a life. But these poems seek repair, finally, through the possibilities that sustain the speaker aboveground: gardens and animals, the pleasure of seeing, the world tuned by the word. Time and again, an image of immolation and sacrifice is undercut by the fierce fortitude of nature: nature that is not just a solace but a potent antidote and cure. Ranging from agony to rapture, from great depths to hard-won heights, these are poems of grace and nobility.

    But like his celebrated teacher, Elizabeth Bishop, Gioia is meticulously painstaking and self-critical about his own poems. In an active 25-year career he has published only two previous volumes of poetry. Although Gioia is often recognized as a leading force in the recent revival of rhyme and meter in American poetry, his own work does not fit neatly into any one style.Interrogations at Noon displays an extraordinary range of style and sensibility—from rhymed couplets to free verse, from surrealist elegy to satirical ballad. What unites the poems is not a single approach but their resonant musicality and powerful but understated emotion. This new collection explores the uninvited epiphanies of love and marriage, probing the quiet mysteries of a seemingly settled domestic life. Meditating on the inescapable themes of lyric poetry—time, mortality, nature, and the contradictions of the human heart—Gioia turns them to provocative and unexpected ends.

    Their compilation includes new fiction, nonfiction, poetry, comics, and the category-defying gems that have become one of the hallmarks of this lively collection.Divine Providence / Quim Monzo --An excerpt from Notes of a Crocodile / Qiu Miaojin --This Rain / Catherine Pond --My Family's Slave / Alex Tizon --Eight Bites / Carmen Maria Machado --The Deaths of Henry King / Jesse Ball and Brain Evenson --A Refuge for Jae-In Doe: Fugues in the key of English major / Seo-Young Chu --In conversation with Vi Khi Nao / Stacey Tran --Come and Eat the World's largest shrimp cocktail in Mexico's Massacre Capital / Diego Enrique Osorno --The Uninhabitable Earth / David Wallace-Wells --An excerpt from Hunger / Roxane Gay --An excerpt from Blacks and the Master/Slave Relation / Frank B Wilderson III --A Tribute to Alvin Buenaventura / Andrew Leland, Chris Ware, Daniel Clowes and Anders Nilsen --Six selected comics / Chris (Simpsons artist) --Artist's Statement / Kara Walker --Wave at the People Walking Upside Down / Tongo Eisen-Martin --Meanwhile, on Another Planet / Gunnhild Oyehaug --The David Party / David Leavitt --The Reenactors / Katherine Augusta Mayfield --Your Black Friend / Ben Passmore --Collective Nouns for Humans in the Wild / Kathy Fish --Cat Person / Kristen Roupenian --An Excerpt from The Antipodes / Annie Baker --A Fair Accusation of Sexual Harassment or a Witch Hunt? / Lucy Huber --Lizard-Baby / Benjamin Schaefer --Chasing Waterfalls / László Krasznahorkai --Love, Death & Trousers: Eight Found Stories / Laura Francis and Alexander Masters --On Future and Working Through What Hurts / Hanif Abdurraqib --The Universe Would Be So Cruel / Souvankham Thammavongsa --A Love Story / Samantha Hunt

    In an assembly of masterful lyrics and monologues, he conjures a series of fables and charms that serve both to expose us to the unsettling forces within the world and simultaneously offer some protection against them. Whether outwardly elemental in their address, or more personal in their direction, these poems - to the rain and the sea, to his young sons or beloved friends - never shy from their inquiry into truth and lie, embracing everything in scope from the rangy narrative to the tiny renku. Rain, which includes the winner of this year's Forward Prize for the Best Individual Poem and an extended elegy for the poet Michael Donaghy, is Don Paterson's most intimate and manifest collection to date.

    With Radial Symmetry, she has created a transcendent body of poems that flourish in the liminal spaces that separate scientific inquiry from empathic knowledge, astute observation from sublime witness. Larson's inventive lyrics lead the reader through vertiginous landscapes—geographical, phenomenological, psychological—while always remaining attendant to the speaker's own fragile, creaturely self. An experienced research scientist and field ecologist, Larson dazzles with these sensuous and sophisticated poems, grappling with the powers of poetic imagination as well as the frightful realization of the human capacity for ecological destruction. The result is a profoundly moving collection: eloquent in its lament and celebration.Metamorphosis [excerpt]We dredge the stream with soup strainers and separate dragonfly and damselfly nymphs- their eyes like inky bulbs, jaws snapping at the light as if the world was full of tiny traps, each hairpin mechanism tripped for transformation. Such a ricochet of appetites insisting life, life, life against the watery dark, the tuberous reeds.

    With his distinct voice and accessible language, America's two-term Poet Laureate has opened the door to poetry for countless people for whom it might otherwise remain closed.Like the present book's title, Collins's poems are filled with mischief, humor, and irony, "Poetry speaks to all people, it is said, but here I would like to address / only those in my own time zone"-but also with quiet observation, intense wonder, and a reverence for the everyday: "The birds are in their trees, / the toast is in the toaster, / and the poets are at their windows. / They are at their windows in every section of the tangerine of earth-the Chinese poets looking up at the moon, / the American poets gazing out / at the pink and blue ribbons of sunrise."Through simple language, Collins shows that good poetry doesn't have to be obscure or incomprehensible, qualities that are perhaps the real trouble with most "serious" poetry: "By now, it should go without saying / that what the oven is to the baker / and the berry-stained blouse to the drycleaner / so the window is to the poet."In this dazzling new collection, his first in three years, Collins explores boyhood, jazz, love, the passage of time, and, of course, writing-themes familiar to Collins's fans but made new here. Gorgeous, funny, and deeply empathetic, Billy Collins's poetry is a window through which we see our lives as if for the first time.

    It is a voice thick with the humidity and whirring cicadas of Kentucky, but the poems are dangerous, smelling of the crisp cucumber scent of a copperhead about to strike. Epistolary in nature, and with a novel's arc, Sister is a story that begins with a teen giving birth to a baby girl--the narrator--during a tornado, and in some ways, that tornado never ends. In the hands of a lesser poet, this debut collection would be a standard-issue confession, a melodramatic exercise in anger and self-pity. But melodrama requires simple villains and victims, and there is neither in this richly complex portrait. Ultimately, Sister is more about the narrator's transgressions and failures, more about her relationships to her sister and their mother than about that which divided them. With equal parts sass and sorrow, these poems etch out survival won not with tender-hearted reflections but by smoking cigarettes through fly-specked screens, by using cans of aerosol hair spray as a makeshift flamethrowers, and, most cruelly, by leaving home and trying to forget her sister entirely. From there, each poem is a letter of explanation and apology to that younger sister she never knew.Sister recounts a return to a place that Brown never truly left. It is a book of forgiveness, of seeking what is beyond mere survival, of finding your way out of a place of poverty and abuse only to realize that you must go back again, all the way back to where everything began--that warm, dark nest of mother.

    This striking new book continues Adnan’s meditative observation and inquiry into the experiences of her remarkable life.

    In this virtuosic array of poems, lists, shards, and sequences, Sharif assembles her family’s and her own fragmented narratives in the aftermath of warfare. Those repercussions echo into the present day, in the grief for those killed, in America’s invasions of Afghanistan and Iraq, and in the discriminations endured at the checkpoints of daily encounter.At the same time, these poems point to the ways violence is conducted against our language. Throughout this collection are words and phrases lifted from the Department of Defense Dictionary of Military and Associated Terms; in their seamless inclusion, Sharif exposes the devastating euphemisms deployed to sterilize the language, control its effects, and sway our collective resolve. But Sharif refuses to accept this terminology as given, and instead turns it back on its perpetrators. “Let it matter what we call a thing,” she writes. “Let me look at you.”

    Broken bowls, belligerent cows, swanky aubergines, trembling moonrises and horrifying sunsets, the physical world depicted in these stories is unsettling yet intimately familiar and soon takes on a life of its own. Captivated by the stellar charms of seclusion but restless with desire, the woman’s relationship with her surroundings becomes boundless and increasingly bewildering. Claire-Louise Bennett’s startlingly original first collection slips effortlessly between worlds and is by turns darkly funny and deeply moving.

    But his resilient voice and consistent perspective is neither blaming nor didactic, and ultimately enlightening. From the shadowed corners into which we dare not look clearly, Hicok makes us witness and hero of The Legend of Light.

    Alone in his apartment, he reads stories aloud to the point he has them memorized. Sometimes he fantasizes that he wrote them. Sometimes, when they’re his very favorite stories, he’ll fantasize about reading them in front of an audience and taking credit for them. The audience in these fantasies always loves him and gives him the respect he deserves.David Sedaris didn’t write the stories in Children Playing Before a Statue of Hercules . But he did read them. And he liked them enough to hand pick them for this collection of short fiction. Featuring such notable writers as Lorrie Moore, Alice Munro, Joyce Carol Oates, Jean Thompson, and Tobias Wolff, Children Playing Before a Statue of Hercules includes some of the most influential and talented short story writers, contemporary and classic.Perfect for fans who suffer from Sedaris fever, Children Playing Before a Statue of Hercules will tide them over and provide relief.2 hrs 56 mins

    Now a STARZ Original Series.Newly arrived in New York City, twenty-two-year-old Tess lands a job as a "backwaiter" at a celebrated downtown Manhattan restaurant. What follows is the story of her education: in champagne and cocaine, love and lust, dive bars and fine dining rooms, as she learns to navigate the chaotic, enchanting, punishing life she has chosen. As her appetites awaken—for food and wine, but also for knowledge, experience, and belonging—Tess finds herself helplessly drawn into a darkly alluring love triangle. In Sweetbitter, Stephanie Danler deftly conjures with heart-stopping accuracy the nonstop and high-adrenaline world of the restaurant industry and evokes the infinite possibilities, the unbearable beauty, and the fragility and brutality of being young in New York.

    They know there are whole worlds out there that have never been seen, some as distant as the Amazon rain forest, others as close as a neighbor’s house, the curtains left open. Laura van den Berg helps us discover these worlds, blending the mundane and routine with the strange and unexpected. The search won’t always end with the stories—these restless narrators will always be left with mysteries unsolved, questions unanswered and hidden aches not quite healed—but what they see along the way will be nothing short of marvelous.Order here.

    E. Cummings was, next to Robert Frost, the most widely read poet in America. Combining Thoreau's controlled belligerence with the brash abandon of an uninhibited bohemian, Cummings, together with Pound, Eliot, and William Carlos Williams, helped bring about the twentieth-century revolution in literary expression. He is recognized on the one hand as the author of some of the most beautiful lyric poems written in the English language, and on the other as one of the most inventive American poets of his time in the worlds of Richard Kostelanetz, "the major American poet of the middle-twentieth-century."