We find her awake in the middle of the night, contemplating love and heartbreak in all their exhilarating and anguished specifics. With astonishing openness, in language both passionate and enchanting, she offers us an intimate map of a troubled and far-flung heart: “Can you believe I thought that?” she asks, “That we would always go/roaming brave and dangerous/on wild unlit roads?”At once witty and tender, with Dorothy Parker–like turns of the knife and memorable partings from lovers in New York, London, Rome and beyond, these poems capture a restless movement through loves and locales, and charm us at every turn with their forthrightness.From the Hardcover edition.

    Rather, she distilled her grief during a feverish two weeks by writing scores of poetic obituaries for all she lost in the world. In Obit, Chang writes of "the way memory gets up after someone has died and starts walking." These poems reinvent the form of newspaper obituary to both name what has died ("civility," "language," "the future," "Mother's blue dress") and the cultural impact of death on the living. Whereas elegy attempts to immortalize the dead, an obituary expresses loss, and the love for the dead becomes a conduit for self-expression. In this unflinching and lyrical book, Chang meets her grief and creates a powerful testament for the living.

    This new book takes place in Lockdown Three. This time Key can make Government-sanctioned expeditions out onto the streets of London (remember?). And it is there that the inaction takes place. Phone calls to his mother, promenades with his loyal friend, bubble-negotiations, sitting his fat arse down on benches, drinking mocha. Another three months of mind-freezing inertia. This time on the move. Conversations interspersed with poetry.

    Winner of the Pulitzer Prize, Justice has been hailed by his contemporary Anthony Hecht as “the supreme heir of Wallace Stevens.” In poems that embrace the past, its terrors and reconciliations, Justice has become our poet of living memory. The classic American melancholy in his titles calls forth the tenor of our collective passages: “Bus Stop,” “Men at Forty,” “Dance Lessons of the Thirties,” “The Small White Churches of the Small White Towns.” This master of classical form has found in the American scene, and in the American tongue, all those virtues of our literature and landscape sought by Emerson and Henry James. For half a century he has endeavored, with painterly vividness and plainspoken elegance, to make those local views part of the literary heritage from which he has so often taken solace, and inspiration.School Letting Out(Fourth or Fifth Grade)The afternoons of going home from schoolPast the young fruit trees and the winter flowers.The schoolyard cries fading behind you then,And small boys running to catch up, as thoughIt were an honor somehow to be near—All is forgiven now, even the dogs,Who, straining at their tethers, used to bark,Not from anger but some secret joy.From the Hardcover edition.

    The dual-language text (English and French) works to heighten the narrator's shifting perceptions, symbol by symbol, vision by vision.Winner of the USA Best Book Award in Poetry, the Pinnacle Book Award for Best Bilingual Poetry Book, and the Reader's Favorite Book Award in Poetry. International Book Awards and Julie Suk Award in Poetry Finalist.

    

    Awake chronicles Laux's coming to terms with a childhood darkened by violence and sexual abuse--a struggle at once to embrace and to forgive the past.

    One of the more remarkable books of poetry to appear in a long time, Lisa Robertson's DEBBIE: AN EPIC was a finalist for the 1998 Governor General's Award for Poetry. As arresting as the cover image, Robertson's strong, confident voice echoes a wide range of influences from Virgil to Edith Sitwell, yet remains unique and utterly unmistakable for that of any other writer. Brainy, witty, sensual, demonstrating a commanding grasp of language and rhetoric, DEBBIE: AN EPIC is nevertheless inviting and easy to read, even fun. Its eponymous heroine will annihilate your preconceptions about poetry - and about the name "Debbie

    Predator, the debut collection by Michael Robbins, became one of the hottest and most celebrated works of poetry in the country, winning acclaim for its startling freshness and originality, and leading critics to say that it was the most likely book in years to open up poetry to a new readership.   Robbins’s poems are strange, wonderful, wild, and irrationally exuberant, mashing up high and low culture with “a sky-blue originality of utterance” (The New York Times). The thirty-six new poems in The Second Sex carry over the music, attitude, hilarity, and vulgarity of Alien vs. Predator, while also working deeper autobiographical and political veins.

    In this sequence of memoir-esque poems, Sierra DeMulder pulls at the threads of a past abusive relationship and the long road to forgiveness. The poems themselves become an act of recovery and reclamation, wherein the poet finds again the voice which was taken from her. These are hard poems, made up of clarity and healing, which attempt to share some of their peace with the world.

    In this book, she has written a few poems, where she has described herself in some complex and in simple words. Most of the poems are about her black and white memories and few are on generic topics. In this book, the reader will see her describing a relationship between mother nature and human nature in a poetic way.

    "[Thomas Lynch's] poems . . . are as stark and graceful as geese lifting off backwater. The poems trace from the rural midwest to London and County Clare, a quiet elegy of loss and testament. But then Lynch is by trade a mortician, and by craft a bard."—Amazon.com "[Lynch] evinces a steady wisdom drawn from years of passionate attention to daily experience."—Seattle Weekly

    The poems range from close examination of the deeply personal to the vastness of the world, exploring the expansiveness of the human experience from love to illness, from space to climate change, and so much more in between. One of the most celebrated poets and performers of the last two decades, Andrea Gibson's trademark honesty and vulnerability are on full display in You Better Be Lightning, welcoming and inviting readers to be just as they are.

    Poulin, Jr., Poetry Prize. In his foreword he writes, "I was immediately struck by the boldness of imagination, the strange cadences, and wild music of these poems. We should be glad that young poets like Keetje Kuipers are making their voices heard not by tearing up the old language but by making the old language new."Keetje Kuipers, a native of the Northwest, earned her BA at Swarthmore College and MFA at the University of Oregon. A Stegner Fellow at Stanford University, she divides her time between Stanford and Missoula, Montana.From Devils Lake Journal:“Keetje Kuipers’ Beautiful in the Mouth is at once lovely, frank, and haunting. The poems move easily between landscapes, inhabiting the American west, Paris, and New York City with equal ease and yet, they never exploit sympathies of locale for their power. Instead, they rely on nothing but the speaker’s own candor, who is able to speak through such disparate poems as “Bondage Play as Substitue for Prayer” alongside “Waltz of the Midnight Miscarriage,” “Reading Sappho in a Wine Bar,” and “Barn Elegy” with a good spattering of honest-to-goodness sonnets.”From ForeWord Reviews:“The poems move like ghosts themselves: disappearing into walls, circling back, appearing for a moment to be captured, then evaporating into thin air. Kuipers pins moments onto the page with the care of an etymologist collecting rare specimens. Her poems are at once visceral and cosmic, “a wave as well as a particle.””

    You never mourned loudly, in the streets. You never stopped (couldn’t stop) to wonder if drowning parts ofyourself was a mistake. You never kissed them goodbye.Why didn’t you kiss them goodbye?Was it too hard?Were you ashamed?Of them, or of you?Don’t tell me to be quiet.You need to hear this. Christina Hart, bestselling author of Empty Hotel Rooms Meant for Us, Letting Go Is an Acquired Taste, and There Is Beauty In the Bleeding releases her new poetry chapbook, written in second person POV, which focuses on love, loss, and hope.