They fall in love and set out across the United States, pursued by a private investigator who eventually blackmails Carol into a choice between her daughter and her lover. With this reissue, The Price of Salt may finally be recognized as a major twentieth-century American novel.

    Threadgoode telling her life story to Evelyn, who is in the sad slump of middle age. The tale she tells is also of two women-of the irrepressibly daredevilish tomboy Idgie and her friend Ruth, who back in the thirties ran a little place in Whistle Stop, Alabama, a Southern kind of Cafe Wobegon offering good barbecue and good coffee and all kinds of love and laughter, even an occasional murder.

    It’s not something they say. It’s something about their hands, the shape of their mouths, the way they look walking away from you."A collection that will beg you to be dogeared, coffee-stained, & shared.”—Amanda Lovelace, author of the princess saves herself in this oneHoneybee is an honest take on walking away and still feeling like you were walked away from. It’s about cutting love loose like a kite string and praying the wind has the decency to carry it away from you. It’s an ode to the back and forth, the process of letting something go but not knowing where to put it down. Honeybee is putting it down. It’s small town girls and plane tickets, a taste of tenderness and honey, the bandage on the bee sting. It’s a reminder that you are not defined by the people you walk away from or the people who walk away from you."A spine tingling, heart wrenching, goosebumps-across-your-skin experience."—Nikita Gill, author of Fierce FairytalesPerfect for fans of Caroline Kaufman, Atticus, Clementine von Radics, Nina LaCour, Adam Silvera, and Becky Albertalli; or anyone interested in bisexuality, heartbreak, running away from your problems, and coming out.Look for Trista Mateer's other book of poetry, Aphrodite Made Me Do It and her contribution to [Dis]Connected Volume 1: Poems & Stories of Connection and Otherwise.

    Based on the myth of the blind prophet Tiresias, Hold Your Own is a riveting tale of youth and experience, sex and love, wealth and poverty, community and alienation. Walking in the forest one morning, a young man disturbs two copulating snakes - and is punished by the goddess Hera, who turns him into a woman. This is only the beginning of his journey . . . Weaving elements of classical myth, autobiography and social commentary, Tempest uses the story of the gender-switching, clairvoyant Tiresias to create four sequences of poems: 'childhood', 'manhood', 'womanhood' and 'blind profit'. The result is a rhythmically hypnotic tour de force - and a hugely ambitious leap forward for one of the UK's most talented and compelling young writers.

    You haven't even learned it:ecstasy and suffering make the same face.--from "The Offering"May Day is both a distress call and a celebration of the arrival of spring. In this rich and unusually assured first collection, the poet Gretchen Marquette writes of the losses of a brother gone off to war in Afghanistan and Iraq, and a great love--losses that have left the world charged with absence and grief. But there is also the wonder of the natural world: the deer at the edge of the forest, the dog reliably coaxing the poet beyond herself and into the city park where by tradition every May Day is pageantry, a festival of surviving the long winter. "What does it mean to be in love?" one poem asks. "As it turns out, / the second best thing that can happen to you / is a broken heart."May Day introduces readers to a new poet of depth and power.

    An honest and moving story of youth and friendship, Smith brings the same unique, lyrical quality to Just Kids as she has to the rest of her formidable body of work--from her influential 1975 album Horses to her visual art and poetry.

    Those who turn to poetry to become confidants for another's stories and secrets will not be disappointed.”—Publishers Weekly“In her fifth book of poetry, Bass addresses everything from Saturn’s rings and Newton’s law of gravitation to wasps and Pablo Neruda. Her words are nostalgic, vivid, and visceral. Bass arrives at the truth of human carnality rooted in the extraordinary need and promise of the individual. Bass shows us that we are as radiant as we are ephemeral, that in transience glistens resilient history and the remarkable fluidity of connection. By the collection’s end—following her musings on suicide and generosity, desire and repetition—it becomes lucidly clear that Bass is not only a poet but also a philosopher and a storyteller.”—BooklistEllen Bass brings a deft touch as she continues her ongoing interrogations of crucial moral issues of our times, while simultaneously delighting in endearing human absurdities. From the start of Like a Beggar, Bass asks her readers to relax, even though "bad things are going to happen," because the "bad" gets mined for all manner of goodness.From "Another Story":After dinner, we're drinking scotch at the kitchen table.Janet and I just watched a NOVA specialand we're explaining to her motherthe age and size of the universe—the hundred billion stars in the hundred billion galaxies.Dotty lives at Dominican Oaks, making her way down the long hall.How about the sun? she asks, a little farmshit in the endlessness.I gather up a cantaloupe, a lime, a cherry,and start revolving this salad around the chicken carcass.This is the best scotch I ever tasted, Dotty says,even though we gave her the Maker's Markwhile we're drinking Glendronach...Ellen Bass's poetry includes  Like A Beggar (Copper Canyon Press, 2014), The Human Line  (Copper Canyon Press, 2007), which was named a Notable Book by the San Francisco Chronicle, and Mules of Love (BOA, 2002), which won the Lambda Literary Award.  She co-edited (with Florence Howe) the groundbreaking No More Masks! An Anthology of Poems by Women (Doubleday, 1973). Her work has frequently been published in The New Yorker, American Poetry Review, The New Republic, The Sun  and many other journals. She is co-author of several non-fiction books, including The Courage to Heal: A Guide for Women Survivors of Child Sexual Abuse (HarperCollins, 1988, 2008) which has sold over a million copies and been translated into twelve languages. She is part of the core faculty of the MFA writing program at Pacific University.

    He attended Harvard University where he published his first poems in magazines such as Harvard's Wake and Cid Corman's Origin. During the 1950s, after dropping out of Harvard, he taught at Black Mountain College in North Carolina and was an editor of its innovative literary journal, the Black Mountain Review. He received his B.A. from Black Mountain College in 1955. Robert Creeley was one of the originators of the "Black Mountain" school of poetry, along with Charles Olsen, Robert Duncan, and Denise Levertov. In 1962, he received his first widespread recognition with For Love: Poems 1950-1960 and he went on to teach at several universities across the country. In 1978 he was named David Gray Professor of Poetry and Letters at the State University of New York, and presently he is their Samuel P. Capen Professor of Poetry and the Humanities. Creeley has received many awards for his work including the Levinson prize, two Guggenheim fellowships, the Shelley Memorial Award and the Robert Frost Medal, both from the Poetry Society of America, and The American Awards for Echoes. He was elected to the American Academy and Institute of Arts and Letters in 1987 and received a Distinguished Fulbright Fellowship to serve as the Bicentennial chair in American Studies at the University of Helsinki, Finland, for 1988-89, and another Fulbright for the University of Auckland, New Zealand, in 1995. He served as New York State Poet from 1989-1991. In 1995 he was a winner of the Lila Wallace-Reader's Digest Writers' Award. His most recent poetry books are Memory Gardens (1986), Windows (1990), Echoes (1994), So There: Poems 1976-83 (1998), and Life & Death (1998), all published by New Directions.

    Whatever the occasion--and her work offers a rich profusion of them--the poems reach to where possession is not within us, where new names are needed and meaning enlarged. Hence, what she sees reminds her of what is missing, and what she knows suggests what she cannot. From any event, she arcs bravely into the farthest reaches of mind. Fast readers will have trouble, but so what. To the good reader afraid of complexity, I would offer the clear trust that must bond us to such signal poems as (simply to cite three appearing in a row) Mother's Sewing Box, For My Father Looking for My Uncle, and The Chicory Comes Out Late August in Umbria. Finally, the poet's words again: . . . you get / just what you want and (just before that), Just as / from time to time / we need to seize again / the whole language / in search of / better desires.--Marvin Bell

    That time is the period between the two World Wars, and Barnes' novel unfolds in the decadent shadows of Europe's great cities, Paris, Berlin, and Vienna—a world in which the boundaries of class, religion, and sexuality are bold but surprisingly porous. The outsized characters who inhabit this world are some of the most memorable in all of fiction—there is Guido Volkbein, the Wandering Jew and son of a self-proclaimed baron; Robin Vote, the American expatriate who marries him and then engages in a series of affairs, first with Nora Flood and then with Jenny Petherbridge, driving all of her lovers to distraction with her passion for wandering alone in the night; and there is Dr. Matthew-Mighty-Grain-of-Salt-Dante-O'Connor, a transvestite and ostensible gynecologist, whose digressive speeches brim with fury, keen insights, and surprising allusions. Barnes' depiction of these characters and their relationships (Nora says, "A man is another person—a woman is yourself, caught as you turn in panic; on her mouth you kiss your own") has made the novel a landmark of feminist and lesbian literature. Most striking of all is Barnes' unparalleled stylistic innovation, which led T. S. Eliot to proclaim the book "so good a novel that only sensibilities trained on poetry can wholly appreciate it." Now with a new preface by Jeanette Winterson, Nightwood still crackles with the same electric charge it had on its first publication in 1936.

    "Structures of Rime" affirms his belief in the universal integrity of the poem itself in the living process of language. Thus in "The Structure of Rime I" he declares: "O Lasting Sentence, / sentence after sentence I make in your image. In the feet that measure the dance of my pages I hear cosmic intoxications of the man I will be."

    When she finds out her girlfriend has lied to her, the world she thought she'd carefully built for herself begins to unravel, and Maria sets out on a journey that will most certainly change her forever.

    None of these he allows to overwhelm his spirit or his poems, which demonstrate, through breath and cadence and unrepentant enthrallment, that a gentle palm on a chest can calm the fiercest hungers.

    There is a new clarity to her work, a disquieting transparency, even in the midst of the wild thickets of language for which she is known. A poet “at the border of her own allegory,” Brock-Broido searches for a lexicon adequate to the extremities of experience–a quest that is as capricious as it is uncompromising. In the process, she reveals, unsparingly, things as they are. In “Pamphlet on Ravening” she recalls, “I was a hunger artist once, as well. / My bones had shone. / I had had rapture on my side.” The book is laced with sequences: haunted, odd self-portraits; a succession of poems provoked by discarded titles by Wallace Stevens; an intermittent series of fractured and beguiling lyrics that she variously refers to as fragments, leaflets, and apologues.Trouble in Mind is a book that astonishes us afresh at the agility and the uncanny will of language, which Brock-Broido is not afraid to follow where it may lead her: “That the name of bliss is only in the diminishing / (As far as possible) of pain. That I had quit / The quiet velvet cult of it, / Yet trouble came.” Even trouble, in Brock-Broido’s idiom, becomes something resplendent.From the Hardcover edition.

    Rooted in an honest, harrowing, but ally ecstatic confrontation of the mother / daughter relationship in all its complexity and intimacy, it is at the same time an affirmation of continuity and identification."The Chuppah" comprises poems actually used in her wedding ceremony with Ira Wood. This section sings with powerfully female love poetry. There is also a sustained and direct use of her Jewish identity and faith in these poems, as there is in a number of other poems throughout the volume.Readers of Piercy's previous collections will not be surprised to encounter her mixture of the personal and the political, her love of animals and the Cape landscape. There are poems about doing housework, about accidents, about dreaming, about bag ladies, about luggage, about children's fears of nuclear holocaust; about tomcats, insects in the rafters, the influence of a name, appleblossoms and blackberries, pollution, and some of the ways women objectify one another. In "Does the light fail us, or do we fail the light?" Piercy writes with lacerating honesty about our relationships with the elderly and about hers with her father.Some of the most moving poems are domestic, as in the final sequence, "Six underrated pleasures," which finds in daily women's tasks both pleasure and mystery, affirmation of serf and connection with the mother.In all, My Mother's Body is one of Piercy's most powerful and balanced collections.