White's The Salt Ecstasies—originally published in 1982, shortly after White's untimely death—has earned a reputation for its artful and explicit expression of love and desire. In this new edition, with an introduction by Mark Doty and previously unpublished works by White, his invaluable poetry is again available—clear, passionate, and hard-earned.The Salt Ecstasies is a new book in the Graywolf Poetry Re/View Series, edited by Doty, dedicated to bringing essential books of contemporary American poetry back into print.

    The result easily demonstrated, then as now, the massive achievement of the writer whom Carolyn Kizer called "one of the most passionate, energetic, and honest poets living."

    What he witnessed there, with 10,000 participants, is shocking.In Blue Front, Collins describes the brutal lynching of a black man and, as an afterthought, a white man, both of them left to the mercilessness of the spectators. The poems patch together an arresting array of evidence—newspaper articles, census data, legal history, postcards, photographs, and Collins's speculationsabout her father's own experience. The resulting work, part lyric and part narrative, is a bold investigation into hate, mob mentality, culpability, and what it means to be white in a country still haunted by its violently racist history.

    A comprehensive collection by one of the most intensely musical and visionary poets writing today.

    Old Europe still lives in Bosselaar's rich language: Entre chien et loup, as it's known in Flanders--the time at dusk when a wolf can be mistaken for a dog.Lyrical poetry that sings of farmers, families and nunneries in Belgium and Flanders.

    Lara Glenum was raised in the gothic South, studied at the University of Chicago and the University of Virgina, and now teaches at the University of Georgia. In this entirely unheimlich debut, she enters the stage of American poetry like a Fritz Lang glamor-girl-cum-anatomical-model. Glenum recovers the political intensity and daring of the Surrealist project. The extraordinary precision of these poems is so stunning, we can't help but feel blinded by their visions: sock-monkeys, dollhouses, and a circus made of meat vibrate between the playful and the brutal so deftly, each line is a perfect shard of some fantastic planet, gloriously and sadly like our own. As in Blake's apocalyptic images, the sky rolls itself up like a scroll--brilliant in its colors and infinite in its scope. Glorious!--D.A. Powell.

    But it is her excursions into wild image and passionate song that win the reader's heart. The heart is central in World's Tallest Disaster, which is essentially a book of love poems—love lost and found, love requited, love abandoned and betrayed. What Cate Marvin has done in her remarkably assured and powerful first collection is to remind us in fresh terms of the news that stays news: that our desire is "Not a sea of longing,// but the brack of wanting what's physical/ to help us forget we are physical.""Violently passionate and firmly symmetrical, like tango or the blues, these poems-at first-are about sexual passion. . . . But in the great tradition of love poetry, these poems don't stop with love. They move from eros to imagination. Or they thrash between the two. . . . This is an encouraging book in the context of American poetry's fashions or factions, because it evades categories. [Marvin's] is an urgent as well as an artful voice."—from the Foreword by Robert PinskyMarketing Plans o Author tour in Ohio, Kentucky, and NYC o Brochure and postcard mailings o Advertisements in key literary and trade magazinesBook tour dates including: o Cincinnati o Louisville o New York CityCate Marvin was born in Washington, D.C. She received her B.A. from Marlboro College in Vermont, and holds two M.F.A.s: one from the University of Houston in poetry, the other from the Iowa Writers' Workshop in fiction. She has been awarded scholarships to attend both Bread Loaf and Sewanee Writers' Conferences. Her poems have appeared in such magazines as New England Review, The Antioch Review, The Paris Review, The Georgia Review, and Ploughshares, among others. She is lives in Cincinnati, Ohio, and is currently a Ph.D. candidate in English at the university there.

    Guest editor Rita Dove, a distinguished figure in the poetry world and the second African-American poet ever to win the Pulitzer Prize, brings all of her dynamism and well-honed acumen to bear on this project. Dove used a simple yet exacting method to make her selections: "The final criterion," she writes in her introduction, "was Emily Dickinson's famed description -- if I felt that the top of my head had been taken off, the poem was in." The result is a marvelous collection of consistently high-quality poems diverse in form, tone, style, stance, and subject matter. With comments from the poets themselves illuminating their poems and a foreword by series editor David Lehman, The Best American Poetry 2000 is this year's must-have book for all poetry lovers.

    . . we learn that self-knowledge can be adequate to knowledge of the world, in all its violence and complexity."—Allen GrossmanTimothy Donnelly's long-awaited second collection is a tour de force, fully invested with an abiding faith in language to illuminate the advances of personal and political contingency.Timothy Donnelly's The Cloud Corporation won the 2011 Kingsley Tufts Award, and was a finalist for the 2011 William Carlos Williams Award. Twenty-seven Props for a Production of Eine Lebenszeit was published by Grove Press in 2003. He is poetry editor for Boston Review and teaches at Columbia University. He lives in Brooklyn with his wife and daughters.

    Whether the focus of the individual poems is musical, digital, or historical, the otherness implicit in being of more than one racial background guides Matejka's work to the inevitable conclusion that all things-no matter how disparate-are parts of the whole.

    . . . Berryman becomes Everyman attempting, falling shortof, and often achieving greatness." Young's selection, the first newselection of Berryman's poems in over 30 years, encompasses the formalaccomplishments of his early work, epitomized in the masterful Homage toMistress Bradstreet, the explosive and mesmerizing diction of Dream Songs,and his wrenching religious poems. Kevin Young's poetry and essays haveappeared in The New Yorker, The New York Times Book Review, Paris Review,and elsewhere, and have been featured on NPR's "All Things Considered."

    Bambrick began writing poems in order to document the forms of violence she witnessed towards the people and the environment of the Columbia River. While working there she found that reservoirs foster a uniquely complex community--from fish biologists to the owners of luxury summer homes--and became interested in the issues and tensions between the people of that place. The idea of power, literal and metaphorical, was present in every action and encounter with bosses and the people using the river. The presence of a young woman on the crew irritated her older, male co-workers who'd logged, built houses, and had to suffer various forms of class discrimination their entire lives. She found throughout this experience that their issues, while not the same, were inherently connected to the suffering of the lands they worked. Introduction by Sharon Olds.

    The poems are mercilessly recursive, placing pressure on the lyric as a mode of both the elegiac and the ecstatic. The result is an enforced silence, urgent with grief.

    Disappointing lovers surface in the bedroom; in the bathroom, "the drained tub ticks with mollusks & lobsters;" revenge fantasies and death lurk in the basement where they rightly belong. With lush imagery and au courant asides, Hothouse surprises and delights.Karyna McGlynn is the author of I Have to Go Back to 1994 and Kill a Girl and three chapbooks. She is currently a Visiting Assistant Professor of Creative Writing and Translation at Oberlin College.

    Animals populate its pages—owl, groundhog, fox, each with its own inimitable survival skills—and the poet who so meticulously observes their behaviors has accumulated a lifetime’s worth of skills herself: she too has survived. The power of these extraordinary poems lies in their recognition that all our experience is ultimately useless—that human beings are at every moment beginners, facing the earth as if for the first time. "Don’t you think I’m doing better," asks the first poem. "You got sick you got well you got sick," says the last.Eschewing punctuation, forgoing every symmetry, the poems hurl themselves forward, driven by an urgent need to speak. Headwaters is a book of wisdom that refuses to be wise, a book of fresh beginnings by an American poet writing at the height of her powers.