Featuring over one hundred and twenty of Cleo’s original poems, mantras, and affirmations, including fan favorites and never before seen ones, this book is a daily pep talk to keep you feeling empowered and motivated. With relatable, practical, and digestible advice, including “Hearts break. That’s how the magic gets in,” and “Baby, you are the strongest flower that ever grew, remember that when the weather changes,” this is a portable, replenishing pause for your daily life. Keep Heart Talk by your bedside table or in your bag for an empowering boost of spiritual adrenaline that can help you discover and unlock what is blocking you from thriving emotionally and spiritually.

    In addition to including many more pieces, Tomlinson has organized the whole in chronological order.It isn't what he [the poet] says that counts as a work of art," Williams maintained, "it's what he makes, with such intensity of purpose that it lives with an intrinsic movement of its own to verify its authenticity.

    Chronicling the relationship between a lonely artist and her absent--albeit abusive--muse, Magic with Skin On will gently break you, then put you back together again.

    What the Living Do reflects "a new form of confessional poetry, one shared to some degree by other women poets such as Sharon Olds and Jane Kenyon. Unlike the earlier confessional poetry of Plath, Lowell, Sexton et al., Howe's writing is not so much a moan or a shriek as a song. It is a genuinely feminine form . . . a poetry of intimacy, witness, honesty, and relation" (Boston Globe).

    Poems written out of the experience of motherhood, inspired by the poet watching her own children trying to read the world like a book they've just opened, knowing nothing of the characters or plot.--

    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.”

    The poems’ subject is the natural world, but their images would never occur in nature. This book is serious and funny at the same time, like a big grave with a clown lying in it.

    It serves as a reminder to the reader that healing, transformation, and freedom are possible.

     in L.A. we got naked and swam in the ocean we ate cured meats and carrots & sat in the back of a red pickup truck like we were in a film where two old friends fight & wrestle their way into a hug heave-sobbing as the dust settles I want to be famous for being the first person who never feels bad againIn these short, captivating lyrics, Catherine Cohen, the one-woman stand-up chanteuse who electrified the downtown NYC comedy scene in her white go-go boots, and who has been posting poignant, unfiltered poems on social media since before Instagram was a thing, details her life on the prowl with her beaded bag; she ponders guys who call you dude after sex, true love during the pandemic, and English-major dreams. I wish I were smart instead of on my phone, Cat Cohen confides; heartbreak, / when it comes, and it will come / is always new. A Dorothy Parker for our time, a Starbucks philosophe with no primary-care doctor, she's a welcome new breed of everywoman--a larger-than-life best friend, who will say all the outrageous things we think but never say out loud ourselves.

    Ice Cream And Suicide is a personal look at the events that have scarred and inspired the author to begin poetry. The woman who Ray writes about has not one name, but many. The collection truly captures the dark side of love and is proof that words can kill just as bullets or hand grenades.

    Poems that range in style from starkly concrete to limber break down the barriers that prevent understanding of what it means to be racialized. Shraya paints the face of everyday racism with words, rendering it visible, tangible, and undeniable.

    He delves into his youth to analyze its repercussions.

    The daughter of a black mother and white father, a student of history and of the Deep South, she is inspired by everything from colonial paintings of mulattos and mestizos to the stories of people forgotten by history. Meditations on captivity, knowledge, and inheritance permeate Thrall, as she reflects on a series of small estrangements from her poet father and comes to an understanding of how, as father and daughter, they are part of the ongoing history of race in America.Thrall confirms not only that Natasha Trethewey is one of our most gifted and necessary poets but that she is also one of our most brilliant and fearless.

    A hello to the moon. A break from the idea that love can only be found in the daylight.______________________ we are ageneration ofalmost lovers,gazing with gleaming eyesat the moon,knowing she empathizeswith our same heartsalways missing each otherby nothing morethan those few minutesthat separate darkness from daylight.

    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.