African American Studies. TWERK unveils an identity shaped by popular media and history, code switching and cultural inclusivity. The poems, songs, and myths in this long-awaited first book are as rooted in lyric as in innovation, in Black music as in macaronic satire. TWERK evokes paradox, humor, and vulnerability, and it offers myriad avenues fueled by language, idiom, and vernacular. From a poet unafraid to take risks, this book asks only that we imagine America as it has always existed, an Americana beyond the English language."Here it is: a dope jam of dictions; a remixed, multicultural, polyphonic dance of vocabularies; a language of high stakes, hi-jinx, and hybridity. TWERK is subversive, vulnerable, and volatile. TwERK twists tongues. TwERK tweaks speech. Reading these amazing poems mostly makes me say, Wow! Open your ears to take this music in, open your mouth to say it out loud. And: Wow!"--Terrance Hayes"Tweaking parallel languages, rebooting and putting them to (hard, hard) work, TWERK's non-stop shimmy-shimmy embarks on an anime-iigjag idio-lingual-lectical booty-roll and doesn't come down until the break of dawn. La Reina de Harlem responds to Lorca's Big-Apple-opolis heteroglossia with her own inimitable animations, incantations and ululations, twisting tongues so mellifluously that you don't even realize you've been dancing on Saturn with Sun Ra for hours and still could have begged for more. Welcome LaTasha Diggs: this is her many-splendored night out!"--Maria Damon"From this time forward, TWERK, can refer to a collection of cultural coordinates of a radically transformed Americas. TWERK--is rare poetics, a vine enmeshed onyx slab of gypsum glyphs inscribed. Cut, swirly, and nervy, N. Diggs's fractal-linguistic urban chronicles deftly snip away at the lingering fears of a fugitive English's frisky explorations. In her first major work, N. Diggs doesn't so much 'find' culture as she conjures up the new emerging happy peoples herein. Five thousand updates--download now!"--Rodrigo Toscano

    I make no prayer. Save us the green In the weed of time.Now is November; In night uneasy Nothing I say. I make no prayer. Save us from the water That washes us away.What do I ponder? All smiled disguise, Lights in cold places, I make no prayer. Save us from air That wears us loosely.The leaf of summer To cold has come In little time. I make no prayer. From earth deliver And the dark therein.Now is no whisper Through all the living. I speak to nothing. I make no prayer. Save us from fire Consuming up and down.Evening with Lee Shore and CliffsSea-shimmer, faint haze, and far out a bird Dipping for flies or fish. Then, when over That wide silk suddenly the shadow Spread skating, who turned with a shiver High in the rocks? And knew, then only, the waves' Layering patience: how they would follow after, After, dogged as sleep, to his inland Dreams, oh beyond the one lamb that cried In the olives, past the pines' derision. And heard Behind him not the sea's gaiety but its laughter.The FishermenWhen you think how big their feet are in black rubber And it slippery underfoot always, it is clever How they thread and manage among the sprawled nets, lines, Hooks, spidery cages with small entrances. But they are used to it. We do not know their names. They know our needs, and live by them, lending them wiles And beguilements we could never have fashioned for them; They carry the ends of our hungers out to drop them To wait swaying in a dark place we could never have chosen. By motions we have never learned they feed us. We lay wreaths on the sea when it has drowned them.

    Her arresting, edgy poems about aging and grief are surprising and invigorating: a defiant balm. At the same time, she revels in the quirkiness and whimsy of the natural world: the vision of a fly, the naming of an eggplant, and a woman who — not unhappily — finds that cockroaches are drawn to her.“God draws a life. And then begins to rub it out / with the eraser on his pencil.” Lorna Crozier draws a world in What the Soul Doesn’t Want, and then beckons us in. Crozier’s signature wit and striking imagery are on display as she stretches her wings and reminds us that we haven’t yet seen all that she can do.

    The boy asks for help because he thinks his older sister may be some kind of vigilante. Belinda, eighteen and way too sexy for her own good, has been missing for five months. The police are convinced that she’s just another runaway. Her bullheaded stepdad agrees.But the younger brother found Belinda’s secret stash of chatroom texts. They suggest she’s on a misguided mission to entrap and kill a sexual predator. If so, she’s in over her head and on a collision course with a first-degree murder indictment.Goodlove promises Belinda’s family that he’ll help her.But first, he has to find her.Missing Evidence may be enjoyed as a standalone book or as part of the Goodlove and Shek series.

    Over 800 pages of big love in a small town for readers who love hunky Southern men and the women who make them want to settle down. Big Love in a Small Town features the following three novels: Down A Country Road The very last thing on Grier McAllister’s Someday List is going back to Timbell Creek, Virginia, the town where she grew up. Timbell Creek holds too many bad memories for her, memories finally put to rest with a successful image consultant business in New York City and a hefty therapy bill. When an opportunity to choose a “Jane Austen Girl” for a visiting duke falls in her lap, the only catch that she must be from Grier’s hometown, Grier tells herself she’ll do what she needs to do and then leave it all behind for good. But Grier doesn’t count on finding that her mother is no longer the person she used to be. She certainly doesn’t plan on falling for an old boyfriend’s really hot brother! And it isn’t long before she begins to realize Timbell Creek is not only a part of who she was, but might be a part of who she is as well. Good Guys Love Dogs Desperate father Ian McKinley moves his delinquent teenage son to the small Virginia town of Keeling Creek, a place very unlike the New York City life he has been leading. Love takes him by surprise when he falls for Colby Williams, a woman unlike anyone he has ever been drawn to, a small town vet with a heart for animals and a fierce love for a teenage daughter she is also struggling to raise. But Colby has a secret in her past, a secret she's not sure her daughter will ever forgive her for. And as for Ian McKinley, he seems too good to be true. If she had learned anything from the one time she had thrown her heart fully into love, it was that it didn't last. Truths and Roses When Will Kincaid’s professional football career comes to an abrupt end in a single night, he’s left to figure out what he’s going to do with the rest of his life. He heads home to the small Virginia town where he grew up and crosses paths with Hannah Jacobs, the only girl in high school who had ever rejected him. It’s Hannah who once made him question the choices he had made, and it’s Hannah who’s making him question them all over again. But with the weight of a secret he’s managed to hide from the world his entire adult life hanging over him, he can’t afford to question his choices. Hannah Jacobs had once made the choice to deny her feelings for Will Kincaid, at the time finding it the only possible option for a young girl intent on burying a nightmare she only wanted to forget. The life she’s made for herself as a librarian in Lake Perdue is a quiet one, and she’s hardly prepared for the day when Will rams his fancy Ferrari into her dependable old clunker. But for Hannah, Will Kincaid can only stir up memories she had long ago put away forever. And there’s nothing at all good that can come from bringing them back to life again.

    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.

     When Emily Dorne is kidnapped off the street, she has no idea what kind of dangers await her—or what long forgotten feelings will be stirred up by the man who buys her. Her crush from high school is no longer a starry-eyed boy; he’s a powerful and sexy sheikh, and he’s ready to make Emily his. The last person Sheikh Adnan al Mahsi expected to see during his sting operation was an old flame. Now that he has her in his sights again, he wants to explore the sizzling heat between them. But will Emily let him, or will she run? Note: Story contains steamy scenes of passion and romance between an alpha Sheikh and a passionate young woman.

    It was the moment I watched Daddy die. Everything began to unravel then.’ When their father dies of a sudden heart attack, sisters Rebecca and Sarah Connaghan set aside their differences and return to the family home in Glasgow. Then Rebecca finds letters between her father and the mother she barely remembers that cast doubt on everything she’s been told about her family. Reeling from confusion and grief, she sets off alone for the remote Highlands village that may hold the key to the past. Above all, she is determined to prove the innocence of her father – the beloved, silent man she once thought she knew, now accused of a terrible crime.

    Drawing from his eleven collections and including twenty-three previously unpublished poems, Search Party is the essential compilation of this beloved poet's work. Edited by his son, Sebastian Matthews, and William Matthews's friend and fellow poet Stanley Plumly (who also introduces the book), Search Party is an excellent introduction to the poet and his glistening riffs on twentieth-century topics from basketball to food to jazz.

    Each aria is shaped by its unique harmonics and moral logic, as Olds stands center stage to sing of sexual pleasure and chance wisdom, and faces the tragic life of our nation and our planet. "I cannot say I did not ask / to be born," begins one aria, which considers how, with what actions, with what thirst, we each ask for a turn, and receive our portion on earth. Olds delivers these pieces with all the passion, anguish, and solo force that make a great performance, in the process enlarging the soul of her reader.

    The book draws upon the wisdom of foolishness and the logic of glee, while simultaneously exploring the suffering inherent to embodied consciousness. Speakers play out moments of bravado and fear, love and mortality, disappointment and desire. They socialize incorrigibly with lakes, lovers, fire, and readers, reasoning their way to unreasonable conclusions. These poems try to understand how it is that we come to recognize and differentiate objects and beings, how wholly each is attached to its name, and which space reveals them. What Is Amazing delights in fully inhabiting its varied forms and voices, singing worlds that often coincide with our own.

    . . A violently skewed portrait of the female poet and her Muse, a hyped-up version of Stevens and his interior paramour, locked in a soliloquy 'in which being there together is enough' . . . Something in Brock-Broido likes stealth, toxicity, wildness, neon--'perfect mean lines' . . . The poems lead off the page." --Helen Vendler, The New Yorker"These poems are out of Stevens in the abundance, glitter, and seductiveness of their language, out of Browning in the authority of their inhabiting, and out of Plath in the ferocity and passion of their holding on--to feeling, to life, and to us . . . An astonishing first book." --Cynthia Macdonald"Brock-Broido's brilliant nervosity and taste for the fantastic impel her to explore the obscure corners of the psyche and the fringes of ordinary human experience . . . The poems in A Hunger are original, strange, often unsettling, and mostly beautiful." --Stanley Kunitz

    Provides glimpses into the origins of Charles Simic's poetry

    

    Guest editor Robert Hass, a former Poet Laureate and a central figure in the poetry world, brings his passionate intelligence to "The Best American Poetry 2001." In his engaging introduction, Hass writes that after sifting through dozens of literary magazines, he "found that there were large numbers of poems that gave me pleasure, seemed to have inventive force, or intellectual passion or surprise." The works he selected are diverse in every way with only their excellence in common. With comments from the poets illuminating their work, and series editor David Lehman's always entertaining foreword assessing the current state of the art, "The Best American Poetry 2001" presents the richness and originality of this exciting moment in the history of American poetry.