Winner of the 2003 Sawtooth Poetry Prize, judged by Joe Wenderoth, who comments, in his introduction: There are many ways to hear 'it takes off the top of my head.' For me, the most important way to hear it is: it makes me suddenly and oddly aware that I am alive--aware that I am simultaneously at the end and the beginning of my power, which is simply to be there and to say so. Foust's poems do this for me; I feel akin to the mute struggler that lurks all around these poems that eludes so many attempts at saying that and where and how he is. The struggle is, in my view, dignified -- never self-congratulatory, never self-pitying -- and it has produced sounds for us to come back to--sounds for us to set out from--Joe Wenderoth, from the introduction.

    “Lichtenberg figures” are fern-like electrical patterns that can appear on (and quickly fade from) the bodies of people struck by lightning. Throughout this playful and elegiac debut—with its flashes of autobiography, intellection, comedy, and critique—the vocabulary of academic theory collides with American slang and the idiom of the Old Testament meets the jargon of the Internet to display an eclectic sensibility. Ben Lerner, the youngest poet ever published by Copper Canyon Press, is co-founder of No: a journal of the arts. He earned an MFA from Brown University and is currently a Fulbright scholar in Spain.

    In these quasi-abstract, experimental lines, collaged words torn from their contexts take on new meanings. Waldrop, a longtime admirer of such artists as the French poet Raymond Queneau and the American painter Robert Motherwell, imposes a tonal override on purloined materials, yet the originals continue to show through. These powerful poems, at once metaphysical and personal, reconcile Waldrop's romantic tendencies with formal experimentation, uniting poetry and philosophy and revealing him as a transcendentalist for the new millennium.

    Eliot, Elizabeth Bishop, John Ashbery -- and Jorie Graham. The New Yorker places Ms. Graham in this distinguished line of poets, heralding the Pulitzer Prize winner as a profound voice in American poetry. Now, in her eighth collection, she further enhances her reputation with a book-length sequence of verse that is a stunning work of grandeur.The New Republic writes, "for 'swarm,' in other words...read 'be born again.' Graham is writing about a spiritual turning point, a new beginning.... Beauty -- that is, the pure sense-perception which has long been a concern for Graham -- is no longer the most important criterion. Now goodness is...[and] the idea of submission, of obedience, without understanding: one must 'yield' before 'hearing the reason' for yielding."

    Masterfully drawing on a variety of voices and characters, James Tate joyfully offers his first book since winning the Pulitzer Prize in 1992 for his "Selected Poems."

    Enjoy modern poetry, scanned pieces of typed words on scraps, and full color original artwork.Open your mind and let your heart go on an adventure.

    In this wise and intimate telling—which carries us through the seasons when her marriage was ending—Sharon Olds opens her heart to the reader, sharing the feeling of invisibility that comes when we are no longer standing in love’s sight; the surprising physical bond that still exists between a couple during parting; the loss of everything from her husband’s smile to the set of his hip. Olds is naked before us, curious and brave and even generous toward the man who was her mate for thirty years and who now loves another woman. As she writes in the remarkable “Stag’s Leap,” “When anyone escapes, my heart / leaps up.  Even when it’s I who am escaped from, / I am half on the side of the leaver.” Olds’s propulsive poetic line and the magic of her imagery are as lively as ever, and there is a new range to the music—sometimes headlong, sometimes contemplative and deep. Her unsparing approach to both pain and love makes this one of the finest, most powerful books of poetry Olds has yet given us.

    What did I know of our language but pieces? Would I teach her to be pieces? Until a friend comforted, Don’t worry, you and your daughter will learn together. Today she stood sunlight on her shoulders lean and straight to share a song in Diné, her father’s language. To sing she motions simultaneously with her hands; I watch her be in multiple musics.—from “WHEREAS Statements”WHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. “I am,” she writes, “a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation—and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live.” This strident, plaintive book introduces a major new voice in contemporary literature.

    Henry Awards, The Pushcart Prize, and The Best American Short Stories of 2000 (selected by E.L.Doctorow.) These are provocative, often shocking, tales of obsession, love, racism, addiction, betrayal, even murder, but told in such sensuous, richly-textured prose each story is rendered magical and timeless. A young girl obsessed with her tattooed, Yakuza uncle wit-nesses his horrific ending. A woman is condemned to death for loving a man outside her culture. Two cousins learn the terrible toll of drug addiction. A boy with amputated legs is introduced to love by an older woman. A girl of mixed-race heritage discovers her white father's racist background, and spends her life trying to 'run her genes off, like fat.' Two beautiful sisters, professional taxi-dancers, abandon their daughters, leaving them with no clues or codes on how to survive. A house of dysfunctional and wounded people are finally redeemed by the strength of love.The stories are set in islands across the Pacific where the author has lived and traveled extensively - Hawaii, Papua New Guinea, Nauru, Fiji, Vanuatu - parts of of the world only barely ex-plored in contemporary literature. Davenport offers her readers not just mesmerizing writing, but also brings them bulletins from an ancient, yet seemingly brave, new world. *****Of Davenport's writing, ALICE WALKER has said, "She ex-hibits the character great writers must have, passionate love of people, dedication to the memory of people who have suffered. You can't read Kiana Davenport without being transformed." ISABEL ALLENDE has said, "Reading Davenport is an over-whelming experience. Her prose is sharp and shining as a sword, yet her sense of poetry and love of nature permeate each line."A Sampling of Reviews of Stories in this Collection:"The story, HOUSE OF SKIN, transcends the very good and achieves the beautiful. It describes what is essentially a love story between the uncle, aunt and niece. After the tattooed uncle finally dies comes an ending as appropriate and mortifying as any I have ever read." - W.P. Osborn, Manoa, Journal of International Writing"THE LIPSTICK TREE had a magical effect on me. The pro-tagonist's dream of a better life, and her determination to go to the furthest extremes to achieve it, is heroic. The price of freedom is mitigated with grievous loss and bittersweet victory." - Thom Jones, author of Pugilist at Rest"DRAGON SEED is a spooky tale of addiction and self-destruction." - Jeff Yang, Reviewer, The Village Voice"The haunting, junkie ecstasy of Davenport's DRAGON SEEDis both abhorrent and beautiful." - Jessica Hagedorn, author of Dog Eaters"Hypnotic and amazing tales. Her writing is astonishing. Along the way, we learn about important and under-represented cultures. BONES OF THE INNER EAR still haunts me, and I believe some of these stories will stand as long as there is written language." - Tillie Olsen, author of Silences, Tell Me a Riddle *****

    Despite the fact that he is a non-native writer, Kaminksy's sense of rhythm and lyric surpasses that of most contemporary poets in the English language. This magical, musical book of poems draws readers into its unforgettable heart, and Carolyn Forche writes simply "I am in awe of his gifts."

    In this startling new edition of his work, Whitman biographer Gary Schmidgall presents over two hundred poems in their original pristine form, in the chronological order in which they were written, with Whitman's original line breaks and punctuation. Included in this volume are facsimilies of Whitman's original manuscripts, contemporary-- and generally blistering-- reviews of Whitman's poetry (not surprisingly Henry James hated it), and early pre-Leaves of Grass poems that return us to the physical Whitman, rejoicing-- sometimes graphically-- in homoerotic love.Unlike the many other available editions, all drawn from the final authorized or "deathbed" Leaves of Grass, this collection focuses on the exuberant poems Whitman wrote during the creative and sexual prime of his life, roughly between 1853 and 1860. These poems are faithfully presented as Whitman first gave them to the world-- fearless, explicit, and uncompromised-- before he transformed himself into America's respectable, mainstream Good Gray Poet through thirty years of revision, self-censorship, and suppression.Whitman admitted that his later poetry lacked the "ecstasy of statement" of his early verse. Revealing that ecstasy for the first time, this edition makes possible a major reappraisal of our nation's first great poet.

    The linked poems in Klink's third collection, Raptus, search through a failed relationship, struggling with the stakes of compassion, the violence of the outside world, and the wish to anchor both in something true.

    In poems that forge their own styles and strategies, we experience dialogues between the written word and other art forms. Within this dialogue we hear Ben Jonson, we meet police K-9s, and we find children negotiating a sense of the world through a father's eyes and through their own.

    The title of this book is taken from Henry Miller's "Into the Night Life" and expresses the way Lawrence Ferlinghetti felt about these poems when he wrote them during a short period in the 1950's—as if they were, taken together, a kind of Coney Island of the mind—a kind of circus of the soul.

    This is an anthem of survival and a look at what might come after. A view of what floats and what, ultimately, sustains.Build Yourself a Boat, an innovative debut by award-winning poet Camonghne Felix, interrogates generational trauma, the possibility of healing, and the messiness of survival.Build Yourself a Boat redefines the language of collective and individual trauma through lyric and memory.