From vantage points on both sides of the Atlantic, Chatti investigates the perpetual exile that comes from always being separated from some essential part of oneself.“Tunsiya is Arabic for Tunisian/female, and Amrikiya is Arabic for American/female. This naming makes a cross of empowerment even as it is it requires great effort to bear it. Muslim female power is real and undeniable in thesecoming of age poems. In this collection, arcs spark between Tunisian and American citizenship, male and female duality, sky and earth, and yes and no. This is one of the punchiest and powerful chapbooks to appear in recent years. Leila Chatti is someone to watch.” —JOY HARJO“I marvel at Leila Chatti’s poems, their deceptive ease, their ‘calligraphy of smoke,’ their luminous concern with identity and self, love and family, her aesthetic command. ‘I orbited the town of my origin.’ She writes an America that belongs to the world, not the other way around. ‘What kind of world will we leave/ for our mothers?’ In poems filled with vision, desire, tenderness, she disarms our most guarded partialities, those we hide in our slumber, or deep under our tongues: ‘a Muslim girl who loved her father’; ‘ghost of a word mixed up with our bodies.’ Leila Chatti is a remarkable poet. Take notice.” —FADY JOUDAH“Leila Chatti is a major star. She writes exquisite, indelible, necessary poems, from two worlds mixing, rich as the threads of finest tapestries— glistening, warm. I’m struck by her vibrant sense of detail and perfect pacing. We need her honest, compassionate voice so much, at this moment, and everywhere.”—NAOMI SHIHAB NYE

    Although he is best remembered for his revolutionary verses that decried tyranny and called for justice, his oeuvre also extended to scintillating, soulful poems of love. In this remarkable selection of Faiz’s most memorable poems and ghazals, readers will be able to experience a new dimension of the great poet’s genius. Along with popular favourites like ‘Subh-e Azadi’, with its anguished evocation of the horror and pain of the Partition, The Colours of My Heart also introduces readers to little-known gems that display Faiz’s extraordinary flair for tender hope and quiet longing. A rich cornucopia of delights, The Colours of My Heart celebrates Faiz’s greatest work. Baran Farooqi’s superb translation is accompanied by an illuminating introduction to Faiz’s incredible life and enduring legacy.

    She has said that her poems-even the happy ones-emerge from an accumulation of sadness, when she stands again “in the sunlight.” “[This collection] has two fine strengths-a music that comes along sometimes, as sad and cheery as a lonely woman’s whistling-and Miss Walker’s own tragicomic gifts” (New York Times Book Review).

    Everytime, he looked at me, it broke my heart a little bit more.Everytime he went away, I wrote.When he came back, I lived again.And in the end it fell apart.

    Most of all, The Collection Plate explores both how we collect and erase the voices, lives, and innocence of underrepresented bodies—and behold their pleasure, pain, and possibilityBoth formally exciting and a delight to read, The Collection Plate is a testament to Allen’s place as the voice of a generation—and a witness to how we come into being in the twenty-first century.

    Rich with historical context and a deeply engaging personal narrative.

    

    Compiled by her sister after the poet's death and originally published in 1956, this is the definitive edition of Millay, right up through her last poem, Mine the Harvest.

    Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality.Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

    Then there's the story of the story, and there's no arguing with that. -#6There are few things in life I am sure of.I am sure that books have the answer.I am sure that lightbulbs on string are dancing. I am sure that well-lit basements hold the songs of all of us.--On 6th & 7th October 2015, author Jen Campbell wrote 100 Poems in 48 hours to raise money for The Book Bus - a charity which funds mobile libraries across Africa, Ecuador and India. These poems were made into a limited edition pamphlet & you can also read them over here: http://100poemchallenge.blogspot.co.uk/

    Presented with the Spanish text, full-color reproductions of handwritten poems, and dynamic English translations, Then Come Back: The Lost Neruda Poems simultaneously completes and advances the oeuvre of the world's most beloved poet.

    Including such favorites as “Famous,” “Valentine for Ernest Mann,” “Kindness,” "Arabic Coffee," and “Gate A-4,” as well as new poems and an introduction by bestselling poet and author Edward Hirsch, this is an essential collection for all readers.

    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.

    The poem started out as a simple observation of the snow in moonlight, and turned into a poem with more to offer. I'm offering it free to my readers. I've had it on my blog, where it's gotten much response, and wanted to give everyone another way to access it.

    "I have this compulsion to live no matter what..".