That is where Garmaine Pitchon was when Hitler ascended to power and unleashed a diabolical scheme to annihilate the Jewish race. Follow along as Eli Gonzalez tells Garmaine story in a vibrant, chilling, and compelling narrative. Always a rambunctious, curious girl, Garmaine found a way to not wear the yellow Star of David and got to experience more than most before Garmaine experienced loss at an epic proportion. Her entire family was murdered, beginning with her grandmother, killed in her own grocery store by a Nazi officer who forced her to make him a sandwich as she walked over her just-murdered beloved grandmother’s warm, flowing blood. Experience the horror of the 9-Day train ride to Auschwitz and become a first hand witness to when it was only Nazi’s and Jews and the veil was pulled off and absolute evil abounded. Yet, there is something about Garmaine’s story, something divine that happened. What was meant to destroy her strengthened her. What was meant to stop her lineage became a force to help desperate mothers years after. When there is a divine purpose for your life and that of your family, no one and nothing can stop it.

    Haunted by their childhoods of material and emotional poverty, Jimmy and Rita float through days in urban San Francisco.

    They are stories about the woods, houses hidden in the gaps between mountains. Behind them, the skeletons of old and powerful machines rust into the slate and leaves. Water red with iron leeches from the empty mines and pools near a stone foundation. The boy there plays in the bones because he is a child and this will be his childhood. He watches while winter comes falling slowly down over the road. Sometimes he remembers a girl, her hair and the perfume she wore. These are stories about her and where she might have gone. He waits for sleep because in the next story he will leave. The boy watches an airplane blink red past his window. From here, you can't hear its violence.

    

    In his screenplays and short stories, Ethan Coen surprises and delights us with a rich brew of ideas, observations, and perceptions. In his first collection of poems he does much the same. The range of his poems is remarkable–funny, ribald, provocative, sometimes raw, and often touching and profound.In these poems Coen writes of his childhood, his hopes and dreams, his disappointments, his career in Hollywood, his physically demanding love affair with Mamie Eisenhower, and his decade-long battle with amphetamines that produced some of the lengthier poems in the collection. You will chuckle, nodding with recognition as you turn the pages, perhaps even stopping occasionally to read a poem. Handsomely and durably bound between hard covers, this is a book that will stand up to most readers’ attempts to destroy it.

    If finding her mother Nellie in hospital after a savage beating from her husband wasn’t enough, Emily’s plight deepens when she yields to the advances of Tommy, a young soldier, and becomes pregnant with his child.Not for nothing is Victoria station nicknamed the ‘palace of tears’. As trainloads of men leave for the Western Front, and Emily says goodbye to Tommy, she is left contemplating the life of a single mother. Yet amidst the devastation, happiness still lies within her grasp… A classic saga of World War One, Palace of Tears is a perfect read for fans of Carol Rivers, Sally Warboyes, and Annie Murray.

    This book contains the poem “Grace”, which the Poetry Society of America chose for their Poetry in Motion series to entertain public transit passengers in major metropolitan areas.

    The volume responds primarily to the twenty-first century's inescapable evidence of the terms of black life--not so much new as newly visible. The poems trace a whole web of connections between the kinds of violence that affect people across the racial, ethnic, gender, class, sexual, national, and linguistic boundaries that do and do not divide us. How do we protect our humanity, our ability to feel deeply and think freely, in the face of a seemingly endless onslaught of physical, social, and environmental abuses? Where do we find language to describe, process, and check the attacks and injuries we see and suffer? What actions can break us out of the soul-numbing cycle of emotions, moving through outrage, mourning, and despair, again and again? In poems that span fragment to narrative and quiz to constraint, from procedure to prose and sequence to song, semiautomatic culls past and present for guides to a hoped-for future.Hardcover is un-jacketed.

    In R's Boat, she brings us to the crossroads of poetry, theory, the body, and cultural criticism. These poems bring fresh vehemence to Robertson's ongoing examination of the changing shape of feminism, the male-dominated philosophical tradition, the daily forms of discourse, and the possibilities of language itself.Praise for Lisa Robertson's The Men:"In The Men, as in much of her work, Robertson makes intellect seductive; only her poetry could turn swooning into a critical gesture."-Village Voice"Robertson writes both from within and against the tradition-splitting, seeding, and suturing the cracks in each ideational edifice. . . . Her occupations with past forms lead not to a backward-looking poetry but forward to a fresh field of inquiry, an imaginatively created utopia."-Boston Review

    Since 1988, The Best American Poetry anthology series has been “one of the mainstays of the poetry publication world” (Academy of American Poets). Each volume in the series presents some of the year’s most remarkable poems and poets. Now, the 2020 edition is guest edited by Utah’s Poet Laureate Paisely Rekdal, called “a poet of observation and history...[who] revels in detail but writes vast, moral poems that help us live in a world of contraries” by the Los Angeles Times. In The Best American Poetry 2020, she has selected a fascinating array of work that speaks eloquently to the “contraries” of our present moment in time.

    The volume features poems from Duhamel's five previous collections, which include Smile!, The Star-Spangled Banner and Girl Soldier.

    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."

    Both personal and philosophical, her work can be read as a spirit-guide for those mourning the loss of a loved one and as a series of fundamental ponderings on the inevitability of death and separation. At first refusing to let go, desperate to feel the presence of her friend, the poet seeks solace in a belief in the spirit world. But life, not death, becomes the issue when she begins to see physical existence as "an interruption" that preoccupies us with shapes and borders. "Shape makes life too small," she realizes. Comfort at last comes in the idea of "reverse seeing": that even if she cannot see forward into the spirit world, her friend can see "backward into this world" and be with her.Death Tractates is the companion volume to a philosophical poetic work entitles Bright Existence, which Hillman was in the midst of writing when her friend died. Published by Wesleyan University Press in 1993, it shares many of the same Gnostic themes and sources.

    Part magic realism, part science fiction, part theater of the absurd, and part over-the-top, unrepentant spoof, this novel packs more into its few short pages than do most epic trilogies. Graziano has fabricated the rare kind of tale that the reader can honestly say ends much too quickly. Perfectly woven, self-enclosed, multifaceted . . . Kosinski’s Being There sprinkled with a strong dose of Frankenstein . . . the kind of simplicity that speaks volumes.”—Michael Mirolla, author of The Formal Logic of Emotion“An amalgam of fairy tale, satire, science fiction, medical thriller, and soap opera. . . . It is difficult to fathom that a novel so brief can be so epic in scope. Inventive and deftly crafted, The Love Song of Monkey is a tale no reader will soon forget.”—Eric Linder, Yellow Umbrella Books, Chatham, MassachusettsIn a surreal exile on the floor of the Atlantic, a young man faces his own death and his wife’s infidelity. The Love Song of Monkey is a meditation on the simple, inexplicable, and lasting power of love, cast in the metaphor of a journey to the depths of the ocean floor. Precise and beautifully crafted, this modern fable is rich with humor and deep thought.Michael S. A. Graziano, professor of neuroscience at Princeton University, is the author of the novella Hiding Places (New England Review), The Seclusion Zone (2007 fi nalist in the William Faulkner–William Wisdom Creative Writing Competition), and The Intelligent Movement Machine (2008, Oxford University Press).

    Heralded as "one of our most vital, unclassifiable writers" by the Voice Literary Supplement, Fanny Howe has published more than twenty books and is the recipient of the Gold Medal for Poetry from the Commonwealth Club of California. In addition, her Selected Poems received the 2001 Lenore Marshall Poetry Prize for the Most Outstanding Book of Poetry Published in 2000 from the Academy of American Poets.The poems in Gone describe the transit of a psyche, driven by uncertainty and by love, through various stations and experiences. This volume of short poems and one lyrical essay, all written in the last five years, is broken into five parts; and the longest of these, "The Passion," consecrates the contradictions between these two emotions. The New York Times Book Review said, "Howe has made a long-term project of trying to determine how we fit into God's world, and her aim is both true and marvelously free of sentimental piety." With Gone, readers will have the opportunity to experience firsthand Howe’s continuation of that elusive and fascinating endeavor.