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."

    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.

    But deeper under the surface are his observations on war, environmental degradation, language, and history, as a father—troubled by violence and human mismanagement of the world—offers advice to a newborn son.

    In acclaimed poet Suzanne Buffam's second collection, her unusual range, formal rigor, and imaginative force are on full display as we are introduced to the wry meditations of a literary "irrationalist" who pursues her own poetic logic beyond the bounds of reason. Throughout the collection, in resolutely modern, rueful and eccentric lyrics, Buffam investigates the shifting grounds of knowledge while refusing to take any philosophical authority too seriously. Together, these poems compose a swift, durable, protean argument for the necessity of interior maps in a world that may be on the eve of extinction, but whose darkness is continually illuminated by a pyrotechnics of curiosity, candor, and wit.

    It assures you that tomorrow will be a better day and encourages you to realise your potential and achieve your aspirations. Petit à Petit is centred on themes like self-love, self-confidence and taking life into your own hands.No matter how far-away and impossible your dreams seem, don't be afraid to reach for them.

    Who's the queen of kundalini bloopers, Emily Dickinson's attitude problem (that bitch) and California dreams? It's Melissa Broder, who will charm your pants off and show you a little tough love in this vivid, witty first collection of poems. Each poem is artisan-crafted in controlled couplets, weighty triplets, tight syllabics and assonance that will take the top of your head off. But you won't have the time to absorb the academic monkeyshine--so absorbed you'll be on the flip side of Bat Mitzvah stress-syndrome, Aunt Sheila's in Taos, vampires in absentia, and brand names, brand names, brand names. From junkie fetishism to a housewife with a special "thing" for laundry, Broder does dark with magnetic charisma and enchanting humor.

    Even all by themselves, the titles of Patricia Lockwood's poems reveal the sort of surreal, enigmatic, rhetorically-elongated world her sensibility inhabits effortlessly: "When We Move Away From Here, You'll See A Clean Square of Paper Where His Picture Hung," "The Cartoon's Mother Builds a House in Hammerspace," "The Front Half and the Back Half of a Horse in Conversation," "Children With Lamps Pouring Out of Their Foreheads," and the inimitable "Killed With an Apple Corer, She Asks What Does That Make Me."

    Of her most recent book, Raptus, Carolyn Forché has written that she is “a genuine poet, a born poet, and I am in awe of her achievement.” The poems in Klink’s new collection offer a closely keyed meditation on being alone—on a self fighting its way out of isolation, toward connection with other people and a vanishing world.

    It has the richness variety and compactness of true poetry. It is a book to read and remembered. Sexton is an accomplished lyricist. She can combine the straightforwardness of playing on his speech with the saddle with the control, tight formal structure, and brilliantly effective imagery. But she makes her singular claim on our attention by the fact that she has important things to tell us and tells them dramatically.

    The Holy Forest, now spanning five decades, is Blaser's highly acclaimed lifelong serial poem. This long-awaited revised and expanded edition includes numerous published volumes of verse, the ongoing "Image-Nation" and "Truth Is Laughter" series, and new work from 1994 to 2004. Blaser's passion for world making draws inspiration from the major poets and philosophers of our time—from friends and peers such as Robert Duncan, Jack Spicer, Charles Olson, Charles Bernstein, and Steve McCaffery to virtual companions in thought such as Hannah Arendt, Maurice Merleau-Ponty, Michel Foucault, and Jacques Derrida, among others. This comprehensive compilation of Blaser's prophetic meditations on the histories, theories, emotions, experiments, and countermemories of the late twentieth century will stand as the definitive collection of his unique and luminous poetic oeuvre.

    Brown. Brown is the winner of the Texas Book of The Year Prize, 2013. The New York Times calls his work a rekindling of the faith in the shocking, weird and beautiful power of words. Brown finally sold the ship, The Sea Section, upon which he lived for years in the Long Beach harbor, after which he took to hunting for a city that was affordable and had a bustling writer s community. He landed in Austin, Texas and when the progress of that town got to be intense, he moved to the nearby countryside in Elgin, Texas, and from that pastoral setting came unfurling this new collection of his most personal work to date. Brown has been known as one of the most touring, well travelled living poets in America. He has based his whole writing career on changing peoples minds about poetry and he feels a quality, unforgettable live experience can achieve that. Brown told himself he needed a 10-year hiatus from writing poetry when he felt the well of creativity had dried up. 2 years ago, he wrote a one-hour long poetic play called Strange Light, commissioned by The Noord Nederlands Dans Group in Holland. The piece was performed by 14 dancers and accompanied by a live orchestra using music composed by fellow Americans, Emily Wells and Timmy Straw. While he was working on a new libretto for Wayne State University in Detroit, he was set up in a seemingly pastoral country setting, where, as Brown says, an incredible war broke out inside and out, such bright, massive storms, snakes, guns, howling wind, hard sun: all kinds of poems gushed forth. I gave in to the process and my best work to date was born, this will be my 5th book. Our Poison Horse touches on more autobiography than the romantic and fantastical that was so present in his past work. In Derrick Brown s words: I found a poetry in the real events that shaped or broke me. Every morning, I would quiet down, stare out into the field where we were watching our neighbors horse, a horse that was poisoned with pesticide by some local boys, a horse with massive scars all down its body from it s skin peeling from the poison sprayed upon it maliciously by some bastard kids. I watched the horse heal and finally come to me, and trust me and eat carrots. Something about that horse, Lacey, about it not trusting me and then warming up pulled something out of me that I didn t know I was ready for. There is a theme that in beautiful places, you will"

    Collins’ emotional complexity and uncommon range make this debut both thrillingly imaginative and ethical in its uncompromising attention to detail. In her Foreword, contest judge Louise Glück observes, “I know no poet whose sense of fraud, the inflated emptiness that substitutes for feeling, is more acute.” Glück calls Collins’ volume “savage, desolate, brutally ironic . . . a book of astonishing originality and intensity, unprecedented, unrepeatable.”

    The much-awaited second book by a truly revolutionary poet, in the lineage of Gil Scott Heron, Allen Ginsberg, Audre Lorde.

    “Pastan . . . expresses a full range of the possibilities and potencies of the human, feminine voice” (Boston Globe).from "In the Forest" The trees are lit from within like Sabbath candlesbefore they are snuffed out.Autumn is such a Jewish season,the whole minor key of it.Hear how the wind trembles through the branches, vibratoas notes of cello music.

    Whatever our feelings about établissement and French Maoism here at Commune Editions (they aren’t positive), we think the book is incredible, and expect you will too.Get it here: http://communeeditions.com/excess-the...