In its first American edition, this poetry is presented in Spanish and Enlgish, so that readers of both languages may listed to Zurita's voice.Anteparadise can be read as a creative response, an act of resistance by a young artist to the violence and suffering during and after the 1973 coup that toppled the democratically elected Allende government. Zurita thus follows the example of several Latin American pets such as the Peruvian César Vallejo and Chilean Nobel laureate Pablo Neruda, sharing their passion and urgency, but his voice is unique.

    There is a new clarity to her work, a disquieting transparency, even in the midst of the wild thickets of language for which she is known. A poet “at the border of her own allegory,” Brock-Broido searches for a lexicon adequate to the extremities of experience–a quest that is as capricious as it is uncompromising. In the process, she reveals, unsparingly, things as they are. In “Pamphlet on Ravening” she recalls, “I was a hunger artist once, as well. / My bones had shone. / I had had rapture on my side.” The book is laced with sequences: haunted, odd self-portraits; a succession of poems provoked by discarded titles by Wallace Stevens; an intermittent series of fractured and beguiling lyrics that she variously refers to as fragments, leaflets, and apologues.Trouble in Mind is a book that astonishes us afresh at the agility and the uncanny will of language, which Brock-Broido is not afraid to follow where it may lead her: “That the name of bliss is only in the diminishing / (As far as possible) of pain. That I had quit / The quiet velvet cult of it, / Yet trouble came.” Even trouble, in Brock-Broido’s idiom, becomes something resplendent.From the Hardcover edition.

    Poulin, Jr., Poetry Prize. In his foreword he writes, "I was immediately struck by the boldness of imagination, the strange cadences, and wild music of these poems. We should be glad that young poets like Keetje Kuipers are making their voices heard not by tearing up the old language but by making the old language new."Keetje Kuipers, a native of the Northwest, earned her BA at Swarthmore College and MFA at the University of Oregon. A Stegner Fellow at Stanford University, she divides her time between Stanford and Missoula, Montana.From Devils Lake Journal:“Keetje Kuipers’ Beautiful in the Mouth is at once lovely, frank, and haunting. The poems move easily between landscapes, inhabiting the American west, Paris, and New York City with equal ease and yet, they never exploit sympathies of locale for their power. Instead, they rely on nothing but the speaker’s own candor, who is able to speak through such disparate poems as “Bondage Play as Substitue for Prayer” alongside “Waltz of the Midnight Miscarriage,” “Reading Sappho in a Wine Bar,” and “Barn Elegy” with a good spattering of honest-to-goodness sonnets.”From ForeWord Reviews:“The poems move like ghosts themselves: disappearing into walls, circling back, appearing for a moment to be captured, then evaporating into thin air. Kuipers pins moments onto the page with the care of an etymologist collecting rare specimens. Her poems are at once visceral and cosmic, “a wave as well as a particle.””

    As a poet who has achieved success in the realms of both grassroots popularity and national critical attention, Kocot is poised to claim her place as America’s boldest new poetic voice.

    In compiling this landmark anthology, Wayne Miller and Kevin Prufer enlisted twenty-four regional editors to select 270 poets whose writing was first published after 1970. These poets represent every country in Europe, and many of them are published here for the first time in English and in the United States. The resulting anthology collects some of the very best work of a new generation of poets who have come of age since Paul Celan, Anna Akhmatova, Federico García Lorca, Eugenio Montale, and Czeslaw Milosz.The poetry in New European Poets is fiercely intelligent, often irreverent, and engaged with history and politics. The range of styles is exhilarating—from the lyric intimacy of Portuguese poet Rosa Alice Branco to the profane prose poems of Romanian poet Radu Andriescu, from the surrealist bravado of Czech poet SylvaFischerová to the survivor's cry of Russian poet Irina Ratushinskaya. Poetry translated from more than thirty languages is represented, including French, German, Spanish, and Italian, and more regional languages such as Basque, Irish Gaelic, and Sámi.In its scope and ambition, New European Poets is destined to be a seminal anthology, an important vehicle for American readers to discover the extraordinary poetry being written across the Atlantic.

    Felt—a fabric made of tangled fibers—becomes a metaphor for the interweavings of humans, animals, and planet. But Felt is also the past tense of "feel." This is a book of emotions both ordinary and untoward: the shadings of humiliation, obsession, love, and loneliness—as well as states so subtle they have yet to be named. Reticent and passionate, elliptical yet available, Fulton's poems consider flaws and failure, touching and not touching. They are fascinated with proximity: the painter's closeness to the canvas, the human kinship with animals, the fan's nearness to the star. Privacy, the opening and closing of doors, is at the heart of these poems that sing the forms of solitude-the meanings and feelings of virginity, the single-mindedness of fetishism, the tragedy of suicide. Rather than accept the world as given, Fulton encounters invisible assumptions with magnitude and grace. Hers is a poetry of inconvenient knowledge, in which the surprises of enlightenment can be cruel as well as kind. Felt, a deeply imagined work, at once visceral and cerebral, illuminates the possibilities of twenty-first century poetry.

    These new poems are powerful meditations born on the joineries of life and death, union and separation, memory and dream, where lovers speak to each other across the centuries, and daughters wander into their mothers' childhoods. As much about loss as they are about reclamation, Doshi's poems guide us through an 'underworld of longing and deliverance', making the exhilarating claim that through the act of vanishing, we may be shaped into existence again. Everything Begins Elsewhere was followed by her third collection, Girls Are Coming Out of the Woods, in 2018.

    Hanuman, the red-faced monkey god and ninth grammarian of Hindu mythology, is the protagonist, offering an occasion for Octavio Paz to explore the nature of time and reality, fixity and decay, and the question whether language and grammar are god-given, or an invention of man with powers borrowed from the divine realm?

    A Bulgarian immigrant, Dimitrov writes as both observer of and fervent participant in this "American Youth," as his speakers navigate both the physical and emotional landscapes of desire, intimacy, and longing--whether for a friend, a lover, or a self, "Saint or stranger, I still recklessly seek you."

    T. Bunker. Now eighty-three-years-old and dying, Bunker wants to tell his side of the story, the story of his affair with Estela, Andrés's mother. As a child Andrés knew Bunker as the "Captain of the Sleepers"--so called because he transported back to Vieques those who had died on the mainland but wished to be buried at home. But what really happened between Bunker and Estela, and between Estela and her one true love, a leader of the Puerto Rican Nationalist Movement? What did Andrés witness, and what were the real circumstances of his mother's mysterious death?Beautifully translated by Edith Grossman, Captain of the Sleepers is a startling tale of remembrance and reality, and Mayra Montero's finest book yet.

    This full-length collection includes individual lyric poems as well as a previously published chapbook Sea Lyrics and a new collaborative piece "Dumb Duke Death" with illustrations by Jennifer Jarnot.

    These poems comb through violence and love, fear and loss, exploring the common denominators in each. Against Which seeks the ways human beings might transform themselves from participants in a thoughtless and brutal world to laborers in a loving one.

    Translated from the Polish by award-winning translators John and Bogdana Carpenter, these sixty-eight verse and prose poems span forty years of Herbert's incredible life and work. The pieces are organized chronologically from 1950 to 1990, with an emphasis on the writer's early and late poems.Here Zbigniew Herbert's poetry turns from the public--what we have come to expect from this poet--to the more personal. The title poem, "Elegy for the Departure of Pen Ink and Lamp , is a three-part farewell ode to the inanimate objects and memories of childhood. Herbert reflects on the relationship between the living and the dead in "What Our Dead Do," the state of his homeland in "Country," and the power of language in "We fall asleep on words . . . " Herbert's short prose poems read like aphorisms, deceptively whimsical but always wise: "Bears are divided into brown and white, also paws, head, and trunk. They have nice snouts, and small eyes.... Children who love Winnie-the-Pooh would give them anything, but a hunter walks in the forest and aims with his rifle between that pair of small eyes."Elegy for the Departure and Other Poems confirms Zbigniew Herbert's place as one of the world's greatest and most influential poets.

    His third book in a decade, Some Values of Landscape and Weather revives poetic architectures such as elegy, song and litany, to build what he calls "a comprehensive music." Here musical and pictorial values perform against a backdrop of political, social and ethical values. These intense and exacting poems traverse a landscape of cultural memory that opens into the explosive, vibrant registers of the now. John Ashbery has written that Gizzi's poems are "simultaneously all over the page and right on target. He is the most exciting poet to come along in quite a while."

    In BREAKING POEMS Suheir Hammad departs from her previous poetry books with a bold and explosive style to do what the best poets have always done: create a new language. Using "break" as a trigger for every poem, Hammad destructs, constructs, and reconstructs the English language for us to hear the sound of a breath, a woman's body, a land, a culture, falling apart, broken, and put back together again. "Suheir Hammad's BREAKING POEMS introduces English to an Arabic vernacular that startles into being an altogether new language, bridging the archipelago of a Palestine under siege to the diaspora and beyond, breaking through convention, breaking open locks on mind and heart, breaking into a music inspired by the Coltranes, Sun Ra and free jazz, Lee Scratch Perry and Ravi Shankar, a music that is at once a joyous celebration of survival and a poignant cri de Coeur that cannot be ignored and that Mahmoud Darwish should have lived to see. This is a poetry written for people who have endured the winds of hurricanes and invasions. What wisdom, energy, joy and poignancy Hammad brings to the page for all of this, and for teaching me a new speaking, I give her my thanks" Carolyn Forche."