He found it on Blackfish Sound ("Blackfish" is the Kwakiutl Indian word for the killer whale) in the Inside Passage, the rugged coastline between Seattle and Alaska. Leaving his home in Aspen, which had become a false Shangri-La for him, Modzelewski settled on a desolate island in the Inside Passage, a place which "after seducing you with beauty would shake you with fear. An unpredictable place that kept you always prepared, honed to the keen edge of life." Here he lived alone for months on end. Inside Passage describes his experiences in this unspoiled setting, where the sky is his ceiling, mountains are his walls, and physical challenges test him down to the marrow. He also forms unusual friendships with passing yachters, salmon fishermen, Kwakiutl Indians, loners, and the owner of the house he is staying at, Will Malloff, a man of oversized personality -- a healer, builder, woodsman, and thinker. Modzelewski writes with a love for nature and gentle humor about his interactions with the native animals (eagles, whales, wolves), local animals (cats, dogs, "tame" wild boars), and other settlers. Inside Passage is the powerful story of one man learning the ways of self-reliance in a soul-filled search through the northern wilderness.

    The accounts may be quite terrifying and reader discretion is advised.

    Over his 20 - year career, Antonio Guardini has investigated some very disturbing, grisly crimes. But the latest string of murders that have New Yorkers in a paralyzing state of fear have struck a personal chord within Antonio. A devout Catholic and prolife activist, the hardened cop is tasked with tracking down the wily serial killer who is stalking and butchering the city's abortion physicians. As his personal beliefs begin conflict with his job, a struggle ensues as Antonio delves deeper the twisted myriad of clues left by the murderer and his victims. Will Antonio identify and apprehend the 'Abortion Avenger' before he kills again?

    Her kids’ father, Flex, loves playing the field and throwing his women in Heaven’s face while expecting her to remain single. Heaven still carries feelings for Flex, but still wishes to have a man that does not have her looking stupid in the streets.Saint is a reformed street king who is trying to live life on the straight and narrow. He owns a landscaping company in the Dallas area and spends his day breaking his back to provide for his gold digging girlfriend, Lailani. With his relationship crumbling, a chance sighting of Heaven at a restaurant intrigues Saint and he tries to pursue her, but encounters several challenges along the way.Saint and Heaven face many people in their way as they try to be together. They may not be able to withstand the pressure. Will they fall in love against all odds or crumble under outside pressure?

    Stubborn. Terribly lonely.But everyone deserves a second chance… A dazzling debut for 2020 – are you ready to meet Missy Carmichael? Missy Carmichael’s life has become small.Grieving for a family she has lost or lost touch with, she’s haunted by the echoes of her footsteps in her empty home; the sound of the radio in the dark; the tick-tick-tick of the watching clock.Spiky and defensive, Missy knows that her loneliness is all her own fault. She deserves no more than this; not after what she’s done. But a chance encounter in the park with two very different women opens the door to something new.Another life beckons for Missy, if only she can be brave enough to grasp the opportunity. But seventy-nine is too late for a second chance. Isn’t it?

    Jackie saw it all, and in The Joke Man: Bow to Stern he shares personal stories as well a look from behind the scenes at one of the highest-rated radio shows of all time. You’ll also get his take on his falling out with Howard and the show, and plenty of the raunchy, laugh-out–loud humor that Jackie “The Joke Man” is famous for. So sit back, relax, and enjoy as “The Joke Man” riffs on his one-of-a-kind career in show business, Howard Stern and the gang, and his very unique life—an American success story like no other.

    The murder of her sister, still unsolved, plunged her life into grief and awakened a new power within her. Sometimes messages come from direct contact, other times in dreams. All of it feels like a curse—until Carly realizes she can harness her new skills to solve cases. But her abilities are unreliable, and Carly must use her brilliant mind to complete the puzzle—all while struggling to keep her secret from her colleagues.In a macabre and bizarre pattern, women who were in grief, recently mourning a loved-one, are turning up murdered themselves. One thing is clear: a serial killer is targeting them, and with local authorities stumped, FBI Special Agent Carly See will have to descend into a world of death to enter the killer’s mind—and save the next victim before it’s too late.But this killer is diabolical and always one step ahead, and Carly herself, leading the investigation, may not be as safe as she seems. In a game of cat and mouse, it will be a race to the finish as Carly struggles to figure out what these victims have in common—and who is next on his list.A page-turning thriller packed with twists and turns, secrets, and harrowing surprises you won’t see the CARLY SEE series is a mystery series that will have you on the edge of your seat, endearing you to a brilliant and unique new character and having you turning pages, bleary-eyed, late into the night.

    Charles Bernstein here proves them alive and well in poems elegiac, defiant, and resilient to the point of approaching song. Heir to the democratic and poetic sensibilities of Walt Whitman and Allen Ginsberg, Bernstein has always crafted verse that responds to its historical moment, but no previous collection of his poems so specifically addresses the events of its time as Girly Man, whichfeatures works written on the evening of September 11, 2001, and in response to the war in Iraq. Here, Bernstein speaks out, combining self-deprecating humor with incisive philosophical and political thinking. Composed of works of very different forms and moods—etchings from moments of acute crisis, comic excursions, formal excavations, confrontations with the cultural illogics of contemporary political consciousness—the poems work as an ensemble, each part contributing something necessary to an unrealizable and unrepresentable whole. Indeed, representation—and related claims to truth and moral certainty—is an active concern throughout the book. The poems of Girly Man may be oblique, satiric, or elusive, but their sense is emphatic. Indeed, Bernstein’s poetry performsits ideas so that they can be experienced as well as understood. A passionate defense of contingency, resistance, and multiplicity, Girly Man is a provocative and aesthetically challenging collection of radical verse from one of America’s most controversial poets.

    As Louise Glück observes in her foreword, “Green Squall begins and ends in the garden”; however, Hopler’s gardens are not of the seasonal variety evoked by poets of the English lyric—his gardens flourish at lower, fiercer latitudes and in altogether different mindscapes. There is a darkness in Hopler’s work as deep and brutal as any in American poetry. Though his verbal extravagance and formal invention bring to mind Wallace Stevens’s tropical extrapolations, there lies beneath Green Squall’s lush tropical surfaces a terrifying world in which nightmare and celebration are indistinguishable, and hope is synonymous with despair.

    This amazing package includes Justin's first book spanning over 100 pages and including all lyrics from The Answers through Approaching Normal, and Justin's own thoughts on the how, why and when many of these songs came to life. The perfect companion piece to listen through all of the albums. This is a high quality hard cover, full color book.

    Doughty’s poems are at once absurdist and matter-of-fact; the images he conjures are thrown into high relief through cutting wordplay. In a series of prose poems about showbiz, he reimagines Cookie Monster as a burned-out suicide, and cheesy talk-show host Joe Franklin as a cross-dressing witness to the apocalypse. And in “For Charlotte, Unlisted,” he wrenchingly tracks the elusive memory of a faded romance.

    Bantam brings three generations into sharp focus – Kay’s own, her father’s, and his own father’s – to show us how the body holds its own story. Kay shows how old injuries can emerge years later; how we bear and absorb the loss of friends; how we celebrate and welcome new life; and how we how we embody our times, whether we want to or not. Bantam crosses borders, from Rannoch Moor to the Somme, from Brexit to Bronte country. Who are we? Who might we want to be? These are poems that sing of what connects us, and lament what divides us; poems that send daylight into the dark that threatens to overwhelm us – and could not be more necessary to the times in which we live."

     Worlds of achievement out of mind and remembering,           just as the poem lasts. In the concert of being present.                                                           —from “Arriving” Linda Gregg’s abiding presence in American poetry for more than thirty years is a testament to the longevity of art and the spirit. All of It Singing: New and Selected Poems for the first time collects the ongoing work of Gregg’s career in one book, including poetry from her six previous volumes and thirty remarkable new poems.

    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.

    Yet for all their metaphorical suggestiveness, Dickinson’s and Whitman’s poems about the natural world neither preclude nor erase nature’s relevance as an actual living environment. In their respective poetic projects, the earth matters both figuratively, as a realm of the imagination, and also as the physical ground that is profoundly affected by human action. This double perspective, and the ways in which it intersects with their formal innovations, points beyond their traditional status as curiously disparate icons of American nature poetry. That both of them not only approach nature as an important subject in its own right, but also address human-nature relationships in ethical terms, invests their work with important environmental overtones. Dickinson and Whitman developed their environmentally suggestive poetics at roughly the same historical moment, at a time when a major shift was occurring in American culture’s view and understanding of the natural world. Just as they were achieving poetic maturity, the dominant view of wilderness was beginning to shift from obstacle or exploitable resource to an endangered treasure in need of conservation and preservation.A Place for Humility examines Dickinson’s and Whitman’s poetry in conjunction with this important change in American environmental perception, exploring the links between their poetic projects within the context of developing nineteenth-century environmental thought. Christine Gerhardt argues that each author's poetry participates in this shift in different but related ways, and that their involvement with their culture’s growing environmental sensibilities constitutes an important connection between their disparate poetic projects. There may be few direct links between Dickinson’s “letter to the World” and Whitman’s “language experiment,” but via a web of environmentally-oriented discourses, their poetry engages in a cultural conversation about the natural world and the possibilities and limitations of writing about it—a conversation in which their thematic and formal choices meet on a surprising number of levels.