M. Ocean explores the depths of love deeply felt and violently lost. For those whose wounds are fresh and hearts still raw with ample emotion, Ocean portrays pain and suffering in apt and heart wrenching candour.

    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.

    In this chapbook you’ll find the first results of this project—nine poems from her new manuscript, all focusing on the experience of creatures in a world shaped (and increasingly destroyed) by us. These pieces—some of them long sequences that operate like lean, lyric essays—have their sight set upon the natural world. But these are not poems of privilege that gaze out the window from a place of comfortable remove. No, these are not the kind of pastorals that always made Brown (and most of the working-class folks from her Kentucky childhood) feel shut out of nature and the writing about it; instead they speak in a queer, Southern-trash-talking kind of way about nature beautiful, damaged, dangerous, and in desperate need of saving.

    Laird boldly engages with topics ranging from fatherhood and marriage to mass destruction and the cosmos. Go Giants is a brash, brave, and wildly imaginative new collection.From Go Giants:Go in peace to love and serve the.Go and get help. Go directly to jail.Go down in flames. Go up in smoke.Go for broke. Go tell Aunt Rhody.Go tell the Spartans. Go to hell.Go into detail. Go for the throat.

    She goes to Bonaire to write, but mostly ends up diving while gripped with a case of, well, not exactly writer’s block, but perhaps writer’s trickle. Words are coming, just slowly and painfully. When a mom and son move into the rental across the yard from her, at first she thinks it will make things worse. And, in terms of writing, it does, at least for a while. But getting to know Ash and Jake is definitely worth it.Ash and her ten-year-old son, Jake, have been through a rough couple of years. When a windfall comes her way, Ash decides that they need a reset, and she takes Jake on the diving trip he’s always wanted. The across-the-yard neighbor is entirely too attractive, friendly, and competent, making Ash feel bumbling in comparison. But the more she gets to know Morgan, the less she wants to keep her distance.As Ash and Morgan dive together, spend time in their shared yard, and bond over being Jake fans, the vacation fling starts to seem like more.

    This latest edition includes new notes and exercises, and has a freshly designed, learning-friendly format that makes it more relevant and accessible to students of poetry in Southern Africa.

    West covers the main events in superstar Kanye West's life while also following the poet on her year spent researching, writing, and pregnant. The book explores how we are drawn to celebrities--to their portrayal in the media--and how we sometimes find great private meaning in another person's public story, even across lines of gender and race. Blake's aesthetics take her work from prose poems to lineated free verse to tightly wound lyrics to improbably successful sestinas. The poems fully engage pop culture as a strange, complicated presence that is revealing of America itself. This is a daring debut collection and a groundbreaking work. An online reader's companion will be available at http: //sarahblake.site.wesleyan.edu.

    Meet Harper Ray, an undiscovered musician who’s willing to dig weeds, clean houses, and give guitar lessons to stay afloat. A childhood tragedy has kept her blocked and has limited her ability to see and live her potential. Ivy Homestead is a green witch and life coach. Her life purpose has always been to help people live their best lives. But after hurting her best friend over a year ago, Ivy has struggled with feelings of inadequacy. What they both discover will test their strength and have them questioning what they're willing to risk to find their way back home within themselves and each other.

    

    The only thing missing from her picturesque, countryside life is companionship. But with a great distaste for dating – and the city – Stefani approaches an international service to make her marital dreams come true.Enter Yulia, the alluring Russian woman with a penchant for heavy flirtation. She occasionally puts her money where her mouth is, too, driving Stefani wild with fantasies that this marriage might be more than convenience.Yet she can’t shake the feeling that Yulia has an ulterior motive. Or maybe that’s the Valettis’ collective past coming back to bite them.YULIA PETROVAYulia Petrova will do whatever it takes to get to America. Specifically, the Pacific Northwest, where the only person who matters is waiting for her.She’ll even marry a total stranger. A woman, no less.The trick isn’t balancing her own preferences. No, the trick is keeping her new fiancée from finding out the truth too quickly. First, she must ensure that Stefani is in love with her. Then, Yulia must reveal the tragic truth that has brought her to America.DO SVIDANIYA, MI AMORETheir budding passion and rising trust in one another is about to be severely complicated by the illness sweeping the world. For Stefani, that means shutting down the winery and hiding behind her chronic anxiety. For Yulia, that means taking all matters into her own hands. The whole world could burn, and she would still get what she came here for.And she will do it alone – with or without the woman she’s come to love

    In the title poem, Bly addresses the "donkey"—possibly poetry itself—that has carried him through a writing life of more than six decades.from "Talking into the Ear of a Donkey"      "What has happened to the spring,"      I cry, "and our legs that were so joyful      In the bobblings of April?" "Oh, never mind      About all that," the donkey      Says. "Just take hold of my mane, so you      Can lift your lips closer to my hairy ears."

    Thus has it been since before the physical and spirit worlds divided. There are five martial Forms inspired by the elements and humans have learned them, using them to defend themselves, for thousands of years. Ever since the Empire of Iron began using the Metal Form for conquest, the secrets of each Form have been guarded more closely. Few people learn more than one Form as they did in the past. In Avrilatha – an ordinary village in the Western Plains – lives Ayah. Daughter of the village healer, Ayah’s only genuinely remarkable features are a stubborn streak and a desire to master all five Elemental Forms. When she is forced to leave her village, Ayah sets out on her quest to find teachers. Accompanied by a fox with a secret, Ayah’s journey will take her all over the continent and involve her in politics, intrigue, and war. The Empire of Iron is on the move, and the only thing in its way is one stubborn girl.

     Colorado, 1992. Tegan entered her freshman year of college with an open mind. But when an innocent roommate back rub turns into her first girl-on-girl make-out session, she isn’t sure if she’s ready for the world to know she’s attracted to women. After a chance encounter with a hunky male classmate, Tegan’s brain swims with the bisexual possibilities. Gemma knows who she is, but she doesn’t expect Tegan to shout from the rooftops about their new relationship status. With the prying eyes of friends and jealous rivals, however, secrets may not stay hidden for long. Girl Love Happens: Season One is a boxed set of the first six episodes of a lesbian romance series infused with 1990s’ nostalgia. And, the boxed set contains bonus scenes you won’t find in the individual episodes. If you like tumultuous love stories, simmering chemistry, and colorful casts of characters, then you’ll love T.B. Markinson’s smart, sexy series. Buy Girl Love Happens to start the captivating romance series today!

    It is a vulnerable cross section of his writing that moves from disarmingly human to sudden bursts of beast, able to seamlessly blend back into grounded stories of humor, heartache and identity using crisp, innovative and unforgettable metaphors. If you can only buy one Buddy Wakefield book, this collection is the most comprehensive of his most compelling works to date. His craft mimics the intrigue of propellers when they make themselves invisible. Buddy’s honest story is a one-man relay race to the light; that of a boy at gentleman practice who sometimes wants to blend in so badly he forgets his purpose has already arrived and there is no need to fight a war that’s long been over. The reader must be prepared for the recurring nightmares from which Buddy wakes up only to realize that whatever supposedly awful thing was stalking him was actually just trying to help.

    Swan, her twentieth volume, shows us that, though we may be “made out of the dust of stars,” we are of the world she captures here so vividly: the acorn that hides within it an entire tree; the wings of the swan like the stretching light of the river; the frogs singing in the shallows; the mockingbird dancing in air. Swan is Oliver’s tribute to “the mortal way” of desiring and living in the world, to which the poet is renowned for having always been “totally loyal.”   As the Los Angeles Times noted, innumerable readers go to Oliver’s poetry “for solace, regeneration and inspiration.” Few poets express the immense complexities of human experience as skillfully, or capture so memorably the smallest nuances. Speaking, for example, of stones, she writes, “the little ones you can / hold in your hands, their heartbeats / so secret, so hidden it may take years / before, finally, you hear them.” It is no wonder Oliver ranks, according to the Weekly Standard, “among the finest poets the English language has ever produced.”