We are witness here to an almost religious celebration of the flesh: a flesh vital with the vulnerability of love and loss, to desire and its departure. In an extraordinary blend of McMillan’s own colloquial Yorkshire rhythms with a sinewy, Metaphysical music and Thom Gunn’s torque and speed – ‘your kiss was deep enough to stand in’ – the poems in this first collection confront what it is to be a man and interrogate the very idea of masculinity. This is poetry where every instance of human connection, from the casual encounter to the intimate relationship, becomes redeemable and revelatory.Dispensing with conventional punctuation, the poet is attentive and alert to the quality of breathing, giving the work an extraordinary sense of being vividly poised and present – drawing lines that are deft, lyrical and perfectly pitched from a world of urban dereliction. An elegant stylist and unfashionably honest poet, McMillan’s eye and ear are tuned, exactly, to both the mechanics of the body and the miracles of the heart.

    They explore the richness of her cultural and linguistic heritage, which spans the globe from Mexico to the Philippines. They defend with vigor and humor the color purple. And they analyze the insecurities of the letter ′h′ -- among other things.For thirty years, the National Poetry Series has discovered many new and emerging voices and has been instrumental in launching the careers of poets and writers such as Billy Collins, Mark Doty, Denis Johnson, Cole Swensen, Thylias Moss, Mark Levine, and Dionisio Martinez.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    Holding all accountable, this collection fully embraces the loss, grief, and abundant joy that come with charting one’s own path in identity, life, and love.In the HospitalMy mother was in the hospital & everyone wanted to be my friend.But I was busy making a list: good dog, bad citizen, shortskeleton, tall mocha. Typical Tuesday.My mother was in the hospital & no one wanted to be her friend.Everyone wanted to be soft cooing sympathies. Very reasonablepigeons. No one had the time & our solution to itwas to buy shinier watches. We were enamored withwhat our wrists could declare. My mother was in the hospital& I didn’t want to be her friend. Typical son. Tall latte, short tale,bad plot, great wifi in the atypical café. My mother was in the hospital& she didn’t want to be her friend. She wanted to be the familygrocery list. Low-fat yogurt, firm tofu. She didn’t trust my fatherto be it. You always forget something, she said, even whenI do the list for you. Even then.

    Worse, she lives in the small Alaska town of Moose Point, which never lets her forget it. From the annual Moose Madness Festival to the moose bumper stickers to the giant sign for the Moose Point Pub where she works, this town loves its moose.Worst of all? Maggie really is a moose. A moose shifter, to be specific. It's just that no one knows. No one can ever know.Except one person ...Wolf shifter Fiona Barton was one of the mean girls in high school ... and Maggie's desperate crush. Years after shaking the dust of Moose Point off her heels, she's back in town for a pack event and runs headlong into Maggie—and this time she recognizes what she didn't before: the tall girl with the shy, beautiful smile is her fated mate.Fiona is openly out; Maggie isn't. But Fi has a lot to make up for, and Maggie has a lot of soul-searching to do before a wolf and a moose can ride off into the sunset together.A hilarious and heartwarming enemies-to-lovers lesbian romcom, with a guaranteed HEA!

    A major competitor has bought her company out and with this shakeup comes the arrival of a new CEO. Nadia’s fears for the future of her job become more complicated, however, when she discovers how attracted she is to her new boss. That boss is Avery Wool, a confident and strong executive, who has come in to reorganize the company. But Avery appears to have ulterior motives. As the changes begin to take hold, things aren’t always what they seem with Avery. Nadia, however, can’t help but fall for Avery’s advances. She’s a beautiful woman, sultry, powerful, rich… and she has Nadia in her sights. How will Nadia reconcile her feelings about the corporate takeover with the growing desire she feels for her new CEO? Is the mounting passion between the women for real, or is it all just a game to Avery? Work often takes a backseat when you have romance knocking at your office door.

    Poems from the 1600s to the present day are beautifully illustrated with images from the unrivaled collection of Japanese paintings and prints in the British Museum. The majority of the poems come from the Tokugawa period (early seventeenth to mid nineteenth centuries) and include works from the best-known Japanese classical authors, female poets and a number of contemporary writers. Nearly all are newly translated by Alan Cummings.From the tender and the melancholy to the witty and the ribald, the poems and images in Haiku Love comment on the most universal of human emotions.

    Johannes Göransson's translation captures the seething instability of Berg's bizarre compound nouns and linguistic contortions.

    imperialism in order to radically alter our understanding of freedom, power, and control. In poems of desire, gender, bodies, legacies, and imagined futures, Tran's poems elucidate the complex and harrowing processes of reckoning and recovery, enhanced by innovative poetic forms that mirror the nonlinear emotional and psychological experiences of trauma survivors. At once grand and intimate, commanding and deeply vulnerable, All the Flowers Kneeling revels in rediscovering and reconfiguring the self, and ultimately becomes an essential testament to the human capacity for resilience, endurance, and love.

    Schwab's Shades of Magic trilogy and A DISCOVERY OF WITCHES.Seventeen-year-old Dayna Walsh is struggling to cope with her somatic OCD; the aftermath of being outed as bisexual in her conservative Irish town; and the return of her long-absent mother, who barely seems like a parent. But all that really matters to her is ascending and finally, finally becoming a full witch-plans that are complicated when another coven, rumored to have a sordid history with black magic, arrives in town with premonitions of death. Dayna immediately finds herself at odds with the bewitchingly frustrating Meiner King, the granddaughter of their coven leader.And then a witch turns up murdered at a local sacred site, along with the blood symbol of the Butcher of Manchester-an infamous serial killer whose trail has long gone cold. The killer's motives are enmeshed in a complex web of witches and gods, and Dayna and Meiner soon find themselves at the center of it all. If they don't stop the Butcher, one of them will be next.With razor-sharp prose and achingly real characters, E. Latimer crafts a sweeping, mesmerizing story of dark magic and brutal mythology set against a backdrop of contemporary Ireland that's impossible to put down.

    Perfect for fans of Holly Bourne and Laura Steven's The Exact Opposite of Okay.Vetty's family is moving back to London, and all she can think about is seeing Pez again. They were inseparable when they were small - roaming the city in the long summers, sharing everything. But everyone's telling her it'll be different now. After all, a boy and a girl can't really be friends without feelings getting in the way, can they?Vetty thinks differently ... until Pez tells her she's 'not like other girls'. But what does that even mean? Is it a good thing or not? Suddenly she's wondering whether she wants him to see her like the others - like the ultra-glamorous March, who's worked some sort of spell on Pez, or the girls in the videos that Pez has hidden on his laptop.How can she measure up to them? And who says that's what a girl is supposed to be like anyway?

    With echoes of Gwendolyn Brooks and Sonia Sanchez, Mans writes to call herself—and us—home. Each poem explores what it means to be a daughter of Newark, and America--and the painful, joyous path to adulthood as a young, queer Black woman.Black Girl, Call Home is a love letter to the wandering Black girl and a vital companion to any woman on a journey to find truth, belonging, and healing.

    With quiet consideration and dark wit, Bibbins addresses the majority of his poems to Mark Crast, his friend and lover who died from AIDS at the early age of 25. Every broken line and startling linguistic turn grapples with the genre of elegy: what does it mean to experience personal loss, Bibbins seems to ask, amidst a greater societal tragedy? The answer is blurred—amongst unforeseen disease, intolerance, and the intimate consequences of mismanaged power. Perhaps the most unanswerable question arrives when Bibbins writes, "For me elegy/ is like a Ouija planchette/ something I can barely touch/ as I try to make it/ say what I want it to say." And while we are still searching for the words that might begin an answer, Bibbins helps us understand that there is endless value in continuing—through both joy and grief—to wonder.

    Growing up in a big, rambunctious family, all she’s ever wanted is a little peace and quiet. She may not love her job, but she knows what to expect from it. And maybe she’s never been head over heels for any of her boyfriends, but they’re stable and practical. In her world, a life well-lived is a life well-planned. And there is nothing that gets under her skin more than the chaotic energy of Brooke Nicholas.After an adolescence filled with unpredictability, Brooke Nicholas never got in the habit of expecting things. She managed to finish college, moved to Philadelphia, and lucked her way into working at a hip wine bar after graduation. Other than that, she takes life one day (or night) at a time, choosing to spend her time meeting new people and enjoying the moment.Kennedy and Brooke have circled around one another for years without growing close, and it takes getting stuck together during a post-graduation trip for Kennedy to finally realize she may have only scratched the surface where Brooke is concerned. A growing friendship, an abandoned puppy, and no one to act as a buffer between them is going to upend a lot of ideas Kennedy had about her perfectly crafted world. And it’s going to terrify Brooke because, for the first time in her life, she feels like maybe she’s found a home.

    When she comes to, she explains that she was on her way to the island, to pray to the Goddess at the temple on the hill. Her name is Ashleigh. She cannot remember anything else. Only one person, local historian and past life regression therapist Andrew Monaghan, understands what this could really mean. He asks his colleague, New Yorker Kathleen Edwards, to fly over to help him with this unusual, and potentially extraordinary case. From the start, it is obvious that the two women share a deep, meaningful, yet troubling connection. But who is Ashleigh, really? And will the dark secrets of her past eventually catch up with her, and cost her the life, and love she has always been searching for?