Linda Pastan writes, "the art that mattered / was the life led fully / stanza by swollen stanza." That life is portrayed here, from memories of the poet's earliest childhood and the ambiguities of marriage and love to the surprises that come with age, always with a consciousness of what is happening in the larger world.

    You never mourned loudly, in the streets. You never stopped (couldn’t stop) to wonder if drowning parts ofyourself was a mistake. You never kissed them goodbye.Why didn’t you kiss them goodbye?Was it too hard?Were you ashamed?Of them, or of you?Don’t tell me to be quiet.You need to hear this. Christina Hart, bestselling author of Empty Hotel Rooms Meant for Us, Letting Go Is an Acquired Taste, and There Is Beauty In the Bleeding releases her new poetry chapbook, written in second person POV, which focuses on love, loss, and hope.

    The Boston-based writer has found his stronghold in the world of social media under the moniker of High Poets Society. His writing is most recognized for its mesmerizing rhyme scheme and clever wordplay.

    Both honors made specific notes of his experimental style, his long influence, and his ongoing importance. Creeley's 1998 collection, Life Death, now available as a New Direction paperback, is the capstone of a career that has poignantly combined "linguistic abstraction with specificity of time and place." (R.D. Pohl, Buffalo News)

    She plunges deep into her inner world, shadowing the progression of the disease. Reality takes on sharp edges: the swell of cancer and its retreat with chemo. Her inner corporeal reality versus her outer manifestation of health, vitality, and femininity. Holding fast to the great love of her life, while preparing to leave him behind. Contemplating who she was before cancer, and who she is now.Starkly honest and wholly profound, Not One of These Poems Is About You distills life to its essence. Teva Harrison continues to gift the world with her clear-eyed insight and her open heart.

    He collects ordinary oddities and links them together in a conversational stream of consciousness, thus disguising profundity in the everyday (or finding it there?) and only occasionally relying on the sort of portentous phrases to which so much poetry is indebted. Yet there is shape to this apparent arbitrariness, and in reading Ashbery's newest collection, Your Name Here, distinct themes do begin to coalesce and assert themselves.Many of the poems share, for instance, an unmistakably elegiac tone. In a poem like "Strange Occupations," the word "remember" appears four times in the first eight lines. The book is very much the searching-backward gaze of an older man -- Ashbery is in his 70s -- who clings to memories of people and places but is haunted by missed opportunities and unforeseen consequences. Ashbery sifts through the attic of his life, but he intertwines its contents with the colorful stuff of dreams and fictions, and he directs his remembrances to others; the book is full of constant references to "you," invocations of friends, addresses to the absent. One of the book's recurring images is that of a spool -- conjuring up the skein of days, the thread of a life unwinding in memories. Writing becomes a transcript of the aging process, a literal book of days; it preserves a sense of self before time's lens, defying the idea of "life as a sandbar...that the tide is frantically trying to erase." But the danger lies in representation replacing action: "My life at my back now, my discourse/like weeds far out on a lake" wrings its hands at the passive nostalgia of later years. In "telling my adventures to anyone who will listen" (from a poem called "Cinema V�rit�"), the poet's life is reduced to art, not transformed by it. pLooking back at his mistakes, the poet wants to know, "In what way do things get to be wrong?" and he thinks "how heavenly it would have been/if it had all happened later or differently." But an awareness of the gulf between freedom and necessity, expectation and reality, also deepens with age, Ashbery seems to say. One never forgets death, the ultimate end, but getting there can take so many routes, and therein lies the urgency of living: "One can wait on the curb for the rest/of one's life, for all anyone cares, or one can cross/when the light changes to green..." "Escape is never possible" if life is reduced to a labyrinth -- but "there is still time for surprises," for the shock of novelty, adventure, chance. "We know, they say, and keep going," one of the book's final poems declares, supplying the only possible answer for the future to iYour Name Here/i's wistful questioning of the past.p--iJonathan Cook/i

    Simultaneously, Vintage Canada is delighted to publish Downie's first book of poetry, under the same title. It will also contain the lyrics to the sixteen songs on the record.Coke Machine Glow is a rich, haunting collection that reveals both the public and private selves of one of Canada's most enigmatic musicians. In poetry that is urban, gritty and political, as well as romantic, nostalgic and whimsical, Downie allows us a glimpse inside his world. With his acute and observing eye, he gives us snapshots of his life, both on the road and at home; he writes of loneliness and isolation; of longing and desire; of the present and the past; of dreams and nightmares; love lost and love of family. Ultimately, this book is about the distances that bridge and separate us.Layered and deceptively simple, imbued with Downie's wit, insight, anger, compassion and rock 'n'roll edge, Coke Machine Glow is a remarkable debut. With its publication, Gordon Downie becomes a part of the wonderful literary tradition of Canadian songwriters like Leonard Cohen and Joni Mitchell who are also poets.

    Funny, poignant and smart, full of unforgettable characters, these stories explore the violence of family, the constraints of small-town life and the elusive promise of escape.In "Ice Cream Man," an adolescent girl struggles to come to terms with her mother's death and her father's seeming indifference while conducting a secret affair with an older man from the local arena. Gerald, the young boy in "Big Dog Rage," goes to extreme and reckless measures to thwart the expectations of his parents, teachers, and the local priest, leaving his childhood friend to look longingly on. And in the title story, Bethany sees her gentle fiancé anew as she enters the raucous world of his hard-drinking family. Receiving a sharp shot to the mouth from her future sister-in-law Bethany finds her place in this clan secured.With her incisive, resonant prose, Lynn Coady elicits laughter, sadness, and compassion. Play the Monster Blind is a keenly observed, imaginative collection from one of the most distinctive talents to arrive on Canada's literary scene in years.

    Always striving to be a better, stronger person, Wagamese shared his journey through writing, encouraging others to do the same.Following the success of Embers, which has sold over fifty thousand copies since its release in 2016, this new collection of Wagamese’s non-fiction works, curated by editor Drew Hayden Taylor, brings together more of the prolific author’s short writings, many for the first time in print, and celebrates his ability to inspire. Drawing from Wagamese’s essays and columns, along with preserved social media and blog posts, this beautifully designed volume is a tribute to Wagamese’s literary legacy.

    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.

    "Nick Demske writes from culture like the Hollywood version of a rebellious slave, the role shredding off him, culture's synthetic exemplary tales shredding and piling up on the floor of the projector room."—Joyelle McSweeneyHis name is "a transcendant uber-obsenity that can be understood universally by speakers of any language."

    After his exasperated wife, Victoria, leaves him, Ed finds consolation where he has always found it, in his own rich and eccentric imagination. Pursued by the demons of his own obsession, Ed embarks on a quixotic quest to find Victoria. As he prowls the city’s parking garages and motel strips, Ed begins a journey back into his past and is forced – most reluctantly – to confront the web of lies and self-deceptions he has woven to keep reality at bay – until even his fantasies start to turn against him. Keenly observant, humane, and darkly comic, My Present Age is an irresistible story about what happens when an Everyman becomes a casualty of modern life.

    We find her awake in the middle of the night, contemplating love and heartbreak in all their exhilarating and anguished specifics. With astonishing openness, in language both passionate and enchanting, she offers us an intimate map of a troubled and far-flung heart: “Can you believe I thought that?” she asks, “That we would always go/roaming brave and dangerous/on wild unlit roads?”At once witty and tender, with Dorothy Parker–like turns of the knife and memorable partings from lovers in New York, London, Rome and beyond, these poems capture a restless movement through loves and locales, and charm us at every turn with their forthrightness.From the Hardcover edition.

    In the singular landscape of Matthew Rohrer's first book of poems, the weather, the food, even the household appliances come to life. "A few pages into this book," says the Minneapolis City Pages, "and you'll start glancing sideways at the terrain, which . . . looks suddenly vital." These quirky poems entertain and delicately point to truth. Rohrer illuminates a land of skewed realities where the impossible seems familiar, the sacher torte is afraid to be eaten, and it's always dusk in the forest.

    Starting there, this extended poem—part art criticism, part history—considers the phenomenon of glass, revealing the strength and fragility of our age in the minimalist style that has won Cole Swensen such acclaim.