Exploring how the mind orders experience—and how disorder, or different orders, affect that experience—Szporluk has produced a poetry of alien beauty, limning worlds where the inability to exert control results in a disturbing, overwhelming immediacy.

    But when two faces from his old gang turn up, he finds himself getting involved in a new scam, and soon he is embroiled in a world he wants to escape and is forced to confront a man who is dangerously unhinged.

    It also contains one story from the Vampire's Prey series and one unique story called The Body Farm.Deadlocked : Broken Pieces Vol 1 contains the following short stories.Dial Tone: This story picks up from the beginning of the outbreak and tells Laura's story. In this short story, you'll learn about what she and the girls went through that forced them onto the roof of their house, waiting for David to come home.Just a Secretary: This story is about Gloria and Jerry from David's office building. They try to escape the building, but get caught by a character that plays a big part in Deadlocked 3.The Getaway: When David leapt from the billboard into the Everland River, he emerged only to be smacked on the head by a boat that was being chased by the police in the pontoon. This story explains who that was, and why he was running.Batting Average: William and his son, Billy, have been protecting their salvage yard ever since the outbreak of the zombie apocalypse. Moments before they discover David on their beach, William sits back and enjoys a soda with his son who he is afraid he'll lose soon.Love Letter: A note that Laura wrote to David after the events at the end of Deadlocked. This letter technically should be part of Deadlocked Broken Pieces Volume 2, but I thought it fit better here.Also included in Broken Pieces are a couple of short stories that are not from the Deadlocked Universe. The first, The Summoner and the Prey, is from the Vampire's Prey series and is a unique story to this book. Also in this volume is The Body Farm. This is a wholly original story about… well, you'll just have to wait and see! Let me just say that it has a couple of my own personal favorite horror scenes that I've ever written.

    Mary Ruefle is of their number. Her poems discover the full beauty and anguish of life that most of us dare not see, much less depict in luminous detail for the ages.

    Beginning with "Riot Act," a monologue about the Los Angeles uprising in April 1992, Ai explored racial and sexual politics through the voices of diverse characters.

    DC Books' catalog primarily includes books in Malayalam literature, and also children's literature, poetry, reference, biography, self-help, yoga, management titles, and foreign translations.

    Including such subjects as "I Heart Unending Paranoia," "Because You Know You're Avoiding Going Somewhere But Don't Even Know Where Yet," and "I'm Not Going To Change My Clothes Today," Pink's collection is bizarre, funny, and original.

    Lara Glenum was raised in the gothic South, studied at the University of Chicago and the University of Virgina, and now teaches at the University of Georgia. In this entirely unheimlich debut, she enters the stage of American poetry like a Fritz Lang glamor-girl-cum-anatomical-model. Glenum recovers the political intensity and daring of the Surrealist project. The extraordinary precision of these poems is so stunning, we can't help but feel blinded by their visions: sock-monkeys, dollhouses, and a circus made of meat vibrate between the playful and the brutal so deftly, each line is a perfect shard of some fantastic planet, gloriously and sadly like our own. As in Blake's apocalyptic images, the sky rolls itself up like a scroll--brilliant in its colors and infinite in its scope. Glorious!--D.A. Powell.

    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.

    The poems in Accepting the Disaster range from lyric miniatures like "The Crossroads," a six-line sketch of an accident scene, to "The Orange Bottle," an expansive narrative page-turner whose main character suffers a psychotic episode after quitting medication. Mehigan blends the naturalistic milieu of such great chroniclers of American life as Stephen Crane and Studs Terkel with the cinematic menace and wonder of Fritz Lang. Balanced by the music of his verse, this unusual combination brings an eerie resonance to the real lives and institutions it evokes. These poems capture with equal tact the sinister quiet of a deserted Main Street, the tragic grandiosity of Michael Jackson, the loneliness of a self-loathing professor, the din of a cement factory, and the saving grandeur of the natural world. This much-anticipated second collection is the work of a nearly unrivaled craftsman, whose first book was called by Poetry "a work of some poise and finish, by turns delicate and robust."

    These poems are written with the authority of classical myth, yet sound utterly contemporary: the poet's gaze - whether on the natural world or the details of his own life - is unflinching and clear, its utter seriousness leavened by a wry, dry and disarming humour. Alongside fine translations from Neruda and Montale and dynamic (and at times horrific) retellings of stories from Ovid, the poems in "The Wrecking Light" pitch the power and wonder of nature against the frailty and failure of the human. Ghosts sift through these poems - certainties become volatile, the simplest situations thicken with strangeness and threat - all of them haunted by the pressure and presence of the primitive world against our own, and the kind of dream-like intensity of description that has become Robertson's trademark. This is a book of considerable grandeur and sweep which confirms Robertson as one of the most arresting and powerful poets at work today.

    But Ulysses (or his half brother) is but one of the beguiling guises Komunyakaa dons over the course of this densely lyrical book. Here his speaker observes a doomed court jester; here he is with Napoleon, as the emperor "tells the doctor to cut out his heart / & send it to the empress, Marie-Louise"; here he is at the circus, observing as "The strong man presses six hundred pounds, / his muscles flexed for the woman / whose T-shirt says, these guns are loaded"; and here is just a man, placing "a few red anemones / & a sheaf of wheat" on Mahmoud Darwish's grave, reflecting on why "I'd rather die a poet / than a warrior." Through these mutations and migrations and permutations and peregrinations there are constants: Komunyakaa's jazz-inflected rhythms; his effortlessly surreal images; his celebration of natural beauty and of love. There is also his insistent inquiry into the structures and struggles of power: not only of, say, king against jester but of man against his own desire and of the present against the pernicious influence of the past. Another brilliant collection from the man David Wojahn has called one of our "most significant and individual voices," The Emperor of Water Clocks delights, challenges, and satisfies.

    The wit and wisdom of the West, as documented by Dalton Wilcox, poet laureate of the West.

                Two empty suitcases sit in the corner, if that’s any kind of clue.                                —from “Almost Sixty” Brief, jagged, haiku-like, Jim Moore’s poems in Invisible Strings observe time moving past us moment by moment. In that accrual, line by line, is the anxiety and acceptance of aging, the mounting losses of friends to death or divorce, the accounting of frequent flyer miles and cups of coffee, and the poet’s own process of writing. It is a world of both diminishment and triumphs. Moore has assembled his most emotionally direct and lyrically spare collection, one that amounts to his book of days, seasons, and stark realizations.

    She has since published many more books in multiple genres and for readers of all ages, but poetry remains at the heart of her work. Many-Storied House is her fifth collection. While teaching aspiring writers, Lyon asked her students to write a poem based on memories rooted in a house where they had lived. Working on the assignment herself, Lyon began a personal