Kenyon's fourth collection is built around two perfectly orchestrated poem sequences. In the first, the speaker contrasts memories of her baby carriage with other images from her childhood, such as her parents' toiling away at low-paying jobs. She also recalls the present-day life of her aging, increasingly dependent mother. Melancholia, the subject of the second sequence and several poems surrounding it, has been played to death in modern poetry, but still Kenyon offers new insights and gives even the most depressing poems an uplifting lilt in their final lines. In her hands a list of the latest medications becomes fit material for poetry: "The coated ones smell sweet or have / no smell; the powdery ones smell / like the chemistry lab at school / that made me hold my breath." She writes, in addition to illness, of sleep, insomnia and death. She interacts with the insects, birds and flowers in her New Hampshire landscape, relying on their fragility to teach her of her own. Kenyon describes afterlife, or "the Other Side," with the same precise, hard-edged imagery that fills her other poems." from Publisher's Weekly

    Bingham's strange sense of morbid fancy collides with a gutsy realism; the result is splendid wreckage: a young man is seduced by his first cousin (or maybe it's the other way around) at her brother's wake ("The Other Family"); a bored couple plot to kill a man during their ski-resort honeymoon ("Marriage Is Murder"); a yuppie banker risks his whole perfect life for an affair with a junkie ("The Fixers"); an insurance-company bounty hunter tracks down walk-aways from drug and alcohol rehab ("Preexisting Condition"); and in the title story, an eleven-year-old boy is caught at the exquisitely uneasy intersection of the safety of childhood play and the pain of grown-up love and longing.These lean, potent stories are utterly original, and yet by turns recall Salinger, in their intellectual acuity, emotional depth, and wicked, dark humor; Fitzgerald, in their vivid chronicling of a new, restless social elite; and the work of "transgressive" writers, in their pervasive sense of the imminent possibility of danger and violence, even in the most civilized surroundings. Above all, the stories in Pure Slaughter Value mark the debut of a striking new literary voice--unsparing, bold, ironic, and true--that will haunt us for a long time to come.

    Young Jeannie spends her days watching her mother and the other harbour girls sitting at the water's edge - mending nets, gutting herring - and waiting for her friend Ethan Wharton to come in on his father's fishing smack. As she was growing up, Jeannie always expected to marry Ethan, who is loyal and dependable. But then she meets Harry - a stranger who has come to visit from Hull for the day - and she falls for him. He is exciting and irresistible, and seems very keen on her. But he breaks his promise to come back for her, and Jeannie finds herself young, pregnant and feeling very isolated.Jeannie moves to the port town of Hull where her new, difficult life with a child - touched by illness, tragedy and poverty - is often made bearable by the kindness of others. But she finds herself wishing for the simpler times of her past, wondering if she will ever find someone who will truly love her - and if Ethan will ever forgive her...

    Desperate for something solid to believe in, Capps still mistrusts authority, feeling disenchanted with God, family, eros, even her own impulsive self. And yet while the absence of faith hints at despair, these poems often achieve, almost inspite of themselves, an odd buoyancy. Playful, fearless, wary, there's a dazzling resilience in this book. One poem can make a grand and eccentric claim, "I forgive the afterlife," while another takes as its title something humbler and more poisonous, "God Bless Our Crop-Dusted Wedding Cake." No matter how adrift this poet may feel, poetry itself remains her anchor and lifeline.

    Contains A Promise for Ellie, Sophie's Dilemma, A Touch of Grace, and Rebecca's Reward.

    She begins with “how to” poems addressing everyday matters such as being hopeful, married, divorced; shearing a sheep; praying to unreliable gods; doing nothing at all; and of course, flying. Next come rafts of poems about making peace (or not) with the complicated bonds of friendship and family, and making peace (or not) with death, in the many ways it finds us. Some poems reflect on the redemptive powers of art and poetry itself; others consider where everything begins.Closing the book are poems that celebrate natural wonders—birdsong and ghost-flowers, ruthless ants, clever shellfish, coral reefs, deadly deserts, and thousand-year-old beech trees—all speaking to the daring project of belonging to an untamed world beyond ourselves.Altogether, these are poems about transcendence: finding breath and lightness in life and the everyday acts of living. It’s all terribly easy and, as the title suggests, not entirely possible. Or at least, it is never quite finished.

    There's the pure and bounteous joy of the nail varnish museum. Not to mention the very best lies to tell if you find yourself on an Arctic cruise. She has words of advice for those fast approaching fifty. And she's here to tell you the secret secret truth about writers - well, this one anyway.You'll be wincing in recognition and scratching your head in incredulity, but like Marian herself you won't be able to stop laughing at the sheer delightful absurdity that is modern life - because each and every one of us is clearly making it up as we go along.

    One of the game's great characters. A man who faced doen the demons. A top television pundit and columnist. This is the story of James Peter 'Jimmy' Greaves, one of the all-time greats of English football.Jimmy Greaves was born in east London in February 1940, and from humble beginnings began his rise to the top of the game. He scored on his Chelsea debut, aged seventeen, and became the first player to score 100 goals before the age of twenty-one. When Jimmy left Stanford Bridge for AC Milan in 1963, it outraged the Chelsea faithful, but after only four months Jimmy returned to London, to Tottenham Hotspur for £99,999. Scoring a hat-trick on his debut, Jimmy went on to help Spurs win the fA Cup and the European Cup-Winners' Cup. Throughout the 1960s Greavsie was the hero of White Hart Lane.But for all his success at both club and international level (44 goals in 57 games), there were dark struggles to overcome too. An injury picked up in the final group game of the 1966 World Cup meant that Jimmy cast a forlorn figure on the sidelines during England football's finest hour. And after a move to West Ham at the start of the 1970s, Jimmy career would be plagued by alcoholism. But however powerful his addiction, Jimmy was too strong a character to be pulled under. He came through and reinvented himself as a celebrated pundit on the beautiful game.'Greavsie' is a gripping and truthful autobiography, the story of a remarkable life laced with Jimmy's trademark wit. It is a fascinating account of the golden era of football, the characters who populated it, and the goalscoring machine at the centre of it all.

    Physical and emotional privation, familial violence, racial enmity, and recurrent death are the features of this collection of poetry, set amid the landscape of the South.

    The poems in this wonderful collection touch all of the events and places that meant the most to Philip Levine. There are lyrical poems about his family and childhood, the magic of nighttime and the power of dreaming; tough poems about the heavy shift work at Detroit's auto plants, the Nazis, and bosses of all kinds; telling poems about his heroes--jazz players, artists, and working people of every description, even children. Other poems celebrate places and things he loved: the gifts of winter, dawn, a wall in Naples, an English hilltop, Andalusia. And he makes peace with Detroit: "Slow learner that I am, it took me one night/to discover that rain in New York City/is just like rain in Detroit. It gets you wet." It is a peace that comes to full fruition in a moving goodbye to his home town in the final poem in the collection, "The Last Shift."

    Testifying to Levertov's growing strength and technical mastery as a poet, Poems 1968-1972 also affirms the clarity of her vision in its resistance to the Vietnam War and its "opposition to the whole system of insane greed of which war is only the inevitable expression."The third retrospective volume of her poetry to be published to date by New Directions, Poems 1968-1972 carries forward the record of Denise Levertov's remarkable poetic development from Collected Earlier Poems 1940-1960 and Poems 1960-1967.

    Though bound by an indestructible love, their journey through a world that is darkening with tragedy is fraught with the kind of misunderstandings that bring as much laughter as pain, and as many dreams as nightmares. How does a child cope when faced with a wall of adult secrets? What does a mother do when her biggest fear starts to become a reality? Because it's the Sixties, and because it's shameful to own up to feelings, Eddress tries to deny the truth, while Susan creates a world that will never allow her mother to leave.Set in a world where a fridge is a luxury, cars have starting handles, and where bingo and coupons bring in the little extras, Just One More Day is a deeply moving true-life account, told by mother and daughter, of how the spectre of death moved into their family, and how hard they tried to pretend it wasn't there.

    They have been the subject of films, radio dramatizations and have even been presented on ice Read the originals now and one of the world's greatest ever story tellers will give you hours of pleasure and enjoyment.Stories included are: "Around the World in 80 Days, The Clipper of the Clouds, Journey to the Centre of the Earth, From the Earth to the Moon" and "Twenty Thousand Leagues Under the Sea."

    A contemporary of Anna Akhmatova, Marina Tsvetayeva, and Boris Pasternak, a touchstone for later masters such as Paul Celan and Robert Lowell, Mandelstam was a crucial instigator of the "revolution of the word" that took place in St. Petersburg, only to be crushed by the Bolshevik Revolution. Mandelstam's last poems, written in the interval between his exile to the provinces by Stalin and his death in the Gulag, are an extraordinary testament to the endurance of art in the presence of terror.This book represents a collaboration between the scholar Clarence Brown and W. S. Merwin, one of contemporary America's finest poets and translators. It also includes Mandelstam's "Conversation on Dante," an uncategorizable work of genius containing the poet's deepest reflections on the nature of the poetic process.

    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.