Moments of grace, eros, and beauty are braided with shudders of terror and threats of ecological destruction, as Sze moves nimbly through intersections of the disparate and divergent. Using formal disruption, legible erasure, and a diversity of voices—lichen on a ceiling, salt on the table, a man behind on his rent—each page transmutes simplicity into simultaneity, and chaos into compelling song. Sze is a Pulitzer finalist and a widely-revered poet, whose exquisite craft continues to expand our view: there are “so many / worlds to this world.”

    were written within earshot of David Kirby's Old World masters, Shakespeare and Dante. From the former, Kirby takes the compositional method of organizing not only the whole book but also each separate section as a dream; from the latter, a three-part scheme that gives the book rough symmetry. Long-lined and often laugh-out-loud funny, Kirby's poems are ample steamer trunks into which the poet seems to be able to put just about anything--the heated restlessness of youth, the mixed blessings of self-imposed exile, the settled pleasures of home. As the poet Philip Levine says, "The world that Kirby takes into his imagination and the one that arises from it merge to become a creation like no other, something like the world we inhabit but funnier and more full of wonder and terror. He has evolved a poetic vision that seems able to include anything, and when he lets it sweep him across the face of Europe and America, the results are astonishing."

    It offers humorous reflection upon our species' endless attempts to transmit insight regarding our human condition.

    Between facing the traumas of her past and navigating daily life, the narrator of Magdalene yearns for the guidance of her spiritual teacher, a Christ figure, whose death she continues to grieve. Erotic, spirited, and searching for meaning, she is a woman striving to be the subject of her own life, fully human and alive to the sacred in the mortal world.

    Reflecting a new editorial approach, this volume demonstrates the breadth of Ted Berrigan's poetic accomplishments by presenting his most celebrated, interesting, and important work. This major second-wave New York School poet is often identified with his early poems, especially "The Sonnets, " but this selection encompasses his full poetic output, including the later sequences "Easter Monday" and "A Certain Slant of Sunlight, " as well as many of his uncollected poems. The Selected Poems of Ted Berrigan provides a new perspective for those already familiar with his remarkable wit and invention, and introduces new readers to what John Ashbery called the "crazy energy" of this iconoclastic, funny, brilliant, and highly innovative writer.Praise for" The Collected Poems of Ted Berrigan: ""This is a great, great book for all seasons of the mind and heart."--Robert Creeley"Thanks to this invaluable "Collected Poems, " one can hear, as never before, Ted Berrigan dreaming his dream."--"The Nation"""The Collected Poems of Ted Berrigan "is not only one of the most strikingly attractive books recently published, but is also a major work of 20th-century poetry. . . . It is a book that will darken with the grease of my hands. There is no better way to praise it than by saying, 'If you enjoy poetry, you should have it.'" --"Bloomsbury Review ""It's a must-have, a poetic knockout."--"Time Out New York"

    These poems—set in a town that straddles Mexico and Arizona—are lyric adventures, crossing two and three boundaries as easily as one, between cultures, between languages, between senses. Drawing upon fable, parable, and family legend, Ríos utilizes the intense and supple imagination of childhood to find and preserve history beyond facts: plastic lemons turning into baseballs, a grandmother’s long hair reaching up to save her life, the painted faith jumpers leaping to the earth and crowd below. This is magical realism at its shimmering best. The smallest muscle in the human body is in the ear. It is also the only muscle that does not have blood vessels; It has fluid instead. The reason for this is clear: The ear is so sensitive that the body, if it heard its own pulse, Would be devastated by the amplification of its own sound. In this knowledge I sense a great metaphor, But I do not want to be hasty in trying to capture or describe it. Words are our weakest hold on the world. —from "Some Extensions of the Sovereignty of Science" "Ríos is onto something new in his poetry—in the way that the real poets of any time always are."—American Book Review Alberto Ríos teaches at Arizona State and is the author of eight books of poetry, three collections of short stories, and a memoir about growing up on the Mexican border. He is the recipient of numerous awards and his work is included in over 175 national and international literary anthologies. His work is regularly taught and translated, and has been adapted to dance and both classical and popular music.

    . . . Joudah's poems explore loss, displacement, suffering, and longing. They drift from the personal and specific to the larger stories of peoples and nations that Joudah encounters. . . . [His] unique talent is to offer poetry readers a look at a wounded and fractured world through his eyes."—Lena Khalaf Tuffaha, The Institute for Middle East Understanding Winner of the Yale Younger Poets competition, 2007In The Earth in the Attic Fady Joudah, a Palestinian-American physician, explores big themes—identity, war, religion, what we hold in common—while never losing sight of the quotidian, the specific. Contest judge Louise Glück describes the poet in her Foreword as “that strange animal, the lyric poet in whom circumstance and profession . . . have compelled obsession with large social contexts and grave national dilemmas.” She finds in his poetry an incantatory quality and concludes, “These are small poems, many of them, but the grandeur of conception is inescapable. The Earth in the Attic is varied, coherent, fierce, tender; impossible to put down, impossible to forget.”

    This collection of short lyric poems evoke certain themes: interaction of and struggle between the human and natural world; violence, particularly against women and children; alienation and betrayal; the mysteries of the universe, God and death; and poetry itself.

    The 44 pieces collected here--particularly the long title-poem--find the poet applying his uniquely lyric, meditative, and often hilarious sensibility to the mysterious and incessant curves and crests of love, art, thought, experience, and selfhood.

    In The Mecca was nominated for the National Book Award for poetry.

    . .--from "The Window"Lynda Hull's Collected Poems brings together her three collections--long unavailable--with a new introduction by Yusef Komunyakaa, and allows, for the first time, the full scale of her achievement to be seen. Edited with Hull's husband, David Wojahn, this book contains all the poems Hull published in her lifetime, before her untimely death in 1994.Collected Poems is the first book in the Graywolf Poetry Re/View Series, which brings essential books of contemporary American poetry back into print. Each volume--chosen by series editor Mark Doty--is introduced by a poet who brings to the work a passionate admiration. The Graywolf Poetry Re/View Series brings all-but-lost masterworks of recent American poetry into the hands of a new generation of readers.

    In this stunningly inventive collection—a finalist for the 2001 National Book Award in poetry—Ali excavates the devastation wrought upon his childhood home, Kashmir, and reveals a more personal devastation: his mother's death and the journey with her body back to Kashmir.

    . . Reality has put itself so solidly before methere's little need for mystery . . . Except for us, for how we take the worldto us, and make it more, more than we are, more even than itself.--from "The World"The awards given to C.K. Williams' two most recent books--a National Book Award for The Singing and a Pulitzer Prize for Repair--complete the process by which Williams, long admired for the intensity and formal daring of his work, has come to be recognized as one of the few truly great living American poets. Williams treats the characteristic subjects of a poet's maturity--the loss of friends, the love of grandchildren, the receding memories of childhood, the baffling illogic of current events--with an intensity and drive that recall not only his recent work but also his early books, published forty years ago. The Singing is a direct and resonant book: searing, hearfelt, permanent.The Singing is the winner of the 2003 National Book Award for Poetry.

    Or she is and she isn’t. If you just want to boss people around, you’re a control freak, but if you can joke about it, then your bossiness is leavened by a yeast that’s all too infrequent in contemporary poetry, that of humor.”—New York Times“Shaughnessy’s voice is smart, sexy, self-aware, hip . . . consistently wry, and ever savvy.”—Harvard Review“Brenda Shaughnessy . . . writes like the love-child of Mina Loy and Frank O’Hara.”—Exquisite Corpse"In its worried acceptance of contradiction, its absolute refusal of sentimentality and its acute awareness of time's 'scarce infinity,' this is a brilliant, beautiful and essential continuation of the metaphysical verse tradition." —Publishers Weekly, starred review“Human Dark with Sugar is both wonderfully inventive (studded with the strangenesses of ‘snownovas’ and ‘flukeprints’) and emotionally precise. Her ‘I’ is madly multidexterous—urgent, comic, mischievous—and the result is a new topography of the debates between heart and head.”—Matthea Harvey, a judge for the Laughlin Award"Seriously playful, sexy, sharp-edged, and absolutely commanding throughout....Here you'll meet an 'I' boldly ready to take on the world and just itching to give 'You' some smart directives. So listen up."—Library JournalIn her second book, winner of the prestigious James Laughlin Award, Brenda Shaughnessy taps into themes that have inspired era after era of poets. Love. Sex. Pain. The heavens. The loss of time. The weird miracle of perception. Part confessional, part New York School, and part just plain lover of the English language, Shaughnessy distills the big questions into sharp rhythms and alluring lyrics. “You’re a tool, moon. / Now, noon. There’s a hero.”Master of diverse dictions, she dwells here on quirky words, mouthfuls of consonance and assonance—anodyne, astrolabe, alizarin—then catches her readers up short with a string of powerful monosyllables. “I’ll take / a year of that. Just give it back to me.” In addition to its verbal play, Human Dark With Sugar demonstrates the poet’s ease in a variety of genres, from “Three Sorries” (in which the speaker concludes, “I’m not sorry. Not sorry at all”), to a sequence of prose poems on a lover’s body, to the discussion of a disturbing dream. In this caffeine jolt of a book, Shaughnessy confirms her status as a poet of intoxicating lines, pointed, poignant comments on love, and compelling abstract images —not the least of which is human dark with sugar.Brenda Shaughnessy was raised in California and is an MFA graduate of Columbia University. She is the poetry editor for Tin House and has taught at several colleges, including Eugene Lang College and Princeton University. She lives in Brooklyn.

    The wildly inventive imagery in these cinematic pieces lodges them somewhere between the surreal and the pure symbol, colorful and smooth like the lyrics of John Ashbery or Linda Pastan. In Chelotti’s poems, diamonds talk and sheriffs balance frogs on the tips of pens.The rain says, Listen to Debussy,go ahead, Debussy will fix you.—From “Migraine Cure”The secret to including everythingis to intricately divide your mindand then, all of a sudden,undivide it.—From “Still Life on a Scrolling Background”