For the first time, the complete collection of Maya Angelou's published poems-including "On the Pulse of Morning"-in a permanent collectible, handsome hardcover edition.

    Every woman should know the feelings of being loved and radiating those feelings back to her mate. This is a beautiful expression of heartfelt emotion using short, gratifying sentiments. If there is a lover in you, you will not get enough of "Her."

    This moment has waited its whole life for you.These are the opening lines of "Today Means Amen," YouTube star Sierra deMulder’s immensely powerful and virally popular poem, which lends its title to this collection. Like her fellow Millennial poets Tyler Knot Gregson, Clementine von Radics, and Lang Leav, Sierra has the gift of speaking directly to the reader. “Today Means Amen” has become an anthem of sorts to thousands, who find themselves reflected in its pain, its fierceness, its tenderness — but also in its triumphant culminating refrain:  You made it You made it You made it Here.The poems in Sierra's new book explore the rocky terrains of love, family, and womanhood with this same remarkable honesty and generosity. Today Means Amen brings this important young poet's work to an even broader audience.

    Oliver's poems begin in the small everyday moments familiar to all dog lovers, but through her extraordinary vision these observations become higher meditations on the world and our place in it.Dog Songs includes visits with old friends, like Oliver's beloved Percy, and introduces still others in poems of love and laughter, heartbreak and grief. Throughout, the many dogs of Oliver's life emerge as fellow travelers and guides, uniquely able to open our eyes to the lessons of the moment and the joys of nature and connection.

    These poems give a look into the heartbreak, anguish, and ultimately, acceptance that comes to those afflicted with Mental Illness. Spanning across three years, they are an anthology of her relationships -- with those who loved her, those who did not, those whom she loved and the way she tried to love herself.

    Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality.Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

    Early posthumously published collections-some of them featuring liberally “edited” versions of the poems-did not fully and accurately represent Dickinson’s bold experiments in prosody, her tragic vision, and the range of her intellectual and emotional explorations. Not until the 1955 publication of The Complete Poems of Emily Dickinson, a three-volume critical edition compiled by Thomas H. Johnson, were readers able for the first time to assess, understand, and appreciate the whole of Dickinson’s extraordinary poetic genius.This book, a distillation of the three-volume Complete Poems, brings together the original texts of all 1,775 poems that Emily Dickinson wrote.

    A writer of startling confession, her poems inhabit the lonely hotel rooms, psych wards and deserted lanes of austerity Britain.Sunshine combines acute social observation with a dark, surreal humour born of first-hand experience. Abuse, addiction and mental health are all subject to Lee-Houghton’s poetic eye. But these are also poems of extravagance, hope and desire, that stake new ground for the Romantic lyric in an age of social media and internet porn. In this new book of poems, Melissa Lee-Houghton shines a light on human ecstasy and sadness with blinding precision.Includes ‘i am very precious’ – Shortlisted for the Forward Prize for Best Single Poem 2016.

    In these fierce yet tender narrative poems, Thom draws from both memory and mythology to create new maps of gender, race, sexuality, and violence. Descended from the traditions of oral storytelling, spoken word, and queer punk, Thom's debut collection is evocative and unforgettable.Kai Cheng Thom is a trans writer and performance artist whose work has been published in Buzzfeed, Autostraddle, Asian American Literary Review, and xoJane. She writes regularly for Everyday Feminism.

    As the book unfolds, the reader journeys alongside the author through grief and healing. Named the Most Promising Young Poet in the country by the Academy of American Poets, Collins's work has consistently wowed audiences. Autopsy propels that work onto the national stage. In the words of the author, the book is a spring thaw -- the new life alongside the old, the good cry and the release after.

    The title poem follows a nineteen-year-old girl in Shanghai who uploaded her suicide onto Instagram. Other poems cross into animated worlds, examine robot culture, and haunt a necropolis for electronic waste. A fascinating sequence spanning the collection speaks in the voice of the international icon and first Chinese American movie star Anna May Wong, who travels through the history of cinema with a time machine, even past her death and into the future of film, where she finds she has no progeny. With a speculative imagination and a sharpened wit, Mao powerfully confronts the paradoxes of seeing and being seen, the intimacies made possible and ruined by the screen, and the many roles and representations that women of color are made to endure in order to survive a culture that seeks to consume them.

    It serves as a reminder to the reader that healing, transformation, and freedom are possible.

    After being orphaned as a young girl, Asghar grapples with coming-of-age as a woman without the guidance of a mother, questions of sexuality and race, and navigating a world that put a target on her back. Asghar's poems at once bear anguish, joy, vulnerability, and compassion, while exploring the many facets of violence: how it persists within us, how it is inherited across generations, and how it manifests in our relationships with friends and family, and in our own understanding of identity. Using experimental forms and a mix of lyrical and brash language, Asghar confronts her own understanding of identity and place and belonging.

    E. Cummings's biographer, include his most popular poems, spanning his earliest creations, his vivacious linguistic acrobatics, up to his last valedictory sonnets. Also featured are thirteen drawings, oils, and watercolors by Cummings, most of them never before published.The selection includes most of the favorites plus many fresh and surprising examples of Cummings's several poetic styles. The corrected texts established by George J. Firmage have been used throughout.

    . . . No one is writing better or more needed verse than this."--Boston Evening Globe