―from "Fire" The Captain Asks for a Show of Hands is Nick Flynn's first new poetry collection in nearly a decade. What begins as a meditation on love and the body soon breaks down into a collage of voices culled from media reports, childhood memories, testimonies from Abu Ghraib detainees, passages from documentary films, overheard conversations, and scraps of poems and song, only to reassemble with a gathering sonic force. It's as if all the noise that fills our days were a storm, yet at the center is a quiet place, but to get there you must first pass through the storm, with eyes wide open, singing. Each poem becomes a hallucinatory, shifting experience, through jump cut, lyric persuasion, and deadpan utterance. This is an emotional, resilient response to some of the essential issues of our day by one of America's riskiest and most innovative writers.

    Here love is defined as a force of reclamation and repair in times of trauma, and trauma is understood to exist within all times. The poems are grounded in what feels like an eternal present, documenting moments of clarity that lift the speaker (and reader) out of the illusion of linear experience. This is what we mean when we describe a work of art as being timeless.Like the river they speak to, these poems return again and again to the same source in search of new ways to reconstruct what has been lost. Vermette suggests that it’s through language and the body ― particularly through language as it lives inside the body ― that a fragmented self might resurface as once again whole. This idea of breaking apart and coming back together is woven throughout the collection as the speaker contemplates the ongoing negotiation between the city, the land, and the water, and as she finds herself falling into trust with the ones she loves.Vermette honours the river as a woman ― her destructive power and beauty, her endurance, and her stories. These poems sing from a place where “words / transcend ceremony / into everyday” and “nothing / is inanimate.”

     Juiced on the ecstasy of self-belief: I have to live. A burgeoning erotics of psychic boldness: I have to live. In which sensitivity is recognized as wealth: I have to live. Trumpeting the forensic authority of the heart: I have to live. This is original ancient poetry. It fashions a universe from its mouth.

    And although he felt terribly alone, his suicide changes everyone around him.His parents are devastated. His secret boyfriend's girlfriend is relieved. His unicorn- and virginity-obsessed classmate, Faraday, is shattered; she wishes she had made friends with him that time she sold him an Iced Cappuccino at Tim Hortons. His English teacher, mid-divorce and mid-menopause, wishes she could remember the dead student's name, that she could care more about her students than her ex's new girlfriend. Who happens to be her cousin. The school guidance counselor, Walter, feels guilty—maybe he should have made an effort when the kid asked for help. Max, the principal, is worried about how it will reflect on the school. And Walter, who's secretly been in a relationship with Max for years, thinks that's a little callous. He's also tired of Max's obsession with some sci-fi show on TV. And Max wishes Walter would lose some weight and remember to use a coaster.And then Max meets a drag queen named Crepe Suzette. And everything changes.

    For he's convinced that the blueprint of his future already exists - on a page picked from a random book. Romantic, fatalistic, quixotic, he blithely teaches with forged credentials at a Montreal university while waiting for his life to unfold. Yet one glance from a dark lady in the street below, and his life veers into chaotic mischance and obsession.The trouble is, Jeremy's world is full of signs. The Page - ripped out of an encyclopedia and given to him in childhood by his "uncle" Gerard is supposed to chart out his life, and somehow the Zulu tyrant Shaka, the Indian love epic Shakuntala, and the city of Shakhtyorsk in the Ukraine all start to feature in Jeremy's life - along with William Shakespeare and, of course, his Dark Lady.But Milena's life requires as much decoding as the Page, and Jeremy stumbles after her into farce, terror, and, for a brief spell, bliss.

    But when Cameron finds a patient hanged in the utilities closet, his infatuation with other people's stories becomes an obsession. Assuming the man's identity, Cameron seeks out and forges a relationship with the victim's mentally challenged sister, who lives in a home uptown. As Cameron becomes more involved in the woman's life, he begins to discover truths that will challenge him to the very core of his existence.

    Though it would help,it is not required that I give hima name first. Also, nothingsays he stops, then, or must turn.--from "The Figure, the Boundary, the Light"In the art of falconry, during training the tether between the gloved fist and the raptor's anklets is gradually lengthened and eventually unnecessary. In these new lyric poems, Carl Phillips considers the substance of connection -- between lover and beloved, mind and body, talon and perch -- and ts the cable of mutual trust between soaring figure and shadowed ground.Contemporary literature can perhaps claim no poetry more clearly allegorical than that of Carl Phillips, whose four collections have turned frequently to nature, myth, and history for illustration; still, readers know the primary attributes of his work to be its physicality, grace, and disarming honesty about desire and faith. In The Tether, his fifth book, Phillips's characteristically cascading poetic line is leaner and more dramatic than ever."

    His memories cluster around the houses they lived in, the schools he went to, the uncles and aunts and cousins he knew as a boy. This is an extremely funny book and the account of how Ted O'Malley repaired the plumbing is likely to become a classic of its kind. It is also a warm and touching book. As a picture of its time, it is clear, true and absolutely unforgettable

    Here is Mowat's memoirs of his service in World War II, his letters to and from his father, and his bizarre tale of steering German war materials back home to Canada. Photographs.

    But in the days after hisfather has a startling accident, Toby makes a series of terrible, wincing choices. As a result, he is fired from his job as an etiquette commentator and loses his superb condo, his beautiful girlfriend and his beloved BMW. Worse still, he must move back to the grey Montreal suburb of Dollard-des-Ormeaux and live in his parents’ basement.With his silent BlackBerry and a sudden absence of friends or saviours, Toby feels he has reached the limits of misery and humiliation. But his father’s increasingly frightening behaviour is where the real trouble—and risk—lies. Who is this man? What can Toby do? Then, in a moment of misplaced gallantry, Toby encounters an unstable francophone mother who disappears and abandons her two-year-old son, Hugo, to his care. Trapped with a toddler and forced to deal with his father’s tragedies, Toby emerges from the basement bungalow of his life—muddy, broke, bruised, heartbroken—but, finally, a man.

    Invoking both the personal and the civic self, they chart uncertain new beginnings in a shattered nation. What emerges is both a poignant meditation on a daughter's relationship with her mother and a citizen's relationship to her country. from "Frontier" . . . At times, I felt sick, intoxicatedby BPA and mercury.At other times I fasted and the starsstumbled clear from the vault.Up there, the universe stands around drunk.I hope the Lord is kind to us,for we engrave our every mistake . . .

    Determined to find redemption in the midst of their derision and to find joy despite uncertainty, Moira faces impossible choices with consequences beyond anything she can imagine.Thrown into the purgatory of a bleak prairie landscape as unforgiving as her mother, twenty-year-old Newfoundlander Moira Burns is certain she will rise above the locals of Ibsen, Saskatchewan. Until the reasons for her flight west become clear. Until she is befriended by a prostitute and courted by a ‘half breed’. Until she becomes the “dolly-bird” of superstitious Irish Catholic homesteader, Dillan Flaherty.Scattered through with birth, death, and the violent potential of both man and the elements, Dollybird excavates the small mercies which come to mean more than they should on a prairie peopled with characters struggling under a huge sky that waits, not so quietly, for them to fail.

    Dungy offers a survival guide for the modern heart as she takes on twenty-first-century questions of love, loss, and nature. From a myriad of lenses, these poems examine the human capability for perseverance in the wake of heartbreak; the loss of beloved heroes and landscapes; and our determination in the face of everyday struggles. Dungy explores the dual nature of our presence on the planet, juxtaposing the devastation caused by human habitation with our own vulnerability to the capricious whims of our environment. In doing so, she reveals with fury and tenderness the countless ways in which we both create and are victims of catastrophe.This searing collection delves into the most intimate transformations wrought by our ever-shifting personal, cultural, and physical terrains, each fraught with both disillusionment and hope. In the end, Dungy demonstrates how we are all intertwined, regardless of race or species, living and loving as best we are able in the shadows of both man-made and natural follies. Flight It is the day after the leaves, when buckeyes, like a thousand thousand pendulums, clock trees, and squirrels, fat in their winter fur, chuckle hours, chortle days.  It is the time for the parting of our ways.   You slid into the summer of my sleeping, crept into my lonely hours, ate the music of my dreams. You filled yourself with the treated sweet I offered, then shut your rolling eyes and stole my sleep.   Came morning and me awake.  Came morning. Awake, I walked twelve miles to the six-gun shop. On the way there I saw a bird-of-prayer all furled up by the river. I called to it.  It would not unfold.  On the way home I killed it.   It is the time of the waking cold, when buckeyes, like a thousand thousand metronomes, tock time, and you, fat on my summer sleep, titter toward me, walk away.  It is the time for the parting of our days.

    Confident. Powerful.” takes the reader on an emotive journey of empowerment through life’s countless triumphs and tribulations. Above all else, it inspires one to tap into their infinite potential so they can overcome any obstacle that appears on their unique path. Through heartfelt storytelling, alliterative diction, and soul-awakening themes, this empathic poetess instills each reader with an unwavering sense of perseverance, courage, and compassion. This uplifting book is more than a mere collection of poetic musings, it serves as a powerful tool of self-love and personal transformation that belongs on every fierce soul’s bookshelf—or better yet, on their nightstand for their daily dose of inspiration each time they rise. The collection offers poems for women and men urging us to stretch and grow to our fullest potential. The empowering prose offers encouraging words with a call to action to harness our self-confidence to achieve the goals we were destined to shatter.

    . .--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.