The commentary will contain background on the poems or more deeply delve into themes or topics discussed in the poems themselves. The spiritual seeker as well as the mature in faith will both benefit from the poems.

    The book was awarded the Eminescu Gold Medal' in 2000, when Eminescu was declared 'UNESCO-Year-2000-Poet-Of-The-Year'. The volume includes some the 'national' poet's time-honored gems like Luceafarul/The Evening Star, Glossa, Scrisoarea I / First Epistle Satire, Stelele-n Cer/Stars in the Sky, La Steaua/Onto the Star, among others.

    The first section of this collection pays homage to the poet's roots in a place where the world hands you nothing and promises less, so you are left to invent yourself or disappear. From there these poems both recount and embody repeated acts of defiant self-creation in the face of despair, loss, and shame, and always in the shadow of annihilation.With darkly raucous humor and wrenching pathos, Seuss burrows furiously into liminal places of no dimension—state lines, lakes' edges, the space "between the m and the e in the word amen." From what she calls "this place inbetween" come profane prayers in which "the sound of hope and the sound of suffering" are revealed to be "the same music played on the same instrument."Midway through this book, a man tells the speaker that beauty is that which has not been touched. This collection is a righteous and fierce counterargument: in the world of this imagination, beauty spills from that which has been crushed, torn, and harrowed. "We receive beauty," Seuss writes, "as a nail receives / the hammer blow." This is the poetry that comes only after the white dress has been blown open—the poetry of necessity, where a wild imagination is the only hope.

    

    A satiric edge, tempered by profound compassion, cuts through many of the poems in Lux’s book. While themes of intolerance, inhumanity, loss, and a deep sense of mortality mark these poems, a lighthearted grace instills even the somberest moments with unexpected sweetness. In the title poem Lux writes, “there’s no reason for God to feel guilt / I think He was downhearted, weary, too weary / to be angry anymore . . . / He wanted each of us, / and all the things we touch . . . / to have a tiny piece of Him / though we are unqualified, / of even the crumb of a crumb.” Dark, humorous, and strikingly imaginative, this is Lux’s most compassionate work to date.

    Poems and selfies by Steve Roggenbuck

    Predator, the debut collection by Michael Robbins, became one of the hottest and most celebrated works of poetry in the country, winning acclaim for its startling freshness and originality, and leading critics to say that it was the most likely book in years to open up poetry to a new readership.   Robbins’s poems are strange, wonderful, wild, and irrationally exuberant, mashing up high and low culture with “a sky-blue originality of utterance” (The New York Times). The thirty-six new poems in The Second Sex carry over the music, attitude, hilarity, and vulgarity of Alien vs. Predator, while also working deeper autobiographical and political veins.

    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

    

    D. A. Powell What is it about the poems in Red Sugar, Jan Beatty's astonishing third collection, that brings to mind the incomparable music of Miles Davis? 'It's just that I can't play like anybody else... I can't do anything like anybody else, ' Davis insisted. These poems go their own sure way, making their own fierce music, charting 'the fluid stages of / empire & slavery' in the human body, yours and mine, as we rehearse our sometimes sorry but always necessary seductions. Jan Beatty is the author of Boneshaker and Mad River, winner of the 1994 Agnes Lynch Starrett Poetry Prize. She is the recipient of the Pablo Neruda Prize for Poetry and two fellowships from the Pennsylvania Council on the Arts

    These poems are allusive and tough. While they celebrate the pleasures of the natural world--mutability, desire, and the flowering of things--they are compounded by a critical awareness of contemporary culture. As we traverse their associative leaps, we discover a linguistic landscape that is part garden, part wilderness, where a poem can perform its own natural history. Divided into four cantos interrupted by lyrics and errata, Meteoric Flowers mirrors the form of Erasmus Darwin's 18th-century scientific pastorals. In attending to poetry's investigative potential, Willis shifts our attention from product to process, from commodity to exchange, from inherited convention to improvisational use.

    He sets his eyes upon the people, the beautiful places and the spectacular wildlife. He captures the adventure and joy filled in the way of life in the hills vividly. This collection of fiction and non-fiction works is a must-read for ardent Ruskin Bond fans.

    A former resident of St. Louis, where he founded the Observable Poetry reading series, he now lives in Hillsborough, North Carolina.

    But as Long Man opens, the Tennessee Valley Authority's plans to dam the river and flood the town of Yuneetah for the sake of progress-to bring electricity and jobs to the hardscrabble region-are about to take effect. Just one day remains before the river will rise, and most of the town has been evacuated. Among the holdouts is a young mother, Annie Clyde Dodson, whose ancestors have lived for generations on her mountaintop farm; she'll do anything to ensure that her three-year-old daughter, Gracie, will inherit the family's land. But her husband wants to make a fresh start in Michigan, where he has found work that will secure the family's future. As the deadline looms, a storm as powerful as the emotions between them rages outside their door. Suddenly, they realize that Gracie has gone missing. Has she simply wandered off into the rain? Or has she been taken by Amos, the mysterious drifter who has come back to town, perhaps to save it in a last, desperate act of violence? Suspenseful, visceral, gorgeously told, Long Man is a searing portrait of a tight-knit community brought together by change and crisis, and of one family facing a terrifying ticking clock. It is a dazzling and unforgettable tour de force.

    His third book in a decade, Some Values of Landscape and Weather revives poetic architectures such as elegy, song and litany, to build what he calls "a comprehensive music." Here musical and pictorial values perform against a backdrop of political, social and ethical values. These intense and exacting poems traverse a landscape of cultural memory that opens into the explosive, vibrant registers of the now. John Ashbery has written that Gizzi's poems are "simultaneously all over the page and right on target. He is the most exciting poet to come along in quite a while."