the book is meant to be read straight through and takes you into the rabbit hole of falling in love.

    Instead, she created at home small handmade books. When, in her later years, she stopped producing these, she was still writing a great deal, and at her death she left behind many poems, drafts, and letters. It is among the makeshift and fragile manuscripts of Dickinson’s later writings that we find the envelope poems gathered here. These manuscripts on envelopes (recycled by the poet with marked New England thrift) were written with the full powers of her late, most radical period. Intensely alive, these envelope poems are charged with a special poignancy—addressed to no one and everyone at once.Full-color facsimiles are accompanied by Marta L. Werner and Jen Bervin’s pioneering transcriptions of Dickinson’s handwriting. Their transcriptions allow us to read the texts, while the facsimiles let us see exactly what Dickinson wrote (the variant words, crossings-out, dashes, directional fields, spaces, columns, and overlapping planes).

    Stranger, Baby, its follow-up, is marked by the same sense of fantasy and play, estrangement and edgy humour for which she has become known. But these poems delve deeper again, in their off-kilter and often painful encounter with childhood loss. This is a book of mourning, recrimination, exhilaration and 'oceanic feeling': 'A meditation on a want that can never be answered.'

    One of the most significant writers of the New York School—which unofficially included John Ashbery, Frank O'Hara, and Kenneth Koch, among others—Schuyler was strongly influenced by both art and music in his work, often incorporating rapid shifts in sound, shape, and color within his poems that almost gave his work the effect of a collage and engendered comparisons with Whitman and Rimbaud.

    Live or Die, her third volume, consists of poems written from January 25, 1962 to February, 1966, many of them published in such leading periodicals as The New Yorker, Harper's and Encounter.These poems are arranged chronologically and compose a fierce and intimate autobiography. The poet speaks with total frankness, her imagery and reference brilliant and hard as diamonds. It is impossible for her to be banal. Much of her experience is rendered as nightmarish, but it is significant that the final poem is stunningly affirmative, its title the single command "Live."This collection is a striking body of work by a poet whose experience is intensely female, whose poetry is strong and powerful.

    For the reservation-born, urban-dwelling hipster, the exercise feels stereotypical, reductive, and boring. He hates nature. He prefers city lights to the night sky. He’d slap a tree across the face. He’d rather write a mountain of hashtag punchlines about death and give head in a pizza-parlor bathroom; he’d rather write odes to Aretha Franklin and Hole. While he’s adamant—bratty, even—about his distaste for the word “natural,” over the course of the book we see him confronting the assimilationist, historical, colonial-white ideas that collude NDN people with nature. The closer his people were identified with the “natural world,” he figures, the easier it was to mow them down like the underbrush. But Teebs gradually learns how to interpret constellations through his own lens, along with human nature, sexuality, language, music, and Twitter. Even while he reckons with manifest destiny and genocide and centuries of disenfranchisement, he learns how to have faith in his own voice.

    Many of the poems take place along the coastline known as Omaha Beach in Normandy, and move between visions of that beach during the Allied invasion of Europe (whose code name was Operation Overlord) and that landscape of beaches, fields, and hedgerows as it is known to the speaker today. In every sense the work meditates on our new world, ghosted by, and threatened by, competing descriptions of the past, the future, and what it means to be, as individuals, and as a people, "free."

    As always, she is a poet of dark hilarity and telling social comment. Shifting between poetic and vulgar registers, the surreal imagery of her early work is re-deployed to venture into the badlands of the human psyche. Her poems hold their subjects in an unflinching grip, addressing faces behind the veneer, asking what it is that keeps us alive. These days of prohibition are days of intoxication and inebriation, rehab in a desert and adultery for atheists, until finally Bird edges us out of danger, ‘revving on a wish’.

    Mutability – a sense that all matter is unstable in the face of mortality – is at the heart of this new collection and each poem is involved in that drama: the held tension that is embodied life, and life’s losing struggle with the gravity of nature.Working as before with an ear to the oral tradition, these poems attend to the organic shapes and sounds and momentum of the language as it’s spoken as well as how it’s thought: fresh, fluid and propulsive, but also fragmentary, repetitive. These are poems that are written to be read aloud.Orpheus and Tithonus appear at the beginning and end of this book, alive in an English landscape, stuck in the clockwork of their own speech, and the Hours – goddesses of the seasons and the natural apportioning of Time – are the presiding figures. The persistent conditions are flux and falling, and the lines are in constant motion: approaching, from daring new angles, our experience of being human, and coalescing into poems of simple, stunning beauty.

    This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

    The book teaches that a person's softness is their biggest strength and that having a big heart is not always a bad thing and that a glimmer of light can be found in the darkest places.A Handful of Stars is raw and unapologetic, soft and kind, reflective and inspirational all at the same time. Some of Ruby's most loved poems are shared within the pages of this book, in hope that they will have the same effect on readers the second time as they did the first.

    He’s also L.A.’s most successful gas station franchise owner. But no one can quite seem to figure out what makes him tick. Not the LAPD, who have long since granted him full immunity. Not his boss, who scrutinizes him with covert psychologists. Not the corporate spies who infiltrate his stations. And certainly not the encroaching FBI, who know only that Trang is involved in something big and dangerous and that time is running out.

    Unconventional in both style and content, it shattered the myths of small town American life. A collection of epitaphs of residents of a small town, a full understanding of Spoon River requires the reader to piece together narratives from fragments contained in individual poems."

    This complete edition brings together all the poems of Carver’s five previous books, from Fires to the posthumously published No Heroics, Please.  It also contains bibliographical and textual notes on individual poems; a chronology of Carver’s life and work; and a moving introduction by Carver’s widow, the poet Tess Gallagher.

    Holland, a timely collection of poetry that follows the final girl of slasher cinema - the girl who survives until the end - on a journey of retribution and reclamation. From the white picket fences of 1970s Haddonfield to the apocalyptic end of the world, Holland confronts the role of women in relation to subjects including feminism, violence, motherhood, sexuality, and assault in the world of Trump and the MeToo movement. Each poem centers on a fictional character from horror cinema, and explores the many ways in which women find empowerment through their own perceived monstrousness.