A Bulgarian immigrant, Dimitrov writes as both observer of and fervent participant in this "American Youth," as his speakers navigate both the physical and emotional landscapes of desire, intimacy, and longing--whether for a friend, a lover, or a self, "Saint or stranger, I still recklessly seek you."

    And from the beginning, her practice placed her at the vanguard of American writing. Guest's poetry, saturated in the visual arts, extended the formal experiments of modernism, and played the abstract qualities of language against its sensuousness and materiality. Now, for the first time, all of her published poems have been brought together in one volume, offering readers and scholars unprecedented access to Guest's remarkable visionary work. This Collected Poems moves from her early New York School years through her more abstract later work, including some final poems never before published. Switching effortlessly from the real to the dreamlike, the observed to the imagined, this is poetry both gentle and piercing seemingly simple, but truly and beautifully dislocating.

    Winner of the 2003 Sawtooth Poetry Prize, judged by Joe Wenderoth, who comments, in his introduction: There are many ways to hear 'it takes off the top of my head.' For me, the most important way to hear it is: it makes me suddenly and oddly aware that I am alive--aware that I am simultaneously at the end and the beginning of my power, which is simply to be there and to say so. Foust's poems do this for me; I feel akin to the mute struggler that lurks all around these poems that eludes so many attempts at saying that and where and how he is. The struggle is, in my view, dignified -- never self-congratulatory, never self-pitying -- and it has produced sounds for us to come back to--sounds for us to set out from--Joe Wenderoth, from the introduction.

    After the loss of his mother, Omar Holmon re-learns how to live by immersing himself in popular culture, becoming well-versed in using the many modes of pop culture to spell out his emotions. This book is made up of both poems and essays, drenched in both sadness and unmistakable humor. Teeming with references that are touchable, no matter what you do or don't know, this book feels warm and inviting.

    In her first collection in five years, Anne Carson explores this idea with characteristic brilliance and a tantalizing range of reference, moving from Aphrodite to Antonioni, Demosthenes to Annie Dillard, Telemachos to Trotsky, and writing in forms as varied as opera libretto, screenplay, poem, oratorio, essay, shot list, and rapture. As she makes her way through these forms she slowly dismantles them, and in doing so seeks to move through the self, to its undoing.

    A shockingly assured first collection from young poet Jesse Ball, its elegant lines and penetrating voice present a poetic symphony instead of a simple succession of individual, barely-linked poems. Craftsmanship defines this collection; it is full of perfect line-breaks, tenderly selected words, and inventive pairings. Just as impressive is the breadth and ingenuity of its recurring themes, which crescendo as Ball leads us through his fantastic world, quietly opening doors.In five separate sections we meet beekeepers and parsons, a young woman named Anna in a thin, linen dress and an old scribe transferring the eponymous March Book. We witness a Willy Loman-esque worker who "ran out in the noon street / shirt sleeves rolled, and hurried after / that which might have passed" only to be told that there's nothing between him and "the suddenness of age." While these images achingly inform us of our delicate place in the physical world, others remind us why we still yearn to awake in it every day and "make pillows with the down / of stolen geese," "build / rooms in terms of the hours of the day." Like a patient Virgil, insistent and confident, Ball escorts us through his mind, and we're lucky to follow.

    in this lyrically muscular, artfully crafted novel.In the barrio of East Los Angeles, a group of unbreakable young women struggle to find their way through the turbulent urban landscape of the 1960s. Androgynous Turtle is a homeless gang member. Ana devotes herself to a mentally ill brother. Ermila is a teenager poised between childhood and politicalconsciousness. And Tranquilina, the daughter of missionaries, finds hope in faith. In prose that is potent and street tough, Viramontes has choreographed a tragic dance of death and rebirth.Julia Alvarez has called Viramontes "one of the important multicultural voices of American literature." "Their Dogs Came with Them" further proves the depth and talent of this essential author.Helena Maria Viramontes is the acclaimed author of "The Moths and Other Stories" and "Under the Feet of Jesus," a novel; and the coeditor, with Maria Herrera-Sobek, of two collections: "Chicana (W)Rites: On Word and Film" and "Chicana Creativity and Criticism." She is the recipient of the 2006 Luis Leal Award and the John Dos Passos Award for Literature, and her short stories and essays have been widely anthologized and adopted for classroom use and university study. Viramontes lives in Ithaca, New York, where she is a professor in the Department of English at Cornell University.

    Christ has just been crucified, and they are heartbroken—until a third man joins them on the road and comforts them. Once they reach Emmaus and break bread, the pair realizes they have been walking with Christ himself. But in the moment they recognize him, he disappears. Spencer Reece draws on this tender story in his mesmerizing collection—one that fearlessly confronts love and its loss, despair and its consolation, and faith in all of its various guises.Reece’s central figure in The Road to Emmaus is a middle-aged man who becomes a priest in the Episcopal Church; these poems follow him to New York City, to Honduras, to a hospital where he works as a chaplain, to a prison, to an Alcoholics Anonymous meeting. With language of simple, lyrical beauty that gradually accrues weight and momentum, Reece spins compelling dramas out of small moments: the speaker, living among a group of orphans, wondering "Was it true, what they said, that a priest is a house lit up?"; two men finding each other at a Coming Out Group; a man trying to become visible after a life that had depended on not being seen.A yearning for connection, an ache of loneliness, and the instant of love disappearing before our eyes haunt this long-awaited second collection from Spencer Reece.

    With a gift for delicate, violent imagery, Ashe invites us to lose ourselves in her world. Wrong Side of a Fistfight feels like getting lost in the woods, with someone holding your hand promising to guide you home. This is the second book of poems by Ashe Vernon, spoken word poet and author of the blog Late Night Corner Store.

    Ms Smith’s new book, Shoulda Been Jimi Savannah, is just beautiful—and like the America she embodies and represents—dangerously beautiful. Shoulda Been Jimi Savannah is a stunning and transcendent work of art, despite, and perhaps because of, its pain. This book shines." —Sapphire"One of the best poets around and has been for a long time." —Terrance Hayes"Smith's work is direct, colloquial, inclusive, adventuresome." —Gwendolyn BrooksIn her newest collection, Patricia Smith explores the second wave of the Great Migration. Shifting from spoken word to free verse to traditional forms, she reveals "that soul beneath the vinyl."Patricia Smith is the author of five volumes of poetry, including Blood Dazzler, a finalist for the 2008 National Book Award, and Teahouse of the Almighty, a National Poetry Series selection. She lives in New Jersey.

    Exploring the interplay of adolescence and media, Dear Azula is a masterclass on how Generation Z see themselves reflected on screen, how they find themselves in characters when the world does not grant them the possibility. These poems pay homage to the cartoon characters who made us the wicked lovestruck people that we are. These ubiquitous stories of teen ghost boys and water bending women gave wonder to a generation raised by recession. In illustrious villains we learned our own glamour. In chiseled chins and 2D teeth we learned desire. In Dear Azula, I Have a Crush on Danny Phantom we bring the early 2000s renaissance of animation into our modern lives to unpack, celebrate, revel, and remember.

    Obsessive, brilliant, linguistically playful—the mesmerizing world of The Boss is as personal as it is distinctly post-9/11. The result is a breathtaking, one-of-a-kind exploration of contemporary American culture, power structures, family life, and ethnic and personal identity.

    G. Sebald, and Joseph Conrad. The prefatory lyric, "Burial Practice," imagines the posthumous narrative of "then’s" that follows an individual's extinction; in the poem "Aria," a stagehand steps onto the floorboards to wax poetic after the curtain has dropped on an opera; and the extended sequence of "Circle" poems obliquely revisits Dante's ethical landscape of the afterlife.Many of these poems were written while Srikanth Reddy worked for a rural literacy program in the south of India, a fact reflected in the imagined postcolonial world of lyrics such as "Monsoon Eclogue" and "Thieves’ Market." Yet the collection moves beyond the identity politics and ressentiment of postcolonial and Asian-American writings by addressing the fugitive dreams of shared experience in poems such as "Fundamentals of Esperanto." Mobilizing traditional literary forms such as terza rima and the villanelle while simultaneously exploring the poetics of prose and other "formless" modes, Facts for Visitors re-negotiates the impasse between traditional and experimental approaches to writing in contemporary American poetry.

    Through Lara we discover the complex past and present, as she grows up in the 60s and 70s, a mixed race child in London.

    The poet trains to hear clearly and, as much as possible, without interruption, the voice of his or her mind, the voice that gathers, packs with meaning, and unpacks the language he or she knows. It can take a long time to learn to let this voice speak without getting in its way. This slow learning, the growth of this habit of inner attentiveness, is poetic development, and it is the substance of the poet’s art. Of course, this growth is rarely steady, never linear, and is sometimes not actually growth but diminishment—that’s all part of the compelling story of a poet’s way forward. —from the Introduction“The staggering thing about a life’s work is it takes a lifetime to complete,” Craig Morgan Teicher writes in these luminous essays. We Begin in Gladness considers how poets start out, how they learn to hear themselves, and how some offer us that rare, glittering thing: lasting work. Teicher traces the poetic development of the works of Sylvia Plath, John Ashbery, Louise Glück, and Francine J. Harris, among others, to illuminate the paths they forged—by dramatic breakthroughs or by slow increments, and always by perseverance. We Begin in Gladness is indispensable for readers curious about the artistic life and for writers wondering how they might light out—or even scale the peak of the mountain.