This small collection of poems explores how time influences loving another, loving yourself and loving the life you own. This quick but fulfilling read, explores these topics in three sections: the head, the heart and the lungs.

    Lyrically complex and startling—yet forthright and unflinching— these poems address rape, abortion, sex work, and other subjects frequently omitted from male-dominated literary traditions, without forsaking the pleasures of being embodied, or the value of personal freedom, of moonlight, and of hope. Throughout, the topography and mythology of California, as well as the uses and failures of language itself, are players in what it means to be a woman, a sexual being, and a trauma survivor in contemporary America.

    Ackerman muses on the confines of therapy sessions, where she intersects "twice a week/in a painstaking hide-and-seek/making do with half-light, half-speak"; relishes the succulent pleasure of eating an apricot, with its "gush of taboo sweetness"; and imagines the "unupholstered voice, a life in outline" in her stunning elegy to C. S. Lewis. Whimsical, organic, and wise, the poems in I Praise My Destroyer affirm Ackerman's place as one of the most enchanting poets writing today.

    In Little Boat, Valentine continues her exploration of spiritual life, confronting the realities of aging and death in the serene and dreamlike voice so beloved by her many readers. Infusing even the most melancholy subjects with warmth and humanity, Little Boat explores such subjects as grief, ordinary objects, illness, and memory, carrying the reader into disparate worlds, rendering the complexity of our common experience through startling images. The poet's extraordinary juxtapositions blur the boundaries of the material world and the invisible, the given and the assumed, the present and the sometimes recently absent. Readers will find Valentine's quiet epiphanies on rich display here, as this much-heralded poet quietly merges the sorrowful and the sublime.

    Whether counseling a searching soul or addressing a packed house in Madison Square Garden, her message is elegantly universal. In Life Is A Test, the Rebbitzen's insights on faith, her soul-stirring wisdom, and her palpable love of all people saturate every page. Life Is A Test is really three books in one, each bearing a particular focus to help readers look for the message embedded in any difficulty. The book begins with tests of self-discovery and then examines the challenging realm of interpersonal relationships, concluding with a section on perceiving the Divine Design in the big picture of global events, as well as in one's own world. Regardless of age or experience, people of all persuasions will find meaningful substance in Life Is A Test. Rebbitzen Jungreis has captured so many of our deep-seated questions, and has graciously provided us with a decipherable answer key.

    Yet despite the distinctive differences from poem to poem, Bernstein's characteristic explorations of how language both limits and liberates thought are present throughout. Modulating the comic and the dark structural invention with buoyant soundplay, these challenging works give way to poems of lyric excess and striking emotional range. This is poetry for poetry's sake, as formally radical as it is socially engaged, providing equal measures of aesthetic pleasure, hilarity, and philosophical reflection. Long considered one of America's most inventive and influential contemporary poets, Bernstein reveals himself to be both trickster and charmer.

    These poems are loose enough for the reader to flop down inside and stay awhile. They are plangent, personal, confessional, noisy, nostalgic, and maybe a little bit broken. They often contain boats and travel and Toronto (street names and railroad tracks, dives and parks and kitchens) because those are the sorts of things Eva H.D. is drawn to. In Rotten Perfect Mouth, readers will discover a writer with her heart on her sleeve and her hand on her pen, capturing the world around her with vibrant immediacy.

    All the poems are in William Stafford's familiar, reflective voice, and some had been freshly typed at the time of Stafford's death in August of 1993. The book is hospitable to a full range of experiences, moods, stunts with language, tones, expressive landmarks, and intimacies with the universe. Long considered a major voice in twentieth century American poetry, William Stafford is also one of our nation's most popular poets.

    In turns surreal and concrete, playful and serious, urgent and whimsical, Adult Head rewards readers with a unique prosody and deep wisdom. Culled from the same mind responsible for some of the best lyrics and music made in the past decade, this volume displays Tweedy's prodigious talent for poetry on the page. Jeff Tweedy has devoted the last twenty years of his life to songwriting and music making. As a member of the band Wilco and formerly of the band Uncle Tupelo, Tweedy and his band mates have garnered respect and praise from Rolling Stone, Spin, the New Yorker, the New York Times, and the Chicago Tribune. Tweedy lives in Chicago with his wife and two sons.

    What he gets instead is just the opposite. His daughter, Hannah, twelve, struggles with grief, loneliness, and what it means to be Jewish as a Chinese adoptee. She wants to fit in, but that's difficult in their new mostly white and Christian town--so she decides to secretly convert. His son, Aaron, a senior in high school, is applying to Ivy League schools and counting down to when he can leave the small town--until he discovers a shocking secret that threatens his entire future. Lurking in the shadows is a pastor who says he just wants to support the kids in his congregation, but is that all he really wants? The Opposite of Normal is about what it means to love and accept, what it means to do the right thing, and what it means to heal after loss.

    Raoul was shocked to discover that Edgardo was once a Jew who had turned his back on the Jewish religion and his parents. Edgardo was abducted by the order of Pope Pius IX in 1858. When he was only six years of age, he was dragged from the arms of his parents in the back streets of Bologna to the rose gardens of the Vatican. The Pope thought it was justified to take the boy under his wing when the church found that he was secretly baptized by his father's maid who wanted to save his soul when she thought he was dying. There is world outcry. Christians and Jews from Sydney to San Francisco unite to petition the Pontiff to return the boy to his parents. However Pius IX refuses to return the boy to his family, risking his political power for the love of a son he calls his own. Edgardo was given many privileges as the Pope's "son" at a time when the Jews were in ghettos and starving. He never tried to return to his parents who were all but destroyed in their constant attempts to get him back into the Jewish faith. Raoul eventually realised that Father Mortara had not done much with his life in spite of the privileges he had as a child. Instead, he ended up as a sad character, beset with guilt and self-justification instead of reconciling himself to his beliefs. Raoul himself gradually became more aware that he must now choose between a life of passive stability or a life where he goes out into the world and affects changes. Almost 90% of the story of Edgardo Mortara's life and events are based on fact. This truly sad and perhaps unforgivable act of the Catholic Church should be seen against a backdrop of pre-unified Italy in the 1850s, a country overrun with Austrian soldiers, religious fanaticism and fierce anti-semitism at a time when the Pope was one of the most powerful princes in Europe.

    These are the books -- following her volumes from the previous decade (Hinge Picture, Chanting at the Crystal Sea, Cabbage Gardens, and Secret History of the Dividing Line) -- which established Howe as one of America's most interesting and important contemporary writers. "Her work, " as Geoffrey O'Brien put it, "is a voyage of reconnaissance in language, a sounding out of ancient hiding places, and it is a voyage full of risk. 'Words are the only clues we have, ' she has said. 'What if they fail us?'"

    Robin Robertson has written a book of remarkable cohesion and range that calls on his knowledge of folklore and myth to fuse the old ways with the new. From raw, exposed poems about the end of childhood to erotically charged lyrics about the end of desire, from a brilliant retelling of the metamorphosis and death of Actaeon to the final freeing of the waters in "Holding Proteus," these are close examinations of nature--of the bright epiphanies of passion and loss.At times sombre, at times exultant, Robertson's poems are always firmly rooted in the world we see, the life we experience: original, precise, and startlingly clear.

    She was determined to find a better life for herself, away from the oppression and isolation of her Satmar upbringing in Williamsburg, Brooklyn. And in Exodus, Revisited she delves into what happened next--taking the reader on a journey that starts with her beginning life anew as a single mother, a religious refugee, and an independent woman in search of a place and a community where she can belong. Originally published in 2014, Deborah has now revisited and significantly expanded her story, and the result is greater insight into her quest to discover herself and the true meaning of home. Travels that start with making her way in New York expand into an exploration of America and eventually lead to trips across Europe to retrace her grandmother's life during the Holocaust, before she finds a landing place in the unlikeliest of cities. Exodus, Revisited is a deeply moving examination of the nature of memory and generational trauma, and of reconciliation with both yourself and the world.