Shaped prose is a form that works the "little edges" of lyric and discourse, and radiates out into the space between them. As occasional pieces, many of the poems in the book are the result of a request or commission to comment upon a work of art, or to memorialize a particular moment or person. In Moten's poems, the matter and energy of a singular event or person are transformed by their entrance into the social space that they, in turn, transform. An online reader's companion is available at http: //fredmoten.site.wesleyan.edu.

    What remains visible is delicate poetry: artfully rendered, haunted by its former self, yet completely new. A high-quality replica of the original aged, delicate book in which Ruefle “erased” the text, this book will appeal to fans of poetry as well as visual art.Mary Ruefle is the author of Madness, Rack, and Honey: Collected Lectures, a finalist for the 2012 National Book Critics Circle Award in criticism (Wave Books, 2012), and Selected Poems (Wave Books, 2010), winner of the William Carlos Williams Award. She has published ten other books of poetry, a book of prose (The Most of It, Wave Books, 2008), and a comic book, Go Home and Go to Bed!, (Pilot Books/Orange Table Comics, 2007); she is also an erasure artist, whose treatments of nineteenth century texts have been exhibited in museums and galleries, and include the publication of A Little White Shadow (Wave Books, 2006). Ruefle is the recipient of numerous honors, including an Award in Literature from the American Academy of Arts and Letters, a Guggenheim fellowship, a National Endowment for the Arts fellowship, and a Whiting Award. She lives in Bennington, Vermont, and teaches in the MFA program at Vermont College.

    A MOUTH IN CALIFORNIA, Graham Foust's fourth book of poetry, uses the ironies and anxieties of contemporary life as a foil for mordant and sometimes violent humor. Through mangled aphorisms, misheard song lyrics, and off-key phrasing, Foust creates a unique idiom of tragicomic pratfalls, a ballet of falling down. Yet the elasticity of Foust's language repels the stiff-necked adversaries of thought: what's the wrong way to break / that brick of truth back into music?

    Polyvocal poems, arias, and redacted text speak for the unheard. Philip Metres exposes our common humanity while investigating the dehumanizing perils of war and its lasting effect on our culture.From "Hung Lyres":@When the bombs fell, she could barely raiseher pendulous head, wept shrapneluntil her mother capped the firewith her breast. She teeteredon the highwire of herself. Shelay down & the armies retreated, nevershowing their backs. When she unlatchedfrom the breast, the planes took off again.Stubborn stars refused to fall . . . Philip Metres has written a number of books and chapbooks, most recently A Concordance of Leaves (Diode, 2013), abu ghraib arias (Flying Guillotine, 2011), To See the Earth (Cleveland State, 2008), and Behind the Lines: War Resistance Poetry on the American Homefront Since 1941 (University of Iowa, 2007). His work has appeared widely, including in Best American Poetry, and has garnered two NEA fellowships, the Thomas J. Watson Fellowship, four Ohio Arts Council Grants, the Anne Halley Prize, the Arab American Book Award, and the Cleveland Arts Prize. He teaches at John Carroll University in Cleveland, Ohio.

    This book is also concerned with the intergenerational trauma of the children of Holocaust survivors.

    Clover fuses formal control, a solid grounding in poetic tradition (his allusions range from Shakespeare to Dickinson to John Cale), and sheer visionary exhilaration into a technical, moral, aesthetic, and imaginative lexicon that irradiates each page.The eerie cyberglow of Clover's lines illuminates a pageant of blurred and fragmented desolation: the Bomb, death camps, the Persian Gulf War, the beating of Rodney King, the whole numbing litany of modern horrors. Clover is a master of poetic shorthand, of the stark, unnerving image as immediate as yellow tape at a crime scene.Madonna anno domini is a sacrament for the twilight of the atomic age, a hellish Interzone with "God in abeyance" where dazed speakers search through the vertigo of negation for love and belief. And here. in this utterly convincing vision of a world whose center has long since lost its hold, we see the life on whose brink we, at the end of the millennium, find ourselves poised.

    Vita Nova is a book that exists in the long moment of spring: a book of deaths and beginnings, resignation and hope; brutal, luminous, and far-seeing.Like late Yeats, Vita Nova dares large statement. By turns stern interlocutor and ardent novitiate, Glück compasses the essential human paradox. In Vita Nova, Louise Glück manages the apparently impossible: a terrifying act of perspective that brings into resolution the smallest human hope and the vast forces that thwart and shape it.

    With quiet consideration and dark wit, Bibbins addresses the majority of his poems to Mark Crast, his friend and lover who died from AIDS at the early age of 25. Every broken line and startling linguistic turn grapples with the genre of elegy: what does it mean to experience personal loss, Bibbins seems to ask, amidst a greater societal tragedy? The answer is blurred—amongst unforeseen disease, intolerance, and the intimate consequences of mismanaged power. Perhaps the most unanswerable question arrives when Bibbins writes, "For me elegy/ is like a Ouija planchette/ something I can barely touch/ as I try to make it/ say what I want it to say." And while we are still searching for the words that might begin an answer, Bibbins helps us understand that there is endless value in continuing—through both joy and grief—to wonder.

    The voice is consistently spare, honest, understated, and eccentric.

    Animals populate its pages—owl, groundhog, fox, each with its own inimitable survival skills—and the poet who so meticulously observes their behaviors has accumulated a lifetime’s worth of skills herself: she too has survived. The power of these extraordinary poems lies in their recognition that all our experience is ultimately useless—that human beings are at every moment beginners, facing the earth as if for the first time. "Don’t you think I’m doing better," asks the first poem. "You got sick you got well you got sick," says the last.Eschewing punctuation, forgoing every symmetry, the poems hurl themselves forward, driven by an urgent need to speak. Headwaters is a book of wisdom that refuses to be wise, a book of fresh beginnings by an American poet writing at the height of her powers.

    Cope continues to be the most generous of authors, sharing her experience of childhood and marriage and writing poignantly about the passing of time. In several of the poems she reimagines Shakespeare in unorthodox fashion; in others she offers heartfelt tributes to friends and to public figures including Eric Morecambe and John Cage.Anecdotal Evidence demonstrates the formal brilliance and empathetic insight which have delighted readers for years, and shows why Wendy Cope is one of our best-loved poets.

    Remember: you don’t always notice the sun rising in the sky until, one day, you feel it’s warmth touching your face and you realise how much you have grown.” From the author of the bestselling book ‘Bloom for Yourself,' comes a collection of poetry and prose for courage. This empowering collection explores the transformation from low self-worth, to the bravery of letting go, and the wisdom that comes from truly believing in yourself. April Green has an extraordinary gift for helping you understand that you are never truly alone. Her words are shared by thousands of people all over the world, including Jenna Dewan, and Shantel Vansanten. Her voice serves as a reminder to all of us that healing, transformation, freedom, and self-love are possible.

    "Kelly has a talent for coaxing out the world's ghosts and then fixing them in personal landscapes of fear and uncertainty.... Smoothed by nuances of sound and rhythm, her poems exude an ambiguous wisdom, an acceptance of the sad magic that returns us constantly to the lives we might have led."--Library Journal

    We all are broken and broken is its own kind of beautiful.

    His first collection, set in the Midwest, alternately features a childhood Wisconsin farm, the record-breaking storm that destroyed it, and the turbulent marriage that recalls it. Love and wonder mingle in these lines.