Stephen Dobyns, author of the classic book on the beauty of poetry, Best Words, Best Order, moves into new terrain in this remarkable book. Bringing years of experience to bear on issues such as subject matter, the mechanics of poetry, and the revision process, Dobyns explores the complex relationship between writers and their work. From Philip Larkin to Pablo Neruda to William Butler Yeats, every chapter reveals useful lessons in these renowned poets' work. Both enlightening and encouraging, Next Word, Better Word demystifies a subtle art form and shows writers how to overcome obstacles in the creative process.

    In an effort to understand desire, beauty, and love as transient anodynes to metaphysical loneliness, he invokes Constantine Cavafy, Pablo Neruda, Anna Akhmatova, and Dante Rossetti.from “Jewel-Tongued”   The stillness of a lover’s mouth   assaulted me. I never wearied of anecdotes   on the Commons, gesturing until I scattered   myself into a luminance, shining over a city   of women. Was I less human or more? I hear still   my breathing echoing off their pillows. So many   eyes like crushed flowers. Our fingers splayed   over a bed’s edge. We were blown away.

    Taking seriously Wittgenstein's remark that "philosophy ought really to be written only as a form of poetry," Perloff begins by discussing Wittgenstein the "poet." What we learn is that the poetics of everyday life is anything but banal."This book has the lucidity and the intelligence we have come to expect from Marjorie Perloff.—Linda Munk, American Literature"[Perloff] has brilliantly adapted Wittgenstein's conception of meaning and use to an analysis of contemporary language poetry."—Linda Voris, Boston Review"Wittgenstein's Ladder offers significant insights into the current state of poetry, literature, and literary study. Perloff emphasizes the vitality of reading and thinking about poetry, and the absolute necessity of pushing against the boundaries that define and limit our worlds."—David Clippinger, Chicago Review"Majorie Perloff has done more to illuminate our understanding of twentieth century poetic language than perhaps any other critic. . . . Entertaining, witty, and above all highly original."—Willard Bohn, Sub-Stance

    . . is strikingly different. Michael's poems are interior, fragmentary, and austere, often stripped down to single-word lines; they seethe with incipient violence. Matthew's are effusive, ecstatic, and all-embracing, spilling over with pop-cultural references and exuberant carnality." —The New YorkerIdentical twins Michael and Matthew Dickman once invented their own language. Now they have invented an exhilarating book of poem-plays about the fifty states. Pointed, comic, and surreal, these one-page vignettes feature unusual staging and an eclectic cast of characters—landforms, lobsters, and historical figures including Duke Ellington, Sacajawea, Judy Garland, and Kenneth Koch, the avant-garde spirit informing this book introduced by playwright John Guare."Lucky in Kansas"Judy Garland: This is always the worst partTin Man: The coming backJudy Garland: Yes, it fucking sucks, it's depressing as shitThe Lion: Well, we're lucky to still be employed at this farmStraw Man: I wouldn't call it luckyThe Lion: We were lucky to get backStraw Man: That's not really lucky either I don't think you know what lucky meansJudy Garland: It's funny what you missTin Man: The runningJudy Garland: The flyingTin Man: The flying monkeysJudy Garland: The beautiful flying monkeys above the endless emeralds the unbelievably green worldMichael Dickman and Matthew Dickman are identical twins who were born and raised in Portland, Oregon. Michael received the 2010 James Laughlin Award for his second collection Flies (Copper Canyon Press, 2011). Matthew won the prestigious APR/Honickman Award for his debut volume, All-American Poem.

    New and Selected Poems includes the best of his seven full-length collections, plus over 23 new poems previously unpublished in book form. From the charged, short-lined poems of Soto's early writing to an unflinching look at poverty and hard labor in California's Central Valley to the off-beat humor in his longer, more recent work, New and Selected Poems is a timely tribute to a brilliant writer whose work confirms the power of the human spirit to survive and soar.

    Three long poems interspersed with prose pieces, Souls of the Labadie Tract takes as its starting point the Labadists, a Utopian Quietest sect that moved from the Netherlands to Cecil County, Maryland, in 1684. The community dissolved in 1722. In Souls, Howe is lured by archives and libraries, with their ghosts, cranks, manuscripts and scraps of material. One thread winding through Souls is silken: from the epigraphs of Edwards ("the silkworm is a remarkable type of Christ...") and of Stevens ("the poet makes silk dresses out of worms") to the mulberry tree (food of the silkworms) and the fragment of a wedding dress that ends the book. Souls of the Labadie Tract presents Howe with her signature hybrids of poetry and prose, of evocation and refraction:     There it is there it is—you     want the great wicked city     Oh I wouldn't I wouldn't     It's not only that you're not     It's what wills and will not.

    How can recklessness guide the poet, the artist, and the reader into art, and how can it excite in us a sort of wild receptivity, beyond craft? "Poetry is not a discipline," Young writes. "It is a hunger, a revolt, a drive, a mash note, a fright, a tantrum, a grief, a hoax, a debacle, an application, an affect . . ."

    The late Kenneth Rexroth ( 1905-1982) is surely one of the most readable of this century's great American poets. He is also one of the most sophisticated.

    Proposing models of hybridity, each of the book's major sequences develops a unique subject, rhythm, and form. Bringing to light the molten potential at the core of personality, the poems illuminate ways that language, as history read by anthropologists, discourse between lovers, gestures between parent and child, graffiti in temples, or even language as an event in itself (the very experience of words at play), incarnates presence. Addressing father and son relationships, and venerating erotic love, Gander's poems surge with vitality: the energy of active discovery.

    Simic is a master of the absurd and unexpected.

    Bly's thesis is that great works of art contain leaps within themselves: 'A poet who is leaping makes a jump from an object soaked in unconscious substance to an object or idea soaked in conscious psychic substance.' The greatest works of art carry the richest associations between the conscious and unconscious, and Bly notes with pleasure the resurgence of abundant leaping in modern poetry.

                         —from “The Return of Colored Only” Skin, Inc. is Thomas Sayers Ellis’s big, ambitious argument in sound and image for an America whose identity is in need of repair. In lyric sequences and with his own photographs, Ellis traverses the African American and American literary landscapes—along the way adding race fearlessness to past and present literary styles and themes, and perform-a-forming tributes for the Godfather of Soul, James Brown; the King of Pop, Michael Jackson; and the election of President Barack Obama. Part manifesto, part identity repair kit, part plea for poetic wholeness, this collection worries and self-defends, eulogizes and casts a vote, raises a fist and, often, an intimidating song. One sequence is written as a sonic/ visual diagram of pronouns and vowels; another quotes from editors’ rejections of his own poetry included in the book; another poem, “Race Change Operation,” begins: “When I awake I will be white, the color of law.” Skin, Inc. is the latest work by one of the most audacious and provocative poets now writing.

    Drawing its name from the spacecraft currently departing our solar system on an embassy to the beyond, Voyager unfolds as three books within a book and culminates in a chilling Dantean allegory of leadership and its failure in the cause of humanity. At the heart of this volume lies the historical figure of Kurt Waldheim—Secretary-General of the U.N. from 1972-81 and former intelligence officer in Hitler’s Wehrmacht—who once served as a spokesman for humanity while remaining silent about his role in the collective atrocities of our era. Resurrecting this complex figure, Reddy’s universal voyager explores the garden of forking paths hidden within every totalizing dream of identity.

    With her marriage shattered, Erin Belieu sifts the wreckage for the black box, the record of disaster. Propelled by a blistering and clarifying rage, she composed at fever pitch and produced riveting, unforgettable poems, such as the ten-part sequence “In the Red Dress I Wear to Your Funeral”:I root through your remains,looking for the black box. Nothing leftbut glossy chunks, a pimp’s platinumtooth clanking inside the urn. I play youover and over, my beloved conspiracy,my personal Zapruder film—look. . .When Belieu was invited by the Poetry Foundation to keep a public journal on their new website, readers responded to the Black Box poems, calling them “dark, twisted, disturbed, and disturbing” and Belieu a “frightening genius.” All true.

    Like a fantastic film, a feverish delirium, or a dream state, these prose poems use an experimental lexicon of imagery that goes beyond anything typically poetic. Tost's point of departure is the loss of the Other that makes the I: Agnes, And in a sort of coming-of-age soliloquy song, he meditates on a range of topics: fatherhood, childhood, identity, poetry. Together his poems express the unburdening of consciousness, a consciousness that contains the likes of Blake, Italo Calvino, Allen Grossman, and Frank Stanford, among others (including Tost himself), Surreal and surprising, Invisible Bride showcases the prose artistry of a new American talent.