Includes "There's a certain slant of light," "Because I could not stop for death," "It was not death for I stood up."

    In the singular landscape of Matthew Rohrer's first book of poems, the weather, the food, even the household appliances come to life. "A few pages into this book," says the Minneapolis City Pages, "and you'll start glancing sideways at the terrain, which . . . looks suddenly vital." These quirky poems entertain and delicately point to truth. Rohrer illuminates a land of skewed realities where the impossible seems familiar, the sacher torte is afraid to be eaten, and it's always dusk in the forest.

    "Contexts" provides readers with invaluable materials on The Waste Land's sources, composition, and publication history. "Criticism" traces the poem's reception with twenty-five reviews and essays, from first reactions through the end of the twentieth century. Included are reviews published in the Times Literary Supplement, along with selections by Virginia Woolf, Gilbert Seldes, Edmund Wilson, Elinor Wylie, Conrad Aiken, Charles Powell, Gorham Munson, Malcolm Cowley, Ralph Ellison, John Crowe Ransom, I. A. Richards, F. R. Leavis, Cleanth Brooks, Delmore Schwartz, Denis Donoghue, Robert Langbaum, Marianne Thormählen, A. D. Moody, Ronald Bush, Maud Ellman, and Tim Armstrong. A Chronology and Selected Bibliography are included.

    Miłosz provides a preface to each of these poems, divided into thematic (and often beguiling) sections, such as “Travel,” “History,” and “The Secret of a Thing,” that make the reading as instructional as it is inspirational and remind us how powerfully poetry can touch our minds and hearts. "

    "Nick Demske writes from culture like the Hollywood version of a rebellious slave, the role shredding off him, culture's synthetic exemplary tales shredding and piling up on the floor of the projector room."—Joyelle McSweeneyHis name is "a transcendant uber-obsenity that can be understood universally by speakers of any language."

    From the bestselling author of "The Basketball Diaries", "Void of Course" is a collection of poetry that vibrates with the details of everyday city life.

    Some of which came to me in their entirety, which I dictated and then typed out, and some that I worked laboriously picking apart each word to make the perfect poem. They are eclectic and honest and not trying to be anything other than what they are and for that reason I’m proud of them, especially because the spirit in which they were written was very authentic.” (Lana Del Rey) Lana Del Rey brings her breathtaking poetry to life in an unprecedented audiobook. In this stunning spoken word performance, Lana Del Rey reads 14 poems from her debut book Violet Bent Backwards over the Grass accompanied by music from Grammy Award-winning musician Jack Antonoff. Lana’s debut book solidifies her further as “the essential writer of her times” (The Atlantic). This audiobook features Lana reading select poems from the book, including "LA Who Am I to Love You?", "The Land of 1,000 Fires", "Past the Bushes Cypress Thriving", "Never to Heaven", "Tessa DiPietro", "Happy", and several others. The result is an extraordinary poetic landscape that reflects the unguarded spirit of its creator.

    

    In addition to including many more pieces, Tomlinson has organized the whole in chronological order.It isn't what he [the poet] says that counts as a work of art," Williams maintained, "it's what he makes, with such intensity of purpose that it lives with an intrinsic movement of its own to verify its authenticity.

    These fifty lucid, urgent poems range in tone from lyric to ironic to meditative to prophetic, and in subject from the personal to the political, viewed in its broadest sense. They investigate the mysterious writing of poetry itself, as well as the passage of time and our shared sense of mortality. Brave and compassionate, The Door interrogates the certainties that we build our lives on, and reminds us once again of Margaret Atwood’s unique accomplishments as one of the finest and most celebrated writers of our time.

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

    He and his wife, Ding, are the parents of an infant and enjoy a contented marriage; he develops a fond obsession with President Calvin Coolidge, the taciturn New Englander whose wry wit and wisdom delights Chai. One day, a chance discovery leads him astray: He learns that a lover from his youth is now in Boston, living with her husband and their son. The son is Chai's very image, and the staid banker is inflamed by the implications of the resemblance. Confused by his emotions, he becomes determined to revive the affair. How Ding schemes to win back her wayward husband--and teach him the necessary truths about love--forms the plot and beguiling conclusion to John Derbyshire's tale.

    Here, readers will find solace in works that are bracing and courageous, organized into such resonant headings as "Such As It Is More or Less" and "Let It Spill." From William Shakespeare and Walt Whitman to R. S. Gwynn and Jennifer Michael Hecht, the voices gathered in this collection will be more than welcome to those who've been struck by bad news, who are burdened by stress, or who simply appreciate the power of good poetry.

    The poems follow an unlikely character named Miss Peach, an unpredictable, cartoonish shapeshifter, who emerges onto the page dragging the myth of the individual, various gender scripts, and the grand tradition of the poetic persona along with her. She becomes an outsider, a hero, an intruder, a rock star. The town around her, Gold River, is also always in flux—part center and part mirage. The Stranger Manual celebrates the fractious nature of self and society in poems that are fabulist, speculative, and alluring.

    In this virtuosic array of poems, lists, shards, and sequences, Sharif assembles her family’s and her own fragmented narratives in the aftermath of warfare. Those repercussions echo into the present day, in the grief for those killed, in America’s invasions of Afghanistan and Iraq, and in the discriminations endured at the checkpoints of daily encounter.At the same time, these poems point to the ways violence is conducted against our language. Throughout this collection are words and phrases lifted from the Department of Defense Dictionary of Military and Associated Terms; in their seamless inclusion, Sharif exposes the devastating euphemisms deployed to sterilize the language, control its effects, and sway our collective resolve. But Sharif refuses to accept this terminology as given, and instead turns it back on its perpetrators. “Let it matter what we call a thing,” she writes. “Let me look at you.”