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.

    Although their work conjures the texture of wind and the broad spaces of the sky, these poems are not serenely pastoral. Rather, Myles' sparse blank verse is concerned with the diaphanous qualities of perception, as if her momentary experiences were as slippery and translucent as clouds. A sometimes brutal loneliness and urgent but stoic sensuality results, finding its expression in simple colors: orange, grey, yellow, white, rose.

    Each emotion here is deft and delicate, resting inside of imagery heavy enough to sink the heart, while giving the body wings to soar.

    For the reservation-born, urban-dwelling hipster, the exercise feels stereotypical, reductive, and boring. He hates nature. He prefers city lights to the night sky. He’d slap a tree across the face. He’d rather write a mountain of hashtag punchlines about death and give head in a pizza-parlor bathroom; he’d rather write odes to Aretha Franklin and Hole. While he’s adamant—bratty, even—about his distaste for the word “natural,” over the course of the book we see him confronting the assimilationist, historical, colonial-white ideas that collude NDN people with nature. The closer his people were identified with the “natural world,” he figures, the easier it was to mow them down like the underbrush. But Teebs gradually learns how to interpret constellations through his own lens, along with human nature, sexuality, language, music, and Twitter. Even while he reckons with manifest destiny and genocide and centuries of disenfranchisement, he learns how to have faith in his own voice.

    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."

    These poems are honest, vulnerable, and unflinching in their ability to look into the speaker's complications. The poems trace the author's childhood, adulthood, and hopeful future, all of them asking the central question of how a person continues to love themselves, even as all they know evolves and vanishes.

    Those who turn to poetry to become confidants for another's stories and secrets will not be disappointed.”—Publishers Weekly“In her fifth book of poetry, Bass addresses everything from Saturn’s rings and Newton’s law of gravitation to wasps and Pablo Neruda. Her words are nostalgic, vivid, and visceral. Bass arrives at the truth of human carnality rooted in the extraordinary need and promise of the individual. Bass shows us that we are as radiant as we are ephemeral, that in transience glistens resilient history and the remarkable fluidity of connection. By the collection’s end—following her musings on suicide and generosity, desire and repetition—it becomes lucidly clear that Bass is not only a poet but also a philosopher and a storyteller.”—BooklistEllen Bass brings a deft touch as she continues her ongoing interrogations of crucial moral issues of our times, while simultaneously delighting in endearing human absurdities. From the start of Like a Beggar, Bass asks her readers to relax, even though "bad things are going to happen," because the "bad" gets mined for all manner of goodness.From "Another Story":After dinner, we're drinking scotch at the kitchen table.Janet and I just watched a NOVA specialand we're explaining to her motherthe age and size of the universe—the hundred billion stars in the hundred billion galaxies.Dotty lives at Dominican Oaks, making her way down the long hall.How about the sun? she asks, a little farmshit in the endlessness.I gather up a cantaloupe, a lime, a cherry,and start revolving this salad around the chicken carcass.This is the best scotch I ever tasted, Dotty says,even though we gave her the Maker's Markwhile we're drinking Glendronach...Ellen Bass's poetry includes  Like A Beggar (Copper Canyon Press, 2014), The Human Line  (Copper Canyon Press, 2007), which was named a Notable Book by the San Francisco Chronicle, and Mules of Love (BOA, 2002), which won the Lambda Literary Award.  She co-edited (with Florence Howe) the groundbreaking No More Masks! An Anthology of Poems by Women (Doubleday, 1973). Her work has frequently been published in The New Yorker, American Poetry Review, The New Republic, The Sun  and many other journals. She is co-author of several non-fiction books, including The Courage to Heal: A Guide for Women Survivors of Child Sexual Abuse (HarperCollins, 1988, 2008) which has sold over a million copies and been translated into twelve languages. She is part of the core faculty of the MFA writing program at Pacific University.

    Lonely Christopher combines a striking emotional grammar, reminiscent of Gertrude Stein's Three Lives, with an unyielding imagination in the lovely/ugly architecture of his stories.Lonely Christopher is the author of several poetry chapbooks and is a contributor to the poetry volume Into (Seven Circles Press). His plays have been published, staged in New York City and internationally, and released in Mandarin translation. His fiction received Pratt Institute's 2009 Thesis Award. He is a founding member of the small press The Corresponding Society and an editor of its biannual journal Correspondence. He lives in Bed-Stuy, Brooklyn.

    None of these he allows to overwhelm his spirit or his poems, which demonstrate, through breath and cadence and unrepentant enthrallment, that a gentle palm on a chest can calm the fiercest hungers.

    These brave, formally dexterous poems examine antiquated diagnoses and procedures from hysteria to lobotomy; offer meditations on risky sex; and take up the poet's personal and family histories as mental health patients and practitioners. Ultimately, Madness attempts to build a queer lineage out of inherited language and cultural artifacts; these poems trouble the static categories of sanity, heterosexuality, masculinity, normality, and health. sax's innovative collection embodies the strange and disjunctive workings of the mind as it grapples to make sense of the world around it.

    Introducing Little Black Classics: 80 books for Penguin's 80th birthday. Little Black Classics celebrate the huge range and diversity of Penguin Classics, with books from around the world and across many centuries. They take us from a balloon ride over Victorian London to a garden of blossom in Japan, from Tierra del Fuego to 16th-century California and the Russian steppe. Here are stories lyrical and savage; poems epic and intimate; essays satirical and inspirational; and ideas that have shaped the lives of millions. Sappho (c.630-570 BCE). Sappho's Stung with Love is available in Penguin Classics.

    “i care so much abot the whord i cant reed.” In feeld, Charles stakes her claim on the language available to speak about trans experience, reckoning with the narratives that have come before by reclaiming the language of the past. In Charles’s electrifying transliteration of English—Chaucerian in affect, but revolutionary in effect—what is old is made new again. “gendre is not the tran organe / gendre is yes a hemorage.” “did u kno not a monthe goes bye / a tran i kno doesnt dye.” The world of feeld is our own, but off-kilter, distinctly queer—making visible what was formerly and forcefully hidden: trauma, liberation, strength, and joy. Urgent and vital, feeld composes a new narrative of what it means to live inside a marked body.

    Unfurling and unrelenting in its delivery, Candrilli has painted “the mountain” in excruciating detail. They show readers a world of Borax cured bear hides and canned peaches, of urine-filled Gatorade bottles and the syringe and all the syringe may carry. They show a violent world and its many personas. What Runs Over, too, is a story of rural queerness, of a transgender boy almost lost to the forest. The miracle of What Runs Over is that Candrilli has lived to write it at all."When Roethke said 'energy is the soul of poetry,' he might have been anticipating a book like What Runs Over, which is so full of energy it practically vibrates in your hand. Here, Candrilli’s speaker sticks their tongue 'into the heads / of venus fly traps just to feel the bite,' then later, burns holy books in the backyard and rolls around in the ashes until they become 'a painted god.' This is the verve of an urgent new poetic voice announcing itself to the world. As Candrilli writes: 'This is what I look like / when I’m trying to save myself.'"-Kaveh Akbar

    Something Bright, Then Holes explores the problem of losing then recovering sight and insight -- of feeling lost, then found, then lost again. The book's three sections range widely, and include a long sequence of Niedecker-esque meditations written at the shore of a polluted urban canal, a harrowing long poem written at a friend's hospital bedside, and a series of unsparing, crystalline lyrics honoring the conjoined forces of love and sorrow. Whatever the style, the poems are linked by Nelson's singular poetic voice, as sly and exacting as it is raw. The collection is a testament to Nelson's steadfast commitment to chart the facts of feeling, whatever they are, and at whatever the cost.

    The grace is miraculous, for he aims at intensities, by orders that shape and then restrict feeling to the ardent."—Robert Duncan"What moves us is not the darkness of the world in which the poems were written by the pity and terror and joy that is beauty in the poems themselves. . . . In Wieners the glamor is in the word-music itself."—Denise LevertovSupplication: Selected Poems of John Wieners gathers work by one of the most significant poets of the Black Mountain and Beat generation. Includes poems that have previously never been published, the full text of the 1958 edition of his influential The Hotel Wentley Poems, plus poems from rare sources, facsimiles, notes, and collages by Wieners. An invaluable collection for new and old fans.John Wieners (1934–2002) was a founding member of the "New American" poetry that flourished in America after the Second World War. Upon graduating from Boston College in 1954, Wieners enrolled in the final class of Black Mountain College. Following Black Mountain's closure in 1956, he founded the small magazine Measure (1957–1962) and embarked on a peripatetic life, participating in poetry communities in Boston, San Francisco, New York, and Buffalo throughout the late 1950s and 1960s, before settling at 44 Joy Street in Boston in 1972. He is the author of seven collections of poetry, three one-act plays, and numerous broadsides, pamphlets, uncollected poems, and journals. Robert Creeley described Wieners as "the greatest poet of emotion" of their time.