He turned his eye to the world, to the cultures and the people around him, and saw reflections of himself. In this collection, he works in both free verse and traditional forms, rendering scenes of exquisite detail that pry into the hearts of his characters and reveal the contradictions that bind father to son, lover to lover, and person to person. From the broken hills and drowsy river valleys around Paducah, Kentucky, to Houston diners and Gulf Coast shrimp boats, to the tropical cityscape of Miami, Bolton creates vivid scenes in which his characters confront the loneliness and the "little music" of their lives. With a richly musical voice and an ear for the cadences of everyday speech, Bolton gives his readers not the trappings of love and grief, but the very things themselves, rendered in lines that reverberate with the authority of sincerity and truth.

    Containing poems on a variety of different topics and themes.

    File Under:Life,Death,Vertigo.Sparrows,Saints,and Morphine.

    There was a woman.There was a cross. But in factthey have hung him too high to be touched.—from "A Woman Wipes the Face of Jesus"

    Political and iconoclastic, Anne Boyer’s poems dally in pastoral camp and a dizzying, delightful array of sights and sounds born from the dust of the Kansas plains where dinner for two is cooked in Fire King and served on depression ware, and where bawdy instructions for a modern “Home on the Range” read:Mix a drink of stock lot:vermouth and the water table.And the bar will smell of IBP.And you will lick my Laura Ingalls.In Boyer’s heartland, “Surfaces should be worn. Lamps should smolder. / Dahlias do bloom like tumors. The birds do rise like bombs.” And the once bright and now crumbling populism of Marxists, poets, and folksingers springs vividly back to life as realism, idealism, and nostalgia do battle amongst the silos and ditchweed.Nothing, too, is a subject:dusk regulating the blankery.Fill in the nightish sky with ardent,fill in the metaphorical smell.A poet and visual artist, Anne Boyer lives in Kansas, where she co-edits the poetry journal Abraham Lincoln and teaches at Kansas City Art Institute.

    H. Sin delivers gritty, impassioned truths on matters of loving, living, and leaving in his second book of poetry.  Sin's first book is a bestseller and continues to delight his one million followers.R.H. Sin’s second volume continues the passion and vigor of his previous publication. His stanzas inspire strength through the pure emotional energy and the vulnerability of his poems. Relationships, love, pain, and fortitude are powerfully rendered in his poetry, and his message of perseverance in the face of emotional turmoil cuts to the heart of modern-day life. R.H. Sin’s poems are often only a few lines long, and yet the emotional punch of his language gives these words an enduring power beyond the short page. He doesn't back away from the pains and struggles of life and love, and yet his determined, unapologetic voice provides a measure of comfort and a message of perseverance that is at once realistic and indomitable. This blend of determination and painful vulnerability gives his poetry a distinctive, engaging flavor.

    Beginning with a painting done in 2003, the poems move backwards in time to 1 BC, where an architectural fragment is painted on an architectural fragment, highlighting visual art’s strange relationship between the image and the thing itself. The total effect is exhilarating—a wholly original, personal take on art history coupled with Bang’s sly and elegant commentary on poetry’s enduring subjects: Love, Death, Time and Desire. The recipient of numerous prizes and awards, Bang stands at the front of American poetry with this new work, asking more of the English language, and enticing and challenging the reader.

    I believe everyone should understand that we all go through things in life, it's all about how we react and recover from them. If you've felt as though you didn't have a voice in a situation, or you weren't sure if you'd get through it "fluid." may be the book for you.

    With echoes of Gwendolyn Brooks and Sonia Sanchez, Mans writes to call herself—and us—home. Each poem explores what it means to be a daughter of Newark, and America--and the painful, joyous path to adulthood as a young, queer Black woman.Black Girl, Call Home is a love letter to the wandering Black girl and a vital companion to any woman on a journey to find truth, belonging, and healing.

    These poems evoke that keenly, seeking justice but transcending judgment as they grieve loss, celebrate love, and find healing.

    Among the poems he left behind are a particularly unsettling four that feature the mysterious Robinson: both a prototypical member of the smart set—masking his desperation with urbane savoir-faire—and an alter ego for the troubled Kees himself.In ROBINSON ALONE, Kathleen Rooney performs a bold act of literary mediumship, conjuring Kees through his borrowed character to sketch his restless journey across locales and milieus—New York, San Francisco, the highways between—and to evoke his ambitions, his frustrations, and his skewed humor. The product of a decade-long engagement with Kees and his work, this novel in poems is not only a portrait of an under-appreciated genius and his era, but also a beam flashed into haunted boiler-rooms that still fire the American spirit, rooms where energy and optimism are burnt down to ash.

    The poems are mercilessly recursive, placing pressure on the lyric as a mode of both the elegiac and the ecstatic. The result is an enforced silence, urgent with grief.

    It is a dive deep into the circles of emotion, empathy, acceptance, healing and insights into a different perspective towards life. In the voice of a budding adolescent, the book cascades into day-to day-shortcomings, carved into poetry and at the same time, embraces you in silence and stillness of thought. The book is an attempt to connect with the reader, to reflect upon them, unbiased and together and embrace a new beginning. With simplified use of grammar and vocabulary, this book seeks nothing but the companionship of all. With this debut book, the author aims to connect to one and to all in the message and purpose of existence, the aid of spirituality and an ode to a beautiful journey called life.

    The Way It Is: New and Selected Poems gathers unpublished works from his last year, including the poem he wrote the day he died, as well as an essential and wide-ranging selection of works from throughout his career. An editorial team including his son Kim Stafford, the poet Naomi Shihab Nye, and the poet, translator, and author Robert Bly collaborated on shaping this book of Stafford's pioneering career in modern poetry. The poems in The Way It Is encompass Stafford's rugged domesticity, the political edge of his irony, and his brave starings-off into emptiness.

    It is yet another virtuosic showcase for Charles Wright's acclaimed descriptive powers, and also an inquiry into the nature of description itself, both seductive and dangerous: "a virtual world/ Unfit for the virtuous." Like his previous books, Sestets is seeded with the lyrics of old love songs and spirituals, and "there is always room to connect his highly polished poems to the world where most of us lead mundane lives" (Miami Herald). Soaring and earthy, lyrical and direct, Charles Wright is an American treasure, and his search for a truth that transcends change and death settles finally on the beauties of nature and language: "Time is a graceless enemy, but purls as it comes and goes."