It is his first published book. The included poems span a wide range of subjects and themes, covering such topics as love, abuse, suicide, poverty, and many many others.

    Unlike all other presidents except Abraham Lincoln—who decided to fight the Civil War before he was sworn in—Barack Obama determined the fate of his presidency before he became president. The policy results ultimately led to the worst person Obama could have imagined taking his place eight years later.During these four months, Obama chose neoliberal policies for restoring the economy, reforming health care, addressing the housing market collapse, and moving to clean power.This book describes how these decisions were made. Obama found himself trapped by the Bush administration’s prioritization of bolstering wall street. Then he made Hillary Clinton’s economic advisors his own and took their counsel. Although the Great Recession could have been much worse, the neoliberal policies led to a drawn out and uneven recovery, unpopular and limited health care reform, and failed energy reform.Based on dozens of interviews with actors in the Obama transition, as well as the author’s personal observations, this book provides unique commentary on the fateful decisions of the winter of 2008-2009. Among those interviewed: David Axelrod, Tom Daschle, Austan Goolsbee, Peter Orszag, Christy Romer, and Larry Summers.The ramifications of the Great Recession are not behind us. The 2016 election has not ended. The same battle between progressivism and neoliberalism still rages in the Democratic Party. As many seek the Presidency in the November 2020 election, all candidates and of course the eventual winner will continue to face decisions similar to those confronted by Barack Obama.Everyone should learn from this critical and little-understood history.

    Smith’s poetry is all poetry. And visceral. Her poems get under the skin of their subjects. Their passion and empathy, their real worldliness, are blockbuster.”—Marvin Bell“I was weeping for the beauty of poetry when I reached the end of the final poem.”—Edward Sanders, National Poetry Series judgeFrom Lollapalooza to Carnegie Hall, Patricia Smith has taken the stage as this nation’s premier performance poet. Featured in the film Slamnation and on the HBO series Def Poetry Jam, Smith is back with her first book in over a decade—a National Poetry Series winner weaving passionate, bluesy narratives into an empowering, finely tuned cele-bration of poetry’s liberating power.

    In spare lines, Abdolmalekian conjures surreal, cinematic images that pan wide as deftly as they narrow into intimate focus. Time is a thread come unspooled: pain arrives before the wound, and the dead wait for sunrise.Abdolmalekian resists definitive separations between cause and effect, life and death, or heaven and hell, and challenges our sense of what is fixed and what is unsettled and permeable. Though the speakers in these poems are witnesses to the deforming effects of grief and memory, they remain alive to curiosity, to the pleasure of companionship, and to other ways of being and seeing. Lean Against This Late Hour illuminates the images we conjure in the face of abandonment and ruin, and finds them by turns frightening, bewildering, ethereal, and defiant. "This time," a disembodied voice commands, "send us a prophet who only listens."

    ...y no se lo trago la tierra won the first national award for Chicano literature in 1970 and has become the standard literary text for Hispanic literature classes throughout the country. It is now an award-winning, motion picture entitled And the Earth Did Not Swallow Him.... and the Earth did not devour him / Tomás Rivera --from Voices of the fields: children of migrant farmworkers tell their stories / S. Beth Atkin --Christmas / Langston Hughes --Children for hire / Verena Dobnik and Ted Anthony --First confession / Frank O'Connor --Aria: a memoir of a bilingual childhood / Richard Rodriguez

    Through examinations of the ways in which various cultures and religions carry grief, Taranto discovers the emotional instincts that shape his own mourning. He seeks solace in the natural elements of our world, divining meaning from the Iowa fields that stretch around him, the stones he collects, the plants he discovers on walks through the woods. His letters, then, are the honest wanderings of someone earnestly seeking meaning and belonging, ultimately resulting in a field guide for love, grief, and celebrating life. At times astonishingly personal and even painful, Ars Botanica is also playfully funny, a rich hybrid of memoir, poetry, and illustration that delightfully defies categorization."Ars Botanica is a gorgeous hybrid: a memoir in letters to a phantom addressee, an introduction to life on this planet, a primer for how to live, a meditation on family. It also winds up being a beautiful and highly personal field guide to the natural world. It’s one of the most wrenching and honest accounts of falling in and out of love, of moving through a season of grief, that I’ve ever read."—Karen Russell, author of Swamplandia!Tim Taranto is a writer, visual artist, and poet from New York. His work has been featured in Buzzfeed, FSG’s Works in Progress, Harper’s, The Iowa Review, McSweeney’s Internet Tendency, The Paris Review Daily, The Rumpus, and The Saint Ann’s Review. Tim is a graduate of Cornell University and the Iowa Writers’ Workshop.

    Women's Studies. INDICTUS re-imagines various creation myths to bear the invisible and unsaid assaults of women. In doing so, it subverts notions of patriarchal power into a genre that can be demolished and set again. INDICTUS is a Latin word, from which other words like "indict" and "indicate" are born. It translates literally as "to write the unsaid." There is an effort in this book to create the supernatural through the utterance of violence, because jurisdiction fails in real time. That sexual assault can so easily become a science fiction when power is rearranged to serve the victim speaks to the abject lack of control within victims to ever be redeemed. Crimes resolve to misdemeanors. In a world without my abusers, how can I soon become myself? Combining the mythological and autobiographical, this book attempts to indict us, so that the wounded might one day be free.

    In this startling new edition of his work, Whitman biographer Gary Schmidgall presents over two hundred poems in their original pristine form, in the chronological order in which they were written, with Whitman's original line breaks and punctuation. Included in this volume are facsimilies of Whitman's original manuscripts, contemporary-- and generally blistering-- reviews of Whitman's poetry (not surprisingly Henry James hated it), and early pre-Leaves of Grass poems that return us to the physical Whitman, rejoicing-- sometimes graphically-- in homoerotic love.Unlike the many other available editions, all drawn from the final authorized or "deathbed" Leaves of Grass, this collection focuses on the exuberant poems Whitman wrote during the creative and sexual prime of his life, roughly between 1853 and 1860. These poems are faithfully presented as Whitman first gave them to the world-- fearless, explicit, and uncompromised-- before he transformed himself into America's respectable, mainstream Good Gray Poet through thirty years of revision, self-censorship, and suppression.Whitman admitted that his later poetry lacked the "ecstasy of statement" of his early verse. Revealing that ecstasy for the first time, this edition makes possible a major reappraisal of our nation's first great poet.

    With these metaphors in place, he makes clear his difficult poetic task: to delve into the past, both personal and historic, while remaining ever mindful of the potentially fatal power of language.Born and raised in Northern Ireland, where any hint of Gaelic tradition in one's speech was considered a political act, Heaney is all too aware of the dire consequences of speaking one's mind. Indeed, during times of crisis, he has been expected to appear on television and dispense political wisdom. Most often, however, he stays out of the fray and opts for a supreme sense of empathy to guide his words. As excavator--of earth, of his beloved Gaelic, of his own life--Heaney is unmatched. In "Bone Dreams", the archaeologist's task is synonymous with reaching for a cultural past: I push back through dictions, Elizabethan canopies, Norman devices, the erotic mayflowers of Provence and the ivied Latins of churchmen to the scop's twang, the iron flash of consonants cleaving the line.And in early poems like "Blackberry Picking", Heaney's images--deftly, delightfully--carry us back to childhood fields: At first, just one, a glossy purple clot Among others, red, green, hard as a knot. You ate that first one and its flesh was sweet Like thickened wine: summer's blood was in it Leaving stains upon the tongue and lust for Picking. Then red ones inked up and that hunger Sent us out with milk cans, pea tins, jam pots Where briars scratched and wet grass bleached our boots. Round hayfields, cornfields and potato drills We trekked and picked until the cans were full... Opened Ground is a pleasure and a triumph. These three decades of work confirm Heaney as one of the most important poets of his time. --Martha Silano

    US(a.) is a collection of poems that embodies the spirit of a culture that questions sentiments and realities, embracing a cross-section of pop culture, hip-hop, and the greater world politic of the moment. Williams explores what social media may only hint at—times and realities have changed; there is a connect and a disconnect. We are wirelessly connected to a past and path to which we are chained. Saul Williams stops and frisks the moment, makes it empty its pockets, and chronicles what’s inside. Here is an extraordinary book that will find its place in the hands and minds of a new generation.

    One of America's most important twentieth-century poets, Stevens forever changed the landscape of modern poetry with his provocative, experimental style.This first-rate collection by the winner of the 1955 Pulitzer Prize for poetry invites students and other readers to enjoy the richness and variety found in 82 of Stevens's finest creations. Included are such well-known compositions as "Sunday Morning," "Disillusionment of Ten O'Clock," "Anecdote of the Jar," "Peter Quince at the Clavier," "Thirteen Ways of Looking at a Blackbird," and the title piece — the author's favorite — as well as lesser known yet equally stimulating works such as "The Florist Wears Knee-Breeches" and "The Man Whose Pharynx Was Bad."Invaluable to students of American literature, this volume will be an indispensable treasury for lovers of modern poetry.

    Now, an internationally respected authority on personal change maps the terrain between life as it was and life as it can be. Readers can move at their own pace through the seven distinct phases of loss and can work towards a stronger, more balanced self. The author's own story of the loss of a young husband, combined with the tales of dozens of individuals, and the most recent research on coping with loss, helps readers to become happier, healthier, and wiser beings.

    This is Ashbery at his wacky best, from long lists that seem to make some sense, to short lists that seem to make no sense, to made-up diary entries. Here we find Joe Brainard's version of Americana. Combined, there is a wonderful innocence to this book that is found in the work of both of these artists. Joe Brainard's popularity is soaring to new heights as the traveling retrospective of his career captivates museum-goers throughout the United States, and this publication will be a valuable addition to the available publications of his work.

    Few poets so thrillingly portray the physical world, or man's creaturely self, or the cycling strain of desire and self-reproach. Few poets so movingly evoke the human quest of "a man alone," trying --to say something true that has body, because it is proof of his existence.. . Middle Earth is a revelatory collection, the finest work yet from an author of poems that are . . .marvels-unbuttoned, riveting, dramatic-burned into being-- (Tina Barr, Boston Review).

    While Hall’s devoted readers will recognize many of his long-standing preoccupations—baseball, the family farm, love, sex, and friendship—what will strike them as new is the fierce, pitiless poignancy he reveals as his own life’s end comes into view. The Back Chamber is far from being death-haunted but rather is lively, irreverent, sexy, hilarious, ironic, and sly—full of the life-affirming energy that has made Donald Hall one of America’s most popular and enduring poets.