Who feel everything and everything has feeling."In My Head, the debut release of one of Instagram's most popular poets whose writing has been liked by millions, dives below the surface of love, loss, and life.J.M. Storm has crafted a haunting yet hopeful poetry collection that is meant to be felt as much as it is read.

    Brave in its nakedness, her work like a lucid stream enjoys itself as it keeps its surefooted course. Written with the precision only passion can ensure, the poems commend us to the gay gravity of angels. This is a collection to be indeed relished and prized.' - Theodore Weiss

    There is the sense of the speaker as a cartographer of familiar spaces, of land he has never left or relationships that have stayed with him for years, and always with the newness of an alien or stranger. Acutely attuned to the heritage of Greco-Roman myth, Wilson writes through characters such as the Basilisk and the Minotaur, emphasizing the intense loneliness these characters experience from their uniqueness. For the racially ambiguous speaker of these poems, who is both black and not black, who has lived between the American South and the Midwest, there are no easy answers. From the fields of Kentucky to the pigeon coops of Chicago, identities and locations blur―the pastoral bleeds into the Afrofuturist, black into white and back again.

    The poems in Accepting the Disaster range from lyric miniatures like "The Crossroads," a six-line sketch of an accident scene, to "The Orange Bottle," an expansive narrative page-turner whose main character suffers a psychotic episode after quitting medication. Mehigan blends the naturalistic milieu of such great chroniclers of American life as Stephen Crane and Studs Terkel with the cinematic menace and wonder of Fritz Lang. Balanced by the music of his verse, this unusual combination brings an eerie resonance to the real lives and institutions it evokes. These poems capture with equal tact the sinister quiet of a deserted Main Street, the tragic grandiosity of Michael Jackson, the loneliness of a self-loathing professor, the din of a cement factory, and the saving grandeur of the natural world. This much-anticipated second collection is the work of a nearly unrivaled craftsman, whose first book was called by Poetry "a work of some poise and finish, by turns delicate and robust."

    One of the most challenging poets writing today, Graham is no easy read, but the rewards are well worth the effort. While thematically present, her concern is not exclusively the demise of natural resources and depletion of species, but the philosophical and perceptual difficulty in capturing and depicting a physical world that may be lost, or one that we humans have limited sight of and into. As she notes in "The Taken-Down God": "We wish to not be erased from the / picture. We wish to picture the erasure. The human earth and its appearance. / The human and its disappearance."With a style that is fragmented and somewhat whirling--language dips and darts and asides are taken--Graham stays on point and presents an honest intellect at work, fumbling for an accurate understanding (or description) of the natural world, self-conscious about the limitations of language and perception.

    Available for the first time in paperback, The Collected Poems of Frank O'Hara reflects the poet's growth as an artist from the earliest dazzling experimental verses that he began writing in the late 1940s to the years before his accidental death at forty, when his poems became increasingly individual and reflective.

    This collection includes: Aria da Capo, A Few Figs from Thistles, Second April, Renascence and Other Poems

    With a different die-cut on every page, Tree of Codes explores previously unchartered literary territory. Initially deemed impossible to make, the book is a first — as much a sculptural object as it is a work of masterful storytelling. Tree of Codes is the story of an enormous last day of life — as one character's life is chased to extinction, Foer multi-layers the story with immense, anxious, at times disorientating imagery, crossing both a sense of time and place, making the story of one person’s last day everyone’s story. Inspired to exhume a new story from an existing text, Jonathan Safran Foer has taken his "favorite" book, The Street of Crocodiles by Polish-Jewish writer Bruno Schulz, and used it as a canvas, cutting into and out of the pages, to arrive at an original new story told in Jonathan Safran Foer's own acclaimed voice.

    Containing more than fifty new poems and a generous gathering from his collections of the past decade-Horoscopes for the Dead, Ballistics, The Trouble with Poetry, and Nine Horses-Aimless Love showcases the best of his poetic maneuvers: the everyday ends in the infinite, playfulness is paired with empathy, irony gives way to wonder. Possessed of a unique voice that is at once plain and melodic, Billy Collins has managed to enrich American poetry while greatly widening the circle of its audience.

    While her writings in this book radiate a fresh and new wonder, they continue to showcase Erickson's unforgettable and infectious zeal for life. The reader feels called away from the mundane and inconsequential by her trademark blend of poetic grace and electrifying enthusiasm. Rhythms and Roads will do more than enchant one's soul and inspire; it promises to awaken memories long forgotten and to breathe into them a spirit of lively possibility. This exhilarating collection is the perfect companion for anyone ready to break cages and fall into a sea of deep, soulful, courageous living.

    One of the most significant writers of the New York School—which unofficially included John Ashbery, Frank O'Hara, and Kenneth Koch, among others—Schuyler was strongly influenced by both art and music in his work, often incorporating rapid shifts in sound, shape, and color within his poems that almost gave his work the effect of a collage and engendered comparisons with Whitman and Rimbaud.

    

    Throughout, Carver “has the astonished, chastened voice of a person who has survived a wreck, as surprised that he had a life before it as that he has one afterward, willing to remember both sides” (The New York Times Book Review).

    Mad Woman, Anchors & Vacancies, Redamancy, and most of Throes are sectioned here to take you on a journey. From madness to love and the heartache in between, it's all here.

    Desperate for something solid to believe in, Capps still mistrusts authority, feeling disenchanted with God, family, eros, even her own impulsive self. And yet while the absence of faith hints at despair, these poems often achieve, almost inspite of themselves, an odd buoyancy. Playful, fearless, wary, there's a dazzling resilience in this book. One poem can make a grand and eccentric claim, "I forgive the afterlife," while another takes as its title something humbler and more poisonous, "God Bless Our Crop-Dusted Wedding Cake." No matter how adrift this poet may feel, poetry itself remains her anchor and lifeline.