As he entered the middle period of his career, with volumes such as The Continuous Life (1990), Strand was already well-known for his ability to capture the subtle music of consciousness, and for creating painterly physical landscapes that could answer to the inner self: “And here the dark infinitive to feel, / Which would endure and have the earth be still / And the star-strewn night pour down the mountains / Into the hissing fields and silent towns.” In his later work, from Blizzard of One (1998) which won the Pulitzer Prize, through the sly, provocative riddles of his recent Almost Invisible (2012), Strand has delighted in reminding us that there is no poet quite like him for a dose of dark wit that turns out to be deep wisdom and self-deprecation. He has given voice to our collective imagination with a grandeur and comic honesty worthy of his great Knopf forebear Wallace Stevens. With this volume, we celebrate his canonical work.

    

    The first half of DROPKICKromance focuses on a toxic, long-distance relationship the author was involved in for several years, while the second half focuses on Parker's current relationship with poet Amanda Lovelace, who penned a beautiful foreword for the book. This collection takes you by hand and brings you on a journey through first love, heartbreak, and learning to love again.

    Though officially unsolved, Jane’s murder was apparently the third in a series of seven brutal rape-murders in the area. Nelson was born a few years after Jane’s death, and the narrative is suffused with the long shadow her murder cast over both the family and her psyche.Jane explores the nature of this haunting incident via a collage of poetry, prose, and documentary sources, including newspapers, related "true crime" books, and fragments from Jane’s own diaries written. Each piece in Jane has its own form that serves as an important fissure, disrupting the tabloid, "page-turner" quality of the story, and eventually returning the reader to deeper questions about girlhood, empathy, identification, and the essentially unknowable aspects of another’s life and death. Part elegy, part memoir, detective story, part meditation on violence, and part conversation between the living and the dead, Jane’s powerful and disturbing subject matter, combined with its innovations in genre, expands the notion of what poetry can do—what kind of stories it can tell, and how it can tell them.

    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.

    After being orphaned as a young girl, Asghar grapples with coming-of-age as a woman without the guidance of a mother, questions of sexuality and race, and navigating a world that put a target on her back. Asghar's poems at once bear anguish, joy, vulnerability, and compassion, while exploring the many facets of violence: how it persists within us, how it is inherited across generations, and how it manifests in our relationships with friends and family, and in our own understanding of identity. Using experimental forms and a mix of lyrical and brash language, Asghar confronts her own understanding of identity and place and belonging.

    "But there is wisdom/ in the hour in which a boy/ sits in his room listening," says the first poem, and Lee's silent willingness to step outside himself imbues Rose with a rare sensitivity. The images Lee finds, such as the rose and the apple, are repeated throughout the book, crossing over from his father's China to his own America. Every word becomes transformative, as even his father's blindness and death can become beautiful. There is a strong enough technique here to make these poems of interest to an academic audience and enough originality to stun readers who demand alternative style and subject matter. — Rochelle Ratner, formerly Poetry Editor, "Soho Weekly News," New York

    Tate's signature style draws on a marvelous variety of voices and characters, all of which sound vaguely familiar, but are each fantastically unique, brilliant, and eccentric.Yet, as Charles Simic observed in the New York Review of Books, "With all his reliance on chance, Tate has a serious purpose. He's searching for a new way to write a lyric poem." He continues, "To write a poem out of nothing at all is Tate's genius. For him, the poem is something one did not know was there until it was written down. . . . Just about anything can happen next in this kind of poetry and that is its attraction. . . . Tate is not worried about leaving us a little dazed. . . . He succeeds in ways for which there are a few precedents. He makes me think that anti-poetry is the best friend poetry ever had."

    Dorianne Laux's poetry is a poetry of risk; it goes to the very edge of extinction to find the hard facts that need to be sung. What We Carry includes poems of survival, poems of healing, poems of affirmation, and poems of celebration.

    In Outgoing, the speaker erases his brother s answering machine message to save his family from the shame of dead you / answering calls. In other poems, once-ordinary objects become dreamlike. A buried light bulb blooms downward, a flower / of smoldering filaments. A refrigerator holds an evening landscape, a tinfoil lake, vegetables / dying in the crisper. Destructive and redemptive, Black Aperture opens to the complicated entanglements of mourning: damage and healing, sorrow and laughter, and torment balanced with moments of relief.

    What did I know of our language but pieces? Would I teach her to be pieces? Until a friend comforted, Don’t worry, you and your daughter will learn together. Today she stood sunlight on her shoulders lean and straight to share a song in Diné, her father’s language. To sing she motions simultaneously with her hands; I watch her be in multiple musics.—from “WHEREAS Statements”WHEREAS confronts the coercive language of the United States government in its responses, treaties, and apologies to Native American peoples and tribes, and reflects that language in its officiousness and duplicity back on its perpetrators. Through a virtuosic array of short lyrics, prose poems, longer narrative sequences, resolutions, and disclaimers, Layli Long Soldier has created a brilliantly innovative text to examine histories, landscapes, her own writing, and her predicament inside national affiliations. “I am,” she writes, “a citizen of the United States and an enrolled member of the Oglala Sioux Tribe, meaning I am a citizen of the Oglala Lakota Nation—and in this dual citizenship I must work, I must eat, I must art, I must mother, I must friend, I must listen, I must observe, constantly I must live.” This strident, plaintive book introduces a major new voice in contemporary literature.

    Hand Games, poems of the first section, is the daily bread of my past two years or so. They are the artifacts of loving in a personal way, of struggles in a wide and a narrower frame, of planting and harvesting in the earth and on paper, of building new friendships and mourning the death of friends. They speak of zucchini and oaks and cats, of jogging and writing, of nuclear power plants and suicide, of fat and of street hassling. ”The Lunar Cycle forms the second part. I first heard of the lunar calendar in my childhood, when I asked why Passover falls on a different date every year and was answered that it falls on Nisan 14, the fourteenth day of the lunar month of Nisan. The next time I came across the moon-month was in reading Robert Graves in search of the old goddess religions. But the lunar calendar has really only been an intimate part of my life since I moved near the ocean and the bay and had to become conscious of the tides; for one thing, to get the sweet Wellfleet oysters. For more precise understanding I owe a lot to Nancy F. W.Passmore of the Luna Press, who every year produces The Lunar Calendar with thirteen months, their old Celtic names, associations from around the world, time of moon rise and set and all the phases. It tells me at a glance when my period will come and when I can expect to ovulate, and it is the most beautiful calendar I have ever seen, with the months in the form of spirals rather than grids.”Not being constrained by commerce to produce a calendar to sell by January first, Roman time, I begin when my year opens, in the spring; with Nisan, the first month of the Jewish religious year – although I have used the Celtic names, as does The Lunar Calendar, in homage to that labor of love. Rediscovering the lunar calendar has been a part of rediscovering women’s past, but it has also meant for me a series of doorways to some of the non-rational aspects of being a living woman: Thus The Lunar Cycle, explorations of my last two years.”

    poet laureate, a National Humanities Medal, and a National Medal of Art. Gathering thirty years and seven books, this volume compiles Dove’s fresh reflections on adolescence in The Yellow House on the Corner and her irreverent musings in Museum. She sets the moving love story of Thomas and Beulah against the backdrop of war, industrialization, and the civil right struggles. The multifaceted gems of Grace Notes, the exquisite reinvention of Greek myth in the sonnets of Mother Love, the troubling rapids of recent history in On the Bus with Rosa Parks, and the homage to America’s kaleidoscopic cultural heritage in American Smooth all celebrate Dove’s mastery of narrative context with lyrical finesse. With the “precise, singing lines” for which the Washington Post praised her, Dove “has created fresh configurations of the traditional and the experimental” (Poetry magazine).

    I forget things too. It makes me sad. Or it makes me the saddest. The sadness is not really about George W. or our American optimism; the sadness lives in the recognition that a life cannot matter.The award-winning poet Claudia Rankine, well known for her experimental multigenre writing, fuses the lyric, the essay, and the visual in this politically and morally fierce examination of solitude in the rapacious and media-driven assault on selfhood that is contemporary America. With wit and intelligence, Rankine strives toward an unprecedented clarity-of thought, imagination, and sentence-making-while arguing that recognition of others is the only salvation for ourselves, our art, and our government.Don't Let Me Be Lonely is an important new confrontation with our culture, with a voice at its heart bewildered by its inadequacy in the face of race riots, terrorist attacks, medicated depression, and the antagonism of the television that won't leave us alone.

    Limón has often been a poet who wears her heart on her sleeve, but in these extraordinary poems that heart becomes a “huge beating genius machine” striving to embrace and understand the fullness of the present moment. “I am beautiful. I am full of love. I am dying,” the poet writes. Building on the legacies of forebears such as Frank O’Hara, Sharon Olds, and Mark Doty, Limón’s work is consistently generous and accessible—though every observed moment feels complexly thought, felt, and lived.