Its successor, Serious Concerns has proved even more popular, addressing such topics as 'Bloody Men', 'Men and Their Boring Arguments', 'Two Cures for Love', 'Kindness to Animals' and 'Tumps' (Typically Useless Male Poets).

    It is about the constant hunger for love. It is about feeding that hunger with another person and finding that sometimes it isn’t enough. Salgado creates a world in which the heart can live anywhere; her fat brown body, her parents home country, a lover, a toothbrush, a mango, or a song. It is a celebration of heartache, of how it can ruin us, but most importantly how we always survive it and return to ourselves whole.

    With defiance and wild joy, Duan’s poems wrestle with and celebrate ancestry and history, racial consciousness, and the growing pains of girlhood. They explore difficult truths with grace and power. I Wore My Blackest Hair is an honest portrait of a woman in-between—identities, places, languages, and desires—and her quest to belong. The speaker is specific in her self-definition, discovering and reinventing what it means to be a bold woman, what it means to be Chinese American, and what it means to grow into adulthood. Duan moves seamlessly from the personal to the imaginative to the universal, heralding a brilliant new voice in contemporary poetry.

    The poem describes coming to terms with his loss through the lens of her translation of Poem 101 by Catullus “for his brother who died in the Troad.” Nox is a work of poetry, but arrives as a fascinating and unique physical object. Carson pasted old letters, family photos, collages and sketches on pages. The poems, typed on a computer, were added to this illustrated “book” creating a visual and reading experience so amazing as to open up our concept of poetry.

    Taking The One Thousand and One Nights as her central theme, Mikhail personifies the role of Scheherazade the storyteller, saving herself through her tales. The nights are endless, seemingly as dark as war in this haunting collection, seemingly as endless as war. Yet the poet cannot stop dreaming of a future beyond the violence of a place where “every moment / something ordinary / will happen under the sun.” Unlike Scheherazade, however, Mikhail is writing, not to escape death, but to summon the strength to endure. Inhabiting the emotive spaces between Iraq and the U.S., Mikhail infuses those harsh realms with a deep poetic intimacy. The author’s vivid illustrations — inspired by Sumerian tablets — are threaded throughout this powerful book.

    Zapruder's poems are direct and surprising, and throughout the book he wrestles with the desire to do well, to make art, and to face the vast events of the day.Look out scientists! Today the unemployment rateis 9.4 percent. I have no idea what that means. I triedto think about it harder for a while. Thentried standing in an actual stance of mysteryand not knowing towards the world.Which is my job. As is staring at the back yardand for one second believing I am actuallyrising away from myself. Which is maybewhat I have in common right now with you . . .

    Then Kara Hallas moves in across the street with her mother and grandmother, and Olivia is immediately drawn to these three generations of women. Kara is particularly intoxicating, so much so that Olivia not only comes to accept Kara's morbid habit of writing to men on death row, she helps her do it. They sign their letters as the Resurrection Girls. But as Kara’s friendship pulls Olivia out of the dark fog she’s been living in, Olivia realizes that a different kind of darkness taints the otherwise lively Hallas women—an impulse that is strange, magical, and possibly deadly.

    it is not only something to enjoy, but something to learn from. here are the things i did right, and the many things i did wrong. i give them to you, so that when love comes knocking, you will have a sense of what to do when you open the door.

    Compiled by her sister after the poet's death and originally published in 1956, this is the definitive edition of Millay, right up through her last poem, Mine the Harvest.

    

    He hates his violent mother. He hates his home. Most of all, he hates the piano that his mother forces him to play hour after hour, day after day. He will never play as she did before illness ended her career and left her bitter and broken. But Beck is too scared to stand up to his mother, and tell her his true passion, which is composing his own music - because the least suggestion of rebellion on his part ends in violence.When Beck meets August, a girl full of life, energy and laughter, love begins to awaken within him and he glimpses a way to escape his painful existence. But dare he reach for it?

    In Refusing Heaven, Gilbert writes compellingly about the commingled passion, loneliness, and sometimes surprising happiness of a life spent in luminous understanding of his own blessings and shortcomings: “The days and nights wasted . . . Long hot afternoons / watching ants while the cicadas railed / in the Chinese elm about the brevity of life.” Time slows down in these poems, as Gilbert creates an aura of curiosity and wonder at the fact of existence itself. Despite powerful intermittent griefs–over the women he has parted from or the one lost to cancer (an experience he captures with intimate precision)–Gilbert’s choice in this volume is to “refuse heaven.” He prefers this life, with its struggle and alienation and delight, to any paradise. His work is both a rebellious assertion of the call to clarity and a profound affirmation of the world in all its aspects. It braces the reader in its humanity and heart.From the Hardcover edition.

    Natalie Diaz’s brilliant second collection demands that every body carried in its pages—bodies of language, land, rivers, suffering brothers, enemies, and lovers—be touched and held as beloveds. Through these poems, the wounds inflicted by America onto an indigenous people are allowed to bloom pleasure and tenderness: “Let me call my anxiety, desire, then. / Let me call it, a garden.” In this new lyrical landscape, the bodies of indigenous, Latinx, black, and brown women are simultaneously the body politic and the body ecstatic. In claiming this autonomy of desire, language is pushed to its dark edges, the astonishing dunefields and forests where pleasure and love are both grief and joy, violence and sensuality.Diaz defies the conditions from which she writes, a nation whose creation predicated the diminishment and ultimate erasure of bodies like hers and the people she loves: “I am doing my best to not become a museum / of myself. I am doing my best to breathe in and out. // I am begging: Let me be lonely but not invisible.” Postcolonial Love Poem unravels notions of American goodness and creates something more powerful than hope—a future is built, future being a matrix of the choices we make now, and in these poems, Diaz chooses love.

    E. Endsley. They’re the books that brought her and her best friend Jenna together after Amelia’s father left and her family imploded. So when Amelia and Jenna get the opportunity to attend a book festival with Endsley in attendance, Amelia is ecstatic. It’s the perfect way to start off their last summer before college.In a heartbeat, everything goes horribly wrong. When Jenna gets a chance to meet the author and Amelia doesn’t, the two have a blowout fight like they’ve never experienced. And before Amelia has a chance to mend things, Jenna is killed in a freak car accident. Grief-stricken, and without her best friend to guide her, Amelia questions everything she had planned for the future.When a mysterious, rare edition of the Orman Chronicles arrives, Amelia is convinced that it somehow came from Jenna. Tracking the book to an obscure but enchanting bookstore in Michigan, Amelia is shocked to find herself face-to-face with the enigmatic and handsome N. E. Endsley himself, the reason for Amelia’s and Jenna’s fight and perhaps the clue to what Jenna wanted to tell her all along.

    “To all the loves I've weathered on the way to where I am...and especially to the ones who keep checking to see if I've written about them.” Morgan Nikola-Wren, author of “Magic with Skin On,” returns with her second poetry collection, an honest, amiable tribute to lovers turned strangers.