A beloved and gifted artist, Ashbery takes his place beside Whitman, Dickinson, Stevens, and Hart Crane in the canon of great American poets. With Quick Question, a new collection of poems published in time for his 85th birthday, John Ashbery proves that his creative power has only grown stronger with age.

    Celebrated poet McHugh and renowned editor Lehman present the 20th edition of the popular and comprehensive Best American Poetry series.

    Barbie’s cultural artifice is unmasked by Victoria Chang’s imagination, lifting the struggle of Asian American experience to mythic levels.

    

    "I have never before read a book like Anais Duplan's Take This Stallion. Her major talent is recognizing the self in the other, making for poems that flow forward in a tone of oneness is oneness a tone? poems that make evident an ever-expanding world by opening themselves up into that world. This debut does what poets in their fifth or sixth collections are still trying to figure: it balances the intellect, image, music, and emotion in ways so unfamiliar that a blurb couldn't possible characterize the work." —Jericho Brown

    Through the vehicle of recipe, butchery, and dinner table poems, the collection negotiates the myriad ways diasporic communities comfort and name themselves in other nations, as well as the ways cuisine is inextricably linked to occupation, transmission, and survival. Dwelling on the personal as much as the historical, Some Are Always Hungry traces the lineage of the speaker’s place in history and diaspora through mythmaking and cooking, which is to say, conjuring.

    Presenting itself as an investigation into the suicide of a close friend—perhaps real, perhaps fictional—more than twenty years earlier, Levé gives us, little by little, a striking portrait of a man, with all his talents and flaws, who chose to reject his life, and all the people who loved him, in favor of oblivion. Gradually, through Levé’s casually obsessive, pointillist, beautiful ruminations, we come to know a stoic, sensible, thoughtful man who bears more than a slight psychological resemblance to Levé himself. But Suicide is more than just a compendium of memories of an old friend; it is a near-exhaustive catalog of the ramifications and effects of the act of suicide, and a unique and melancholy farewell to life.

    This is an edition of the poems which identifies the references, verse-forms, contexts and occasions of her work, and which offers readers a new arrangement of the poetry as a whole. The notes also identify dates of composition, so that it is possible to observe the development of her work. As well as drawing on Wendy Cope's three published books, the selection also includes a significant number of poems collected or published for the first time.

    Now twenty-five, with a new life and the prospect of a child, Kimiâ is inundated by her own memories and the stories of her ancestors, which reach her in unstoppable, uncontainable waves. In the waiting room of a Parisian fertility clinic, generations of flamboyant Sadrs return to her, including her formidable great-grandfather Montazemolmolk, with his harem of fifty-two wives, and her parents, Darius and Sara, stalwart opponents of each regime that befalls them.In this high-spirited, kaleidoscopic story, key moments of Iranian history, politics, and culture punctuate stories of family drama and triumph. Yet it is Kimiâ herself—punk-rock aficionado, storyteller extraordinaire, a Scheherazade of our time, and above all a modern woman divided between family traditions and her own “disorientalization”—who forms the heart of this bestselling and beloved novel.

    Taking notes on index cards as was his habit, he reflected on a new solitude, on the ebb and flow of sadness, and on modern society's dismissal of grief. These 330 cards, published here for the first time, prove a skeleton key to the themes he tackled throughout his work. Behind the unflagging mind, "the most consistently intelligent, important, and useful literary critic to have emerged anywhere" (Susan Sontag), lay a deeply sensitive man who cherished his mother with a devotion unknown even to his closest friends.

    Phipps ruminates on the ways we are shaped as humans. Is it nature or nurture? Is it fate or a happen chance? What teaches us to love our generational inheritance, no matter how harmful? Phipps takes us to the most intimate parts of family matters in hopes of underantdatning conflict as a means of overcoming.

    “All moments will shine if you cut them open. / Will glisten like entrails in the sun.” With figurative language that makes long, associative leaps, and with metaphors and images that continually resurrect themselves across poems, the collection builds and transforms its world through a locomotive echo—a regenerative force—that comes to parallel the psychic quest for redemption that unfolds in its second half. The result is a deeply affecting composition that will establish the already decorated young author as an important and vital new voice in American poetry.

    When she first moved downstairs she was still eating, though scantily, more just to taste what we were having than from any genuine desire for food. The point was simply to sit together at the kitchen table and array ourselves like a family again. My mother would gently set herself down in her customary chair near the stove. I sat across from her, my father and sister to my left and right, and crammed in the center was all the food I had made—a spicy codfish stew, say, or a casserole of gingery beef, dishes that in my youth she had prepared for us a hundred times.In Coming Home Again, celebrated novelist Chang-rae Lee, author of On Such a Full Sea and Native Speaker, recalls the year he spent living at home, and learning to cook the Korean dishes of his childhood before his mother died of stomach cancer. An achingly personal story about love, grief and regret, Coming Home Again confronts the decisions we can't take back and the moments we can’t let go with astounding grace and poignancy.Coming Home Again was originally published in The New Yorker, October 16, 1995. Cover design by Adil Dara.

    Now, in Spring Comes to Chicago, McGrath pushes deeper into the jungle of American culture, exposing and celebrating our native hungers and dreams. In the centerpiece of the book, "The Bob Hope Poem," McGrath confronts the paradoxes that energize and confound us--examining his own avid affection for People magazine and contemplating such diverse subjects as Wittgenstein, meat packers, money, and, of course, Bob Hope himself. Whether viewing this life with existential gravity or consumerist glee, McGarth creates poetry that is at once public and profoundly personal.

    Daumal's symbolic mountain represents a way to truth that "cannot not exist," and his classic allegory of man's search for himself embraces the certainty that one can know and conquer one's own reality.