'Can't I be my own dream?' she asks. The answer is always yes and always no. With dizzying energy and intelligence, Zhang forages through familial, global, and even anatomical configurations vainly outlining an identity that manifests only to shift and move restlessly on. This book brings to mind a 21st century Whitman, only female, Chinese, and profoundly scatological."—Elizabeth RobinsonAuthor City: BROOKLYN, NY USAJenny Zhang was born in Shanghai and raised in New York. She is a graduate of Stanford University and The Iowa Writers' Workshop. DEAR JENNY, WE ARE ALL FIND is her first book.

    Through translations by two major contemporary poets and a scholar intimate with the Ponge canon, this volume offers selections of mostly earlier poetry —Le parti pris des choses, Pièces, Proêmes, and Nouveau nouveau recueil—as representative of the strongest work of this modern French master.

    a landmark debut' Guardian'Oh my God, he's just stirring me. Destroying me' Michaela Coel'A poet of truth and rage, heartbreak and joy' Max Porter'Takes us into new literary territory ... impressive' Bernardine Evaristo, New Statesman (Books of the Year)'It's simply stunning. Every image is a revelation' Terrance HayesWhat is it like to grow up in a place where the same police officer who told your primary school class they were special stops and searches you at 13 because 'you fit the description of a man' - and where it is possible to walk two and a half miles through an estate of 1,444 homes without ever touching the ground?In Poor, Caleb Femi combines poetry and original photography to explore the trials, tribulations, dreams and joys of young Black boys in twenty-first century Peckham. He contemplates the ways in which they are informed by the built environment of concrete walls and gentrifying neighbourhoods that form their stage, writes a coded, near-mythical history of the personalities and sagas of his South London youth, and pays tribute to the rappers and artists who spoke to their lives.Above all, this is a tribute to the world that shaped a poet, and to the people forging difficult lives and finding magic within it. As Femi writes in one of the final poems of this book: 'I have never loved anything the way I love the endz.'

    I love how thick this writing is, sublimely claustrophobic yet expansive, like a child's nightmare of scale."—Dodie Bellamy"Autodidact and knight-errant, Ward often betrays the procedural forms he tries to impose on his labyrinthine ruminations in order to remain faithfully engaged to the traditional task of the post-Romantic poet, an 'ecstatic commingling' of okay-you know and 'starry anaphor.'"—Tyrone Williams"I should write a real blurb with real blurb-like things in it, but TCOIW, a kind of lullaby arranging the psychic terrain of my future prosodically, is saving my stupid ass."—Anselm Berrigan

    In her poem “Deliverance” about her daughter’s birth she writes “What is the word for when the light leaves the body?/What is the word for when it/at last, returns?”Through poems that are as unforgettably beautiful as they are accessible, Kate proves herself to truly be an exemplary voice in modern poetry. As easy to post on Instagram as they are to print out and frame, Kate’s words make women feel seen in their own bodies, in their own marriages, and in their own lives. Her poems are those you share with your mother, your daughter, your sister, and your friends.

    Mythic themes as well as many other topics are masterfully explored in this rich selection of 134 lyrics chiefly selected from six volumes of verse published between 1889 and 1914. Among the poems included are "The Stolen Child" and "Down by the Salley Gardens" (Crossways, 1889); "To the Rose upon the Rood of Time," "The Lake Isle of Innisfree," "When You Are Old," and "To Ireland in the Coming Times" (The Rose, 1893); "The Song of Wandering Aengus" and "A Poet to His Beloved" (The Wind Among the Reeds, 1899); "The Song of Red Hanrahan" (In the Seven Woods, 1903); "No Second Troy" and "The Fascination of What's Difficult" (The Green Helmet and Other Poems, 1910); "To a Friend Whose Work Has Come to Nothing" and "To a Shade" (Responsibilities, 1914); and many more. This representative selection offers readers a splendid sampling of the distinctive Yeatsian voice — romantic, yearning, full of the magic and mysticism Yeats imbibed as a boy in the West of Ireland, later counterbalanced by an anguished realism grounded in the poet's nationalistic and political sympathies.

    Wells to Sandra Bland and Black Lives Matter, black women freedom fighters have braved violence, scorn, despair, and isolation in order to lodge their protests. In A Bound Woman Is a Dangerous Thing, DaMaris Hill honors their experiences with at times harrowing, at times hopeful responses to her heroes, illustrated with black-and-white photographs throughout.For black American women, the experience of being bound has taken many forms: from the bondage of slavery to the Reconstruction-era criminalization of women; from the brutal constraints of Jim Crow to our own era’s prison industrial complex, where between 1980 and 2014, the number of incarcerated women increased by 700%.* For those women who lived and died resisting the dehumanization of confinement--physical, social, intellectual--the threat of being bound was real, constant, and lethal.In A Bound Woman Is a Dangerous Thing, Hill presents bitter, unflinching history that artfully captures the personas of these captivating, bound yet unbridled African-American women. Hill's passionate odes to Zora Neale Hurston, Lucille Clifton, Fannie Lou Hamer, Grace Jones, Eartha Kitt, and others also celebrate the modern-day inheritors of their load and light, binding history, author, and reader in an essential legacy of struggle.*(The Sentencing Project)

    Follow in real time as the author grapples with the excitement, hesitation, and fear of asking yourself… did I just find the one? Raw and honest and written without thoughts of publication, this collection is perfect for romantics and skeptics alike."I thought the reckoning was shifting everyone’s lives and bringing a change so great it was rewriting the fabric of the universe. Turns out I was just falling in love. The two can feel very similar, I think."

    Evincing the power of translation as a poetic device to navigate historical and linguistic borders, it explores Edward Said's notion of "the intertwined and overlapping histories" in regards to South Korea and the United States through innovative deployments of voice, story, and poetics. Like its sister book, Hardly War, it holds history accountable, its very presence a resistance to empire and a hope in humankind.

    As warm and intelligent as it is ribald and cunning, this collection of Thom Gunn's is his richest yet.

    Like a fantastic film, a feverish delirium, or a dream state, these prose poems use an experimental lexicon of imagery that goes beyond anything typically poetic. Tost's point of departure is the loss of the Other that makes the I: Agnes, And in a sort of coming-of-age soliloquy song, he meditates on a range of topics: fatherhood, childhood, identity, poetry. Together his poems express the unburdening of consciousness, a consciousness that contains the likes of Blake, Italo Calvino, Allen Grossman, and Frank Stanford, among others (including Tost himself), Surreal and surprising, Invisible Bride showcases the prose artistry of a new American talent.

    The book is categorized into four parts, LOST, FOUND, HOPE and Short Stories. In an age of lesser readers and short attention spans, she hopes this book could stir ideas in the most efficient way possible; through really short, melodious writing. Awards- Award-Winning Finalist in the “Poetry” category of the 2017 International Book Awards- Award-Winning Finalist in the “Best Cover Design: Fiction” category of the 2017 International Book Awards- MPH Best Paperback Fiction Nominee 2016Get it on Amazon Kindle:http://amzn.to/2AHkNzT

    In his new book, Touch, written with an almost invisible but ever-present art, he continues to render his human topics—a mother’s death, a lover’s addiction, war—with a startling clarity. Cole’s new poems are impelled by a dark knowledge of the body—both its pleasures and its discontents—and they are written with an aesthetic asceticism in the service of truth. Alternating between innocence and violent self-condemnation, between the erotic and the elegiac, and between thought and emotion, these poems represent a kind of mid-life selving that chooses life. With his simultaneous impulses to privacy and to connection, Cole neutralizes pain with understatement, masterful cadences, precise descriptions of the external world, and a formal dexterity rarely found in contemporary American poetry.   Touch is a Publishers Weekly Best Poetry Books title for 2011.

    Or a prediction comes true and I couldn't do anything to stop it, so it seems like a kind of useless magic."

    It is also the story of a boy who, exiled from the island because he could not abide by its sexist laws, looks back with both nostalgia and bitterness and wonders: Why does God have to be a woman? Celebrated prose poet Nin Andrews creates a world both fantastic and familiar where all the myths, logic, and institutions support the dominance of women.Nin Andrews's books include The Book of Orgasms and Sleeping with Houdini.