He has no wife, no child, and refuses ever to get inside a car.Leonie is certain she can help this man, that her love will heal his emotional wounds. But Patrice will not tell her anything about his past. So she decides to search herself – unaware of what she’ll discover.Five years before, Patrice was living in London. He was called Patrick, and he had a wife and child. And one fateful day in July changed his life for ever.

    This collection of poems has a subject matter ranging from the gustatory pleasures of osso buco to an analysis of the handwriting of Keats; from the art form of the calendar pinup to blues music.

    For many, the desire to explore is almost irresistible. Now for devotees of poetry, and for those who long for the open road, this highly affordable collection contains a rich selection of poems about travel and adventure.You’ll find more than 90 poems by 50 American and British masters (mainly from the nineteenth and twentieth centuries), including Whitman, Byron, Millay, Sandburg, Service, Bliss Carman, Robert Louis Stevenson, John Masefield, Langston Hughes, Emily Dickinson, Robert Frost, Shelley, Tennyson, Yeats, Paul Laurence Dunbar, Claude McKay, Christina Rossetti, and other fellow travelers. Their poems celebrate the real and metaphorical journeys each of us takes in the course of our lives towards love, discovery, loss, leaving the nest, and coming home.Whatever your mode of transportation, and wherever you are going, take this literary traveling companion with you for hours of reading enjoyment and insight into the road that lies ahead.

    Lonely Christopher combines a striking emotional grammar, reminiscent of Gertrude Stein's Three Lives, with an unyielding imagination in the lovely/ugly architecture of his stories.Lonely Christopher is the author of several poetry chapbooks and is a contributor to the poetry volume Into (Seven Circles Press). His plays have been published, staged in New York City and internationally, and released in Mandarin translation. His fiction received Pratt Institute's 2009 Thesis Award. He is a founding member of the small press The Corresponding Society and an editor of its biannual journal Correspondence. He lives in Bed-Stuy, Brooklyn.

    Daniel Borzutzky’s new collection of poetry, The Performance of Becoming Human, draws hemispheric connections between the US and Latin America, specifically touching upon issues relating to border and immigration policies, economic disparity, political violence, and the disturbing rhetoric of capitalism and bureaucracies. To become human is to navigate these borders, including those of institutions, the realities of over- and under-development, and the economies of privatization, in which humans endure state-sanctioned and systemic abuses. Borzutzky, whose writing Eileen Myles has described as “violent, perverse, and tender” in its portrayal of “American and global horror,” adds another chapter to a growing and important compilation of work that asks what it means to a be both a unitedstatesian and a globalized subject whose body is “shared between the earth, the state, and the bank.”

    In this new collection, human desire pulls with the force and rhythm of a sea tide, emerging from and receding into mysteries larger than any individual life. The book begins with the reverential title poem and concludes with four works that reflect the power of place to shape revelation; the way stone and sky and birdsong can point the way home. Whether tracing the sensual devotion of bodily presence or the painful heartbreak of impermanence, the poems keep faith with love's appearances and disappearances, and the promises we make and break on its behalf.

    With engaging notes from the poets, Wagoner's superb introductory essay, series editor David Lehman's astute foreword about the current state of poetry and criticism, and cover art from the beloved poet John Ashbery, The Best American Poetry 2009 is a memorable and delightful addition to a series dedicated to showcasing the work of poets at their best.

    Each of the book's seven sections is devoted to a particular art form--film, photography, painting, the novel, architecture, music, and theory--and includes both text and found photographs as it explores the idea of what it means to be a book in an era when reading is disappearing into a diverse array of cultural products, media formats, and aesthetic practices. Seven Controlled Vocabularies will be available in a variety of print and electronic book delivery systems and formats.

    He can identify every car in town from the sound of its engine, but his world is changing faster then he can fathom. His wife has become an artist, selling sea-glass sculptures to tourists. His daughter is bound for college, while his son has turned angry and lawless. Lucky's own heart is failing him, too. An operation has kept it ticking, but he can't run the boat alone any more. As the spring lobster season opens, the only deckhand Lucky can find to help load his traps is Ronette, the not-quite-divorced wife of the local lobster wholesaler. When the two make it out to the fishing grounds, someone else's buoys are bobbing in his ancestral waters. Before he knows it, Lucky is in a lobster war and has abandoned all the rules: family, health, finance, even the rules of the sea that have guided him throughout his life. As waves of trouble turn into a flood tide, Lucky's pride propels him into an epic confrontation with his enemies and a rogue whale -- a battle his unreliable heart may not survive. The Wooden Nickel is a classic story of a man raging against a changing world, full of pathos and comedy. It is a remarkable novel by a writer with a powerful, distinct, and original voice.

    In Eyes for Consuela, based on Octavio Paz’s classic story “The Blue Bouquet,” a vacationing American encounters a knife-toting Mexican bandit on a gruesome quest. And in When the World Was Green, cowritten with Joseph Chaikin, a journalist in search of her father interviews an old man who resolved a generations-old vendetta by murdering the wrong man. Together, these plays form a powerful trio from an enduring force in American theater.

    "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