We were made to sing and recite poetry in groups. The rhyming words somehow would bring a sense of enjoyment, and they won’t leave our mind even with the passing days. Poetry holds magic. A magic to change the moment and bring out the joyous hidden self. We all in some point or another had come across a poetry that either taught us the unlearned or brought back a memory or just a smile.Piece of poetry is an effort to share some thoughts through prose. Each poetry was written with a story in mind, willing to be talked about. The thoughts that didn’t need sophisticated words, but they were craving for rhythm.The idea was to point out some of the feelings and emotions that were desperate to be shared. Some untold words, a certain perspective that was always doubted by self and others. Piece of poetry is an honest attempt to format these feelings into a song, hoping that it would stick with everyone who decided to read it.

    Lara Glenum was raised in the gothic South, studied at the University of Chicago and the University of Virgina, and now teaches at the University of Georgia. In this entirely unheimlich debut, she enters the stage of American poetry like a Fritz Lang glamor-girl-cum-anatomical-model. Glenum recovers the political intensity and daring of the Surrealist project. The extraordinary precision of these poems is so stunning, we can't help but feel blinded by their visions: sock-monkeys, dollhouses, and a circus made of meat vibrate between the playful and the brutal so deftly, each line is a perfect shard of some fantastic planet, gloriously and sadly like our own. As in Blake's apocalyptic images, the sky rolls itself up like a scroll--brilliant in its colors and infinite in its scope. Glorious!--D.A. Powell.

    The wildly inventive imagery in these cinematic pieces lodges them somewhere between the surreal and the pure symbol, colorful and smooth like the lyrics of John Ashbery or Linda Pastan. In Chelotti’s poems, diamonds talk and sheriffs balance frogs on the tips of pens.The rain says, Listen to Debussy,go ahead, Debussy will fix you.—From “Migraine Cure”The secret to including everythingis to intricately divide your mindand then, all of a sudden,undivide it.—From “Still Life on a Scrolling Background”

    Cassiopeia. A sister. A Marco Polo. A somnambulist. A documentary on the voyages of Columbus. A cartographer. Star charts. Young intellectuals in black robes. Jean-Michel Basquiat. More birds and still more birds. A mathematician. All these things appear in The To Sound’s beautifully warped cosmology. This is a stunning book that builds its own world, a world of ambiguous relations and loaded words; a lyrical world that explores the unstated connections between things. . . ."

    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.

    each poem is incredibly impactful and beautifully written. stories of love, heartbreak, suffering, and healing come alive on the page in an incredible way. let this book of poetry touch your soul and help you feel free. join trevor capiro on this journey towards healing.

    

    She smiles like she is hiding a secret. She holds her head high, like she is wearing an invisible crown. The air Around her is charged with confidence, strength, and courage. Have you heard the whispers? She woke up different today. Yet it feels she has been like this always. Maybe it’s the story that has changed.About the Author‘Fragile but Unbreakable’ is how Reecha describes herself. She believes in miracles, takes life head on, and is passionate about weaving magic with her words. And now that she has found her calling, she desires to spend her entire life reading, travelling, and dwelling in her own little fictional and poetic worlds. An MBA from Loyola Institute of Business Administration, she is based out of New Delhi where she lives with her husband and two kids. She – Screw Silence is her third book.

    Exploring how the mind orders experience—and how disorder, or different orders, affect that experience—Szporluk has produced a poetry of alien beauty, limning worlds where the inability to exert control results in a disturbing, overwhelming immediacy.

    Likewise Swensen’s lyrics, which, with elliptical phrasing and play between visual and aural, change the act of seeing—and reading—offering glimpses of the spirit (or ghost) that enters a poem where the rational process breaks down.From “The Invention of Streetlights”Certain cells, it’s said, can generate light on their own.There are organisms that could fit on the head of a pin.and light entire rooms. .Throughout the Middle Ages, you could hire a man.on any corner with a torch to light you home. were lamps made of horn.and from above a loom of moving flares, we watched.Notre Dame seem small. .Now the streets stand still. .By 1890, it took a pound of powdered magnesium.to photograph a midnight ball.“Goest, sonorous with a hovering ‘ghost’ which shimmers at the root of all things, is a stunning meditation—even initiation—on the act of seeing, proprioception, and the alchemical properties of light as it exists naturally and inside the human realm of history, lore, invention and the ‘whites’ of painting. Light becomes the true mistress and possibly the underlying language of all invention. Swensen’s poetry documents a penetrating ‘intellectus’—light of the mind—by turns fragile, incandescent, transcendent.”—Anne Waldman

    The poem started out as a simple observation of the snow in moonlight, and turned into a poem with more to offer. I'm offering it free to my readers. I've had it on my blog, where it's gotten much response, and wanted to give everyone another way to access it.

                Two empty suitcases sit in the corner, if that’s any kind of clue.                                —from “Almost Sixty” Brief, jagged, haiku-like, Jim Moore’s poems in Invisible Strings observe time moving past us moment by moment. In that accrual, line by line, is the anxiety and acceptance of aging, the mounting losses of friends to death or divorce, the accounting of frequent flyer miles and cups of coffee, and the poet’s own process of writing. It is a world of both diminishment and triumphs. Moore has assembled his most emotionally direct and lyrically spare collection, one that amounts to his book of days, seasons, and stark realizations.

    It is deep dive into emotions, empathy, acceptance, healing and insights into a different perspective towards life. The book embraces you in silence and stillness of thoughts. The book is an attempt to connect to souls, to reflect upon them, unbiased and together embrace a new beginning and a beautiful journey called life.

    She was a teacher, and it was morning on the first day of school. In this haunting new collection of poems, Taylor Mali, once a teacher himself, explores her life and their love as well as the shape and texture of his own guilt and resilience.

    Yet for all their metaphorical suggestiveness, Dickinson’s and Whitman’s poems about the natural world neither preclude nor erase nature’s relevance as an actual living environment. In their respective poetic projects, the earth matters both figuratively, as a realm of the imagination, and also as the physical ground that is profoundly affected by human action. This double perspective, and the ways in which it intersects with their formal innovations, points beyond their traditional status as curiously disparate icons of American nature poetry. That both of them not only approach nature as an important subject in its own right, but also address human-nature relationships in ethical terms, invests their work with important environmental overtones. Dickinson and Whitman developed their environmentally suggestive poetics at roughly the same historical moment, at a time when a major shift was occurring in American culture’s view and understanding of the natural world. Just as they were achieving poetic maturity, the dominant view of wilderness was beginning to shift from obstacle or exploitable resource to an endangered treasure in need of conservation and preservation.A Place for Humility examines Dickinson’s and Whitman’s poetry in conjunction with this important change in American environmental perception, exploring the links between their poetic projects within the context of developing nineteenth-century environmental thought. Christine Gerhardt argues that each author's poetry participates in this shift in different but related ways, and that their involvement with their culture’s growing environmental sensibilities constitutes an important connection between their disparate poetic projects. There may be few direct links between Dickinson’s “letter to the World” and Whitman’s “language experiment,” but via a web of environmentally-oriented discourses, their poetry engages in a cultural conversation about the natural world and the possibilities and limitations of writing about it—a conversation in which their thematic and formal choices meet on a surprising number of levels.