Her poems are lit with magic and stark with truth: whether they speak from the imagined dwelling of her “Abandonarium,” or from habitats where animals are farmed and harmed “humanely,” or even from the surreal confines of death row, they find a voice like no other—dazzling, intimate, startling, heartbreaking. Eddying between the theater of the lavish and the enigmatic, between the gaudy and the unadorned, Brock-Broido’s verse scours America for material to render unflinchingly the here and now. Grandeur devolves into a comic irony: “We have come to terms with our Self / Like a marmoset getting out of her Great Ape suit.” She dares the unexplained: “The wings were left ajar / At the altar where I’ve knelt all night, trembling, leaning, rough / As sugar raw, and sweet.” Each poem is a rebellious chain of words: “Be good, they said, and so too I was / Good until I was not.” Strange narratives, interior and exterior, make a world that is foreign and yet our own; like Dickinson, Brock-Broido constructs a spider-sibling, commanding the “silk spool of the recluse as she confects her eventual mythomania.” And why create the web? Because: “If it is written down, you can’t rescind it.”

    In a recent profile, The New York Times Magazine paid tribute to her amazing ability to combine the classical and the modern, the mundane and the surreal, in a body of work that is sure to endure.In Men in the Off Hours, Carson offers further proof of her tantalizing gifts. Reinventing figures as diverse as Oedipus, Emily Dickinson, and Audubon, Carson sets up startling juxtapositions: Lazarus among video paraphernalia, Virginia Woolf and Thucydides discussing war, Edward Hopper paintings illuminated by St. Augustine. And in a final prose poem, she meditates movingly on the recent death of her mother. With its quiet, acute spirituality and its fearless wit and sensuality, Men in the Off Hours shows us a fiercely individual poet at her best.

    Her radio play 'Three Women', also included here, was written slightly earlier, in the transitional period between 'The Colossus' and 'Ariel'.

    Equipped with 144 pages of self-discovery. Alex shares some of her deepest and darkest moments that are intertwined with faith, hope and finding her light. This body of work explores the ins and out of trials and tribulations, partnered with successes and failures. The pages of "Love in my Language" are filled with poetry, narrative essays, and gentle reminders. You will get an authentic look into the life of the author, and she hopes that readers take away peace after reading the pages.

    Carry your sword, my prophetess. Obstinate contumacy training. Find the objective that is more draining. More strenuous tasks will make you grow. Pain upon you I bestow. I’ll take it all and nothing less. I claim it back; I repossess. Tip the scale; Turn it over. Mark the unused; What’s leftover. The main part no longer exists; Despite the reduction, it persists. Continued movement; A quest for traction. An opposite and negative reaction. Hex induced metamorphosis; Reoccur once again for us. Physically and internally changing. The process of rearranging. The alteration was so fitting. Now they’re pausing; They’re intermitting. In reaffirming the causation; Keep kempt, and maintain your original explanation. Wear our serpent, prophetess; Prior to you was profitless. The soil was sown with no reaping. Tear our hearts out for your keeping. Beyond the boundaries of what is permitted. Reward me for the sins I’ve committed. My acts were bold; Caress my flesh. I give it all and nothing less. The facsimile will shudder. Express what it is I utter. Amidst psychos and others. Among psychos and others. Live with vigor; Efficiently transfigure. Disfigure; Change his figure. Make it so; Mark the torso. Undergo; Nock the torso. Let it grow; Open the torso. Let him know; Carve the torso.

    Her poems-which combine extreme concision and formal expertise with broad subjects and deep feeling-could never be mistaken for anyone else's. Her work has the kind of singularity and sustained integrity that are very, very rare…. It's always a dicey business predicting the literary future…[but] for this reader, these poems feel as if there were built to last, and…they have the passion, precision and sheer weirdness to do so."Salon compared the poems in Ryan's last collection to "Fabergé eggs, tiny, ingenious devices that inevitably conceal some hidden wonder." The exquisite poems in The Niagara River provide similarly hidden gems. Bafflingly effective, they seem too brief and blithe to pack so much wallop. Intense and relaxed at once, both buoyant and rueful, their singular music appeals to many people. Her poems, products of an immaculately off-kilter mind, have been featured everywhere from the Sunday funnies to New York subways to plaques at the zoo to the pages of The New Yorker.

    By turns seductive and self-deprecating, Women in Public navigates a world where the erotics of the body and mind do battle against the constructs that would demean and define them, using lyric, fragment, humor, and repetition to create a space flexible enough to hold the many contradictions of reality. Where expectations and desires can be piled too easily upon the body, Kahn digs in her heels, writing in attempt to liberate physical form from society's confines.Praise for Women in Public:"'Do you think that you are greater than a mom?' This is an intensely honest, honestly intense poetry. Humorous, carnal, accusatory, celebratory––Women in Public tells me to get lost so I do. When I find myself later, I'm re-reading Women in Public."––Rod Smith"In these exhilarating poems, Elaine Kahn shoots from the groin, championing a ferociousness that rages against asperity while playfully seducing the reader to misbehave. Hers is a realm where oceans beat against genitals, and Hannah Wilke warms the earth. I don’t want to let go of Women in Public for I want its boldness all to myself."––Dodie BellamyAbout the Author:Musician, poet, artist, Elaine Kahn was born in Evanston, Illinois and is currently based in Oakland, California. She received an MFA from the Iowa Writers' Workshop and a BA from California College of the Arts. Kahn is the author of three poetry chapbooks, A Voluptuous Dream During an Eclipse (2012), Customer (2010), and Radiant Bottle Caps (2008), and is a contributor to Art Papers. Her music project, Horsebladder, has toured widely throughout the U.S. and Canada. She is also co-founder of the feminist puppet troop P. Splash Collective and managing editor of the small press Flowers & Cream.

    Whether tender or hard-hitting, McGriff juxtaposes natural images of deep forests, creeks, coyotes, and crows against the harsher oil-grease realities of blue-collar life, creating poems that read like folk tales about the people working in grain mills, forests, and factories."New Civilian"The new law says you can abandon your childin an emergency room,no questions asked. The young fathercarries the sleeping boythrough the hospital doors.Later, alone, parked at the boat basin,he takes a knife from his pocket,cuts an unfiltered cigarette in two,lights the longer half in his mouth.He was a medic in the war.In his basement are five bronze eaglesthat once adorned the wallsof a dictator's palace.Michael McGriff attended the University of Oregon; the University of Texas at Austin, where he was a Michener Fellow in creative writing; and Stanford University, where he was a Stegner Fellow. He is the co-founding editor and publisher of Tavern Books and lives in Salt Lake City, Utah.

    Drake brought to his international bestselling books Beautiful Chaos, Black Butterfly and A Brilliant Madness, Robert M. Drake now takes his readers to a deeper level of his consciousness with this collection of stories. A man encounters God in a bar; a family is saved by a time traveler in the middle of the night; a journey into the mind of a severely autistic man; a woman finds herself one night out in the city and more.Beautiful and Damned is as haunting and as captivating as the stories it tells, it is proof that Robert M. Drake is one of the most visionary writers working today.

    Known for her eponymous blog and her confessional style of writing, this is Trista Mateer's second collection of poetry.

    our darkest times are where we grow the most, so in this book, i share mine, and together, we learn how to heal.

    It was an unusual choice—even an unpopular one—for a poet in a midcentury American literary scene that was less interested in forms. But it was the right choice, for Berryman found himself in a situation that called for the sonnet: after several years of a happy marriage, he had fallen helplessly, hopelessly in love with the young wife of a colleague.     “Passion sought; passion requited; passion delayed; and, finally, passion utterly thwarted”: this is how the poet April Bernard, in her vivid, intimate introduction, characterizes the sonnet cycle, and it is the cycle that Berryman found himself caught up in. Of course the affair was doomed to end, and end badly. But in the meantime, on the page Berryman performs a spectacular dance of tender, obsessive, impossible love in his “characteristic tonal mixture of bravado and lacerating shame-facedness.” Here is the poet as lover, genius, and also, in Bernard’s words, as nutcase.     In Berryman’s Sonnets, the poet draws on the models of Petrarch and Sidney to reanimate and reimagine the love-sonnet sequence. Complex, passionate, filled with verbal fireworks and the emotional strains of joy, terror, guilt, and longing, these poems are ripe for rediscovery by contemporary readers.

    For the people who need an extra dose of positivity in their day. This is not a poetry book for you to read and relate to in a sorrow filled way. It is for you to read and say yes, I can be better, and I will.

    Just as the money shot in porn is proof of the male orgasm, these poems explore questions of revelation and concealment. What is seen, what is hidden, and how do we know? Money Shot's investigation of these questions takes on a particular urgency because it occurs in the context of the suddenly revealed market manipulation and subsequent "great recession" of 2008-2009. In these poems, Rae Armantrout searches for new ways to organize information. What can be made manifest? What constitutes proof? Do we "know it when we see it"? Looking at sex, botany, cosmology, and death through the dark lens of "disaster capitalism," Armantrout finds evidence of betrayal, grounds for rebellion, moments of possibility, and even pleasure, in a time of sudden scarcity and relentless greed. This stunning follow-up to Versed--winner of the Pulitzer Prize and the National Book Critics Circle Award, and a finalist for the National Book Award--is a wonderfully stringent exploration of how deeply our experience of everyday life is embedded in capitalism.

    Pop-culture characters—from Martha Stewart and Wile E. Coyote to zombie strippers and teen vampires—deliver humorous but insightful commentary on survival and resilience through poems that span imagined scenarios that are not entirely beyond the realm of possibility. The characters face their apocalypses in numerous ways, from strapping on rollerblades and swearing to taking notes as barns burn on the horizon. At the end of the world, the most valuable resource is human connection—someone holding our hands, reminding us “we are miraculous.”