But her interview gives way to interrogation when suave Lord Stephen Astwick meets a chilly end on the tranquil skating pond. With evidence that his death was anything but accidental, Daisy joins forces with Scotland Yard so the culprit can't slip through their fingers like the unfortunate Astwick slipped through the ice...THE WINTER GARDEN MYSTERY: So who put the body in with the spring bulbs?The merest hint of spring has arrived in Cheshire, and so has young reporter Daisy Dalrymple. The feisty flapper's visit is a breath of fresh air for gloomy Occles Hall. But while photographing the rather barren grounds, Daisy spots that someone's been digging among the first green shoots - and much to her horror unearths the corpse of missing parlour maid Grace Moss.So begins an extraordinary adventure, as first the dead woman's shocking secret is revealed and then Daisy swiftly realizes she needs to catch the killer before she herself is left pushing up the daisies...REQUIEM FOR A MEZZO: With dashing Scotland Yard detective Alec Fletcher at her side, Daisy Dalrymple is enjoying a splendid performance of Verdi's Requiem featuring her neighbour Muriel Westlea's celebrated sister, Bettina. But the show comes to an abrupt end when what emerges from the star's gifted vocal chords is literally a dying gasp. Daisy soon learns that the doomed diva was notoriously difficult and had more than her share of enemies. There's a philandering tenor, a burly Russian bass and even her own vocal coach husband, with whom she had a turbulent relationship.Did one of them poison the singer? Or was it someone determined to see that Daisy's investigation ends on as bitter a note as Bettina's last performance...MURDER ON THE FLYING SCOTSMAN: Daisy's in danger of heading off the rails!Daisy's embarking on a journey to Edinburgh and her biggest worry is that she has forgotten her book, so how will she pass the time? Her concern proves to be pointless, however, as once the journey begins Daisy finds a pint-sized stowaway on board - Belinda, the daughter of dreamy Detective Chief Inspector Alec Fletcher, Daisy's beau.No sooner has this problem revealed itself than Daisy and Belinda run into a bickering Scottish clan en route to the deathbed of the head of the family. But before the express reaches its first stop, one of the greedy McGowans has turned up dead. Is it murder? Daisy's willing to bet her first-class ticket it is - after all, the victim was the heir-in-waiting and she's sharing the carriage with an entire family of suspects who have everything to gain by his death...

    Every woman should know the feelings of being loved and radiating those feelings back to her mate. This is a beautiful expression of heartfelt emotion using short, gratifying sentiments. If there is a lover in you, you will not get enough of "Her."

    --from "Before"Jason Shinder's last poems are his moving testimonies to poetry, love, and friendship. With power, clarity, and disarming humor, the poems confront grief and mortality with a humility and fortitude that come only "with hope, stupid hope." Stupid Hope is Shinder's wry, penetrating, and wise farewell.

    The Boston-based writer has found his stronghold in the world of social media under the moniker of High Poets Society. His writing is most recognized for its mesmerizing rhyme scheme and clever wordplay.

    Her poems are haunted by demons, ghosts, and even the living who wander exotic landscapes that appear at once threatening and seductive. In these poems, her sly speaker renames a pink hibiscus on display at Lowe's, "Lucifer's Panties"; another character chants, "I'd fall devil / over heels over edge over oleander"; and one woman writes a letter to the underworld:Dear black bayou, once, by a riverI bit a man's neck. His scent: the rawteak air husked inside stomachs of sixRussian nesting dolls--the ones in the attic I pulledapart and open. The ones Ipulled apart and open like Styrofoam cups.

    In her new collection, Medicine, she deploys a variety of dramatic voices, spoken by such disparate characters as Cinderella's wicked sisters, the wife of a nineteenth-century naturalist, a homicide detective, and a woman who is happily married to a bear. Their elusive collectivity suggests, but never quite defines, the floating authorial presence that haunts them. Gerstler's abiding interests--in love and mourning, in science and pseudo-science, in the idea of an afterlife--are strongly evident in these new poems, which are full of strong emotion, language play, surprising twists, and a wicked sense of black humor.

    Fresh and candid, by turns earthy, tender, defiant, and romantic, Cummings's poems celebrate the uniqueness of each individual, the need to protest the dehumanizing force of organizations, and the exuberant power of love.

    His power and poisoned purity of vision are reminiscent of Arthur Rimbaud, and, like the strongest poets of the New York School, Carroll transforms the everyday details of city life into poetry. In language at once delicate, hallucinatory, and menacing, his major themes—love, friendship, the exquisite pains and pleasures of drugs, and, above all, the ever-present city—emerge in an atmosphere where dream and reality mingle on equal terms. It is an astonishing debut by an important American writer and artist.

    He was the Poet Laureate of the United States in 1990, and currently teaches at the Committee on Social Thought at the University of Chicago. He lives in Chicago.

    Hurrying through errands, attending a dying mother, helping her own child down the playground slide, the speaker in these poems wonders: what is the difference between the self and the soul? The secular and the sacred? Where is the kingdom of heaven? And how does one live in Ordinary Time—during those periods that are not apparently miraculous?

    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.

    accompanied by evocative illustrations, it is an intimate and unapologetically personal journey through a life the way we remember them, as Keaton puts it "chaotic, fragmented and often grammatically incorrect".

    Selected and introduced by Joseph Parisi, former longtime editor of Poetry magazine, this brilliant collection brings together the greatest poems by all the classic authors, along with the choicest works by today's most accomplished artists in America and abroad. From W. H. Auden and T. S. Eliot to John Ashbery and A. R. Ammons; Elizabeth Bishop and Marianne Moore to Sylvia Plath and Mary Oliver; Robert Frost and W. B. Yeats to Allen Ginsberg and Thom Gunn, this comprehensive anthology features the poems that have best expressed the spirit of our times and helped create modern culture. In addition to such ground-breaking works as "The Love Song of J. Alfred Prufrock" and "Howl," Mr. Parisi has included the incisive social satire and whimsical wordplay of such wits as Dorothy Parker, Ogden Nash, and Frank O'Hara. Among contemporary poets in the book are Seamus Heaney, Jane Kenyon, Rita Dove, Sharon Olds, Paul Muldoon, Adrienne Rich, and the redoubtable Billy Collins, all of whom have already achieved wide popular acclaim for poems that speak compellingly about modern life and the perennial concerns of the human heart. Mr. Parisi provides a general introduction to the book and introduces each poem with a brief biographical and critical note. For anyone who wishes to discover or to re-experience the most important and vital poems of our time, 100 Essential Modern Poems is, quite simply, indispensable.

    The complete works of an extraordinary poet who consistently refines the notion of what constitutes an American sound.

    Formally innovative and blazingly direct, The Bad Wife Handbook cross-examines marriage, motherhood, monogamy, and writing itself. Rachel Zucker's upending of grammatical and syntactic expectations lends these poems an urgent richness and aesthetic complexity that mirrors the puzzles of real life. Candid, subversive, and genuinely moving, The Bad Wife Handbook is an important portrait of contemporary marriage and the writing life, of emotional connection and disconnection, of togetherness and aloneness.