Her debut collection The Bones Below delicately carries the reader to a place of brutal, beautiful honesty. DeMulder's personal revelations complete a touching portrait of the young artist and her fearless exploration of the human experience, bare in its rawest and most tender forms.

    The Uses of the Body is her best book, its acerbic tone interspersed with lines of grave and startling beauty.” —Los Angeles Times"Like Richard Linklater's Boyhood,but for girls (and women): Deborah Landau's vividly relatable third collection, The Uses of the Body, reminds us that coming of age lasts well beyond adolescence.” —Vogue* “As freshly immediate as ever, award-winning poet Landau reveals that ‘the uses of the body are manifold,’ moving in four sections with a roughly chronological feel from wedding parties to flabby bodies around the pool to the realization ‘But we already did everything’—all with an underlying sense of urgency: ‘Life please explain.’ As Landau explores her physical self and her sexuality, she’s tart, witty, fluid, direct, and brutally honest, and her work can be appreciated by any reader.”—Library Journal,starred review"Deborah Landau . . . is both confessional and direct, like Sylvia Plath and Allen Ginsberg. Her taut, elegant, highly controlled constructions meditate upon yearning and selfhood."—BooklistDeborah Landau's Uses of the Body presents the very specific challenges of womanhood. Her poems address what it means to be alive—right now—in a female body. She fills her poetry with compelling nouns: wine glasses, bridal gowns, and "books and teacups and ghosts." And what ghosts: underneath evocative images and poetic play, there's a moving, yearning mysticism.From "Mr and Mrs End of Suffering":The uses of the body are wake up.The uses of the body, illusion.The uses of the body. Rinse repeat.To make another body.September. Draw the blanket up.Lace your shoes.The major and minor passions. Sunlight. Hair.The basic pleasures. Tomatoes, Keats, meeting a smart man for a drink.The uses of the body.It is only a small house. It gets older.Its upper and lower.Its red and white trim.It's tempting to gloss over this part,so you won't really see me.Deborah Landau is the author of two books of poetry. She was educated at Stanford, Columbia, and Brown, where she earned her PhD. Currently she is the director of the NYU Creative Writing Program and lives in New York City.

    "Clifton mythologizes herself: that is, she illuminated her surroundings and history from within in a way that casts light on much beyond."--The Women's Review of Books

    Le Guin's.”  —Grace Paley  Late in the Day, Ursula K. Le Guin’s new collection of poems (2010–2014) seeks meaning in an ever-connected world. In part evocative of Neruda’s Odes to Common Things and Mary Oliver’s poetic guides to the natural world, Le Guin’s latest give voice to objects that may not speak a human language but communicate with us nevertheless through and about the seasonal rhythms of the earth, the minute and the vast, the ordinary and the mythological. As Le Guin herself states, “science explicates, poetry implicates.” Accordingly, this immersive, tender collection implicates us (in the best sense) in a subjectivity of everyday objects and occurrences. Deceptively simple in form, the poems stand as an invitation both to dive deep and to step outside of ourselves and our common narratives. The poems are bookended with two short essays, “Deep in Admiration” and “Some Thoughts on Form, Free Form, Free Verse.”

    No small accomplishment in a world as challenging as this one.”— from the prefaceI was born to grow,alongside my garden of plants,poemslikethis oneSo writes Alice Walker in this new book of poems, poems composed over the course of one year in response to joy and sorrow both personal and global: the death of loved ones, war, the deliciousness of love, environmental devastation, the sorrow of rejection, greed, poverty, and the sweetness of home. The poems embrace our connections while celebrating the joy of individuality, the power we each share to express our truest, deepest selves. Beloved for her ability to speak her own truth in ways that speak for and about countless others, she demonstrates that we are stronger than our circumstances. As she confronts personal and collective challenges, her words dance, sing, and heal.

    Wallace's best poems, contained within this collection, have been described as the work of someone sympathetic, magnanimous, brightly and deeply intelligent.

    In the time of space shuttles and the Strategic Defense Initiative, outer space is the only place equality seems possible, even as the stars serve to both guide and obscure the earthly complexities of masculinity and migration. In Matejka's poems, hope is the link between the convoluted realities of being poor and the inspiring possibilities of transcendence and escape--whether it comes from Star Trek, the dream of being one of the first black astronauts, or Sun Ra's cosmic jazz.

    Cherry and Kandi Steiner come together for the first time in an emotional compilation of poetry and prose. Written and collected over the course of more than two years, A Love Letter from the Girls Who Feel Everything is an intimate, honest, and raw assemblage of two women’s feelings in a modern world that often quiets any kind of emotion past indifference. Discussing themes of love, worth, loss and hope, A Love Letter from the Girls Who Feel Everything is a journey of discovery and healing. “We are the girls who feel everything.And this is our love letter. To you, to them, to us, to the world, to no one at all. Whether it’s the brightest, sunniest day where everything is perfect, or the darkest, dreariest night of rain where life seems unbearable — we have lived it, we have survived it, and we have felt every, blissful, aching second.Here’s to embracing the feels, to the brave souls that listen to the way their hearts beat and aren’t afraid to ask someone else if they feel those same beats, too. Here’s to the girls, the boys, the love we sometimes share and the love we all-too-often conceal.And more than anything, Reader — here’s to you.”

    Martin's Press, 1994). Encyclopedic in scope, with more than 800 poems, 100 photographs, a historical chronology, index of first lines, and a bibliography. The Complete Poems will be the definitive English language collection of Akhmatova for many years to come.

    Humorous and biting, personal and communal, self-deprecating and unapologetically self-loving, peluda (meaning “hairy” or “hairy beast”) is the poet at her best. The book explores the relationship between femininity and body hair as well as the intersections of family, class, the immigrant experience, Latina identity, and much more, all through Lozada-Oliva’s unique lens and striking voice. peluda is a powerful testimony on body image and the triumph over taboo.

    In the southeast Portland neighborhood of Dickman’s youth, parents are out of control and children are in chaos. With grief, anger, and, ultimately, understanding, Dickman confronts a childhood of ambient violence, well-intentioned but warped family relations, confining definitions of identity, and the deprivation of this particular Portland neighborhood in the 1980s. Wonderland reminds us that, while these neighborhoods are filled with guns, skateboards, fights, booze, and heroin, and home to punk rockers, skinheads, poor kids, and single moms, they are also places of innocence and love.

    The result easily demonstrated, then as now, the massive achievement of the writer whom Carolyn Kizer called "one of the most passionate, energetic, and honest poets living."

    The rebels had come at night—wielding weapons, torches, machetes. She watched as her mother and six-year-old sister were gunned down in a refugee camp, far from their home in the Democratic Republic of the Congo. The rebels were killing people who weren’t from the same community, the same tribe. In other words, they were killing people simply for looking different.“Goodbye, life,” she said to the man ready to shoot her. Remarkably, the rebel didn’t pull the trigger, and Sandra escaped into the night. Thus began a new life for her and her surviving family members. With no home and no money, they struggled to stay alive. Eventually, through a United Nations refugee program, they moved to America, only to face yet another ethnic disconnect. Sandra may have crossed an ocean, but there was now a much wider divide she had to overcome. And it started with middle school in New York. In this profoundly moving memoir, Sandra tells the story of her survival, of finding her place in a new country, and of her hope for the future.

    Parker’s collection is hyper-contemporary, drawing on what it means to be alive today when our phones autocorrect our texts and we’ve given into a kind of living that prioritizes work, money, and power over justice, equality, and happiness.

    Ashberry reaffirms the poetic powers that have made him such an outstanding figure in contemporary literature. This new book continues his astonishing explorations of places where no one has ever been.