Enjoy modern poetry, scanned pieces of typed words on scraps, and full color original artwork.Open your mind and let your heart go on an adventure.

    This series of elegies records the transit of grief, observing with an unflinching eye how a singular traumatic event can permanently alter our understanding of time, danger, the material world and family. Marked by clarity and restraint, these lyric poems narrate a suspenseful, wrenching story that explores the depths and limits of empathy.“Living Room Altar”Except for the shirt pulled from the ocean,except for her hands, which keep folding the shirt,except for her body, which once held their bodies,my sister wants everything back now—If there were a god who could out of empty shellscarried by waves to shoremake amends—If the ocean saved in a jarcould keep from turning to salt—She’s hearing things:bird calling to bird,cat outside the door,thorn of the blackberry against the trellis."These heart-breaking poems of an all-too-human life stay as absolute as the determined craft which made them. There is finally neither irony nor simple despair in what they record. Rather, it is the far deeper response of witness, of recognizing what must be acknowledged and of having the courage and the care to say so." —Robert Creeley

    No Map Could Show Them confirms Helen Mort’s position as one of the finest young poets at work today.

    They are truly delightful and robustly original—a poetic joy."—Tony HoaglandSelected by Bernadette Mayer for the National Poetry Series, these poems engage the structures of family and intimacy, exposing the viscera of the everyday, all its frailties and familiarity rendered absurd and remade through language.Outside there's a world where every love-scenebegins with a man in a doorway;he walks over to the woman and says "Open your mouth."Hannah Gamble has received fellowships from Rice University, The University of Houston, and The Edward F. Albee Foundation. She teaches literature and writing at Prairie State College and is the poet-in-residence at Children's Memorial Hospital in Chicago, Illinois.

    This new book takes place in Lockdown Three. This time Key can make Government-sanctioned expeditions out onto the streets of London (remember?). And it is there that the inaction takes place. Phone calls to his mother, promenades with his loyal friend, bubble-negotiations, sitting his fat arse down on benches, drinking mocha. Another three months of mind-freezing inertia. This time on the move. Conversations interspersed with poetry.

    A collection of poems parodying the Gabbie Hanna collection 'Adultolescence', written from the perspective of Kyra - a little dog with a big heart! Youtuber, Rachel Oates, and her dog worked together to create this collection of poems and photographs which will resonate with every dog lover, but will also provide plenty of giggles for 'fans' of Gabbie's 'poetry'.

    No Art is an exhilarating argument both with America and with poetry itself, in which online slang is juxtaposed with academic idiom, philosophy collides with advertising, and the language of medicine and the military is overlaid with echoes of Whitman and Keats. Here, clichés are cracked open and made new, made strange, and formal experiments disclose new possibilities of thought and feeling. No Art confirms Ben Lerner as one of the most searching and ambitious poets working today.

    As warm and intelligent as it is ribald and cunning, this collection of Thom Gunn's is his richest yet.

    were written within earshot of David Kirby's Old World masters, Shakespeare and Dante. From the former, Kirby takes the compositional method of organizing not only the whole book but also each separate section as a dream; from the latter, a three-part scheme that gives the book rough symmetry. Long-lined and often laugh-out-loud funny, Kirby's poems are ample steamer trunks into which the poet seems to be able to put just about anything--the heated restlessness of youth, the mixed blessings of self-imposed exile, the settled pleasures of home. As the poet Philip Levine says, "The world that Kirby takes into his imagination and the one that arises from it merge to become a creation like no other, something like the world we inhabit but funnier and more full of wonder and terror. He has evolved a poetic vision that seems able to include anything, and when he lets it sweep him across the face of Europe and America, the results are astonishing."

    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."

    Black Maria–the title is a slang term for a police van as well as a hearse–is a twisting tale of suspicion, passion, mystery, and the city. Young channels the world of detective movies, picking up its lingo and dark glamour in five “reels” of poetry–the adventures of a “soft-boiled” private eye, known as A.K.A. Jones, and an ingenue turned femme fatale, Delilah Redbone, who’s come to town from down south (“Mama bent till dark / tending rows to send / Me to school . . . I wanted / To head on & hitch . . . strike it / Big”). We follow Jones and Delilah through a maze of aliases and ambushes, sex and suspicions, fast talk and hard luck, in Shadowtown where noir characters abound. The Killer, The Gunsel, The Hack, The Director, The Champ, and The Snitch are among the local luminaries and beautiful losers who mingle with Jones and his elusive lady as they stalk one another through the scenes of the poet’s dazzling “treatment.” Charming, funky, bleak, humorous, picaresque, and full of pathos, Black Maria is brimming with the originality and stark lyricism we have come to expect from this remarkable poet.When we met her first request:Got a light?*I only had darkso gave her that instead.*Ashtray full of butts& maybes.*The sound of her heels down the hallto me means reveille.(from “Stills”)Click on the poem titles below to hear Kevin Young read from Black Maria.

    Individually, Jake Adam York’s poems are elegies for individuals; collectively, they consider the violence of a racist culture and the determination to resist that racism. York follows Sun Ra, a Birmingham jazz musician whose response to racial violence was to secede from planet Earth, considers the testimony in the trial of J. W. Milam and Roy Bryant for the murder of Emmet Till in 1955, and recreates events of Selma, Alabama, in 1965. Throughout the collection, an invasion of starlings images the racial hatred and bloodshed. While the 1950s spawned violence, the movement in the early 1960s transformed the language of brutality and turned the violence against the violent, says York. So, the starlings, first produced by violence, become instruments of resistance.York’s collection responds to and participates in recent movements to find and punish the perpetrators of the crimes that defined the civil rights movement. A Murmuration of Starlings participates in the search for justice, satisfaction, and closure.

    As a poet who has achieved success in the realms of both grassroots popularity and national critical attention, Kocot is poised to claim her place as America’s boldest new poetic voice.

    . . A violently skewed portrait of the female poet and her Muse, a hyped-up version of Stevens and his interior paramour, locked in a soliloquy 'in which being there together is enough' . . . Something in Brock-Broido likes stealth, toxicity, wildness, neon--'perfect mean lines' . . . The poems lead off the page." --Helen Vendler, The New Yorker"These poems are out of Stevens in the abundance, glitter, and seductiveness of their language, out of Browning in the authority of their inhabiting, and out of Plath in the ferocity and passion of their holding on--to feeling, to life, and to us . . . An astonishing first book." --Cynthia Macdonald"Brock-Broido's brilliant nervosity and taste for the fantastic impel her to explore the obscure corners of the psyche and the fringes of ordinary human experience . . . The poems in A Hunger are original, strange, often unsettling, and mostly beautiful." --Stanley Kunitz

    . . " In words drawn from urban and Navajo perspectives, Sherwin Bitsui articulates the challenge a Native American person faces in reconciling his or her inherited history of lore and spirit with the coldness of postmodern civilization.Shapeshift is a collection of startling new poetry that explores the tensions between the worlds of nature and man. Through brief, imagistic poems interspersed with evocative longer narratives, it offers powerful perceptions of American culture and politics and their lack of spiritual grounding. Linking story, history, and voice, Shapeshift is laced with interweaving images—the gravitational pull of a fishbowl, the scent of burning hair, the trickle of motor oil from a harpooned log—that speak to the rich diversity of contemporary Diné writing."Tonight, I draw a raven's wing inside a circle measured a half second before it expands into a hand. I wrap its worn grip over our feet As we thrash against pine needles inside the earthen pot." With complexities of tone that shift between disconnectedness and wholeness, irony and sincerity, Bitsui demonstrates a balance of excitement and intellect rarely found in a debut volume. As deft as it is daring, Shapeshift teases the mind and stirs the imagination.