In this down and dirty debut she draws vivid portraits of bad people in worse places. A woman struggles to survive her boyfriend's terror preparations. A wife finds that the key to her sex life lies in her dog’s electric collar. Two teenagers violently tip the scales of their friendship. A rising star of the new fast fiction, Hunter bares all before you can blink in her bold, beautiful stories. In this collection of slim southern gothics, she offers an exploration not of the human heart but of the spine; mixing sex, violence and love into a harrowing, head-spinning read.

    Vincent Millay (1892–1950) have been long admired for the lyric beauty that is especially characteristic of her early works. "Renascence," the first of her poems to bring her public acclaim, was written when she was nineteen. Now one of the best-known American poems, it is a fervent and moving account of spiritual rebirth.In 1917, "Renascence" was incorporated into her first volume of poetry, which is reprinted here, complete and unabridged, from the original edition. The 23 works in this first volume are fired with the romantic and independent spirit of youth that Edna St. Vincent Millay came to personify. In addition to "Renascence," this volume includes 16 other early lyric poems — "Interim," "Sorrow," "Ashes of Life," "Three Songs of Shattering," "The Dream," "When the Year Grows Old," and others, including six sonnets, to which Millay brought great distinction throughout her career.

    The poems in Accepting the Disaster range from lyric miniatures like "The Crossroads," a six-line sketch of an accident scene, to "The Orange Bottle," an expansive narrative page-turner whose main character suffers a psychotic episode after quitting medication. Mehigan blends the naturalistic milieu of such great chroniclers of American life as Stephen Crane and Studs Terkel with the cinematic menace and wonder of Fritz Lang. Balanced by the music of his verse, this unusual combination brings an eerie resonance to the real lives and institutions it evokes. These poems capture with equal tact the sinister quiet of a deserted Main Street, the tragic grandiosity of Michael Jackson, the loneliness of a self-loathing professor, the din of a cement factory, and the saving grandeur of the natural world. This much-anticipated second collection is the work of a nearly unrivaled craftsman, whose first book was called by Poetry "a work of some poise and finish, by turns delicate and robust."

    Something Bright, Then Holes explores the problem of losing then recovering sight and insight -- of feeling lost, then found, then lost again. The book's three sections range widely, and include a long sequence of Niedecker-esque meditations written at the shore of a polluted urban canal, a harrowing long poem written at a friend's hospital bedside, and a series of unsparing, crystalline lyrics honoring the conjoined forces of love and sorrow. Whatever the style, the poems are linked by Nelson's singular poetic voice, as sly and exacting as it is raw. The collection is a testament to Nelson's steadfast commitment to chart the facts of feeling, whatever they are, and at whatever the cost.

    Part narrative poetry, part memoir, and wholly unusual, it is an honest, messy, beautiful, at times brutal account of navigating collective living, sex, love, fear, and self-discovery as a young artist.

    Lima :: Limón illuminates both the sweet and the sour of the immigrant experience, of life as a woman in the U.S. and Mexico, and of the politics of the present day. Drawing inspiration from the music of her childhood, her lyrical poems focus on the often-tested resilience of women. Scenters-Zapico writes heartbreakingly about domestic violence and its toxic duality of macho versus hembra, of masculinity versus femininity, and throws into harsh relief the all-too-normalized pain that women endure. Her sharp verse and intense anecdotes brand her poems into the reader; images like the Virgin Mary crying glass tears and a border fence that leaves never-healing scars intertwine as she stares down femicide and gang violence alike. Unflinching, Scenters-Zapico highlights the hardships and stigma immigrants face on both sides of the border, her desire to create change shining through in every line. Lima :: Limón is grounding and urgent, a collection that speaks out against violence and works toward healing.

    He has epilepsy.And, as it turns out, he has much bigger issues too.Esther falls. In love.It’s wonderful – but there’s a shadow that she can’t identify and she can’t make go away just by loving Luke.Luke’s experience has taught him to despise himself; Esther’s self-belief is fragile. And love is not as easy as it looks. Will they be still falling at the end of term?A story about the struggle it can be to love someone who doesn’t love themselves – and why it’s worth it.From the winner of Children’s Books Ireland Honour for Fiction, the CBI Children’s Choice Award and CBI Book of the Year Award for her previous novels Taking Flight and Grounded.

    In AM/PM, impish humor and cutting insight are on full display. Readers tour the lives of 23 characters across 120 stories full of lizard tails, Schrödinger boxes, and volcano love. June wakes up one morning covered in seeds; Leonard falls in love with a chaise lounge; Betty insists everything except flowers are a symbol of her love for her husband; Andrew talks to his house in times of crisis. Written every morning and night for two months, these brief vignettes (50 to 100 words) recall Donald Barthelme in their whimsy and subtle yet powerful emotions. An intermittent love story as seen through a darkly comic lens, AM/PM mixes poetry and prose, humor and hubris to create a truly original work of fiction.

    Houghton Mifflin is proud to have published SELECTED POEMS, 1965-1975, a volume of selections from Atwood's poetry of that decade.

    A few pages later, a couple fight for the custody of their daughter until she's cut in two. In Pieces is a beautiful book of visual poetry, in which all common metaphors are explained through images only.

    Included here are many of Galway Kinnell’s best-loved and most anthologized poems. Kinnell has revised some of the poems for this new edition, and comments on his working method in a prefatory note.

    Or she is and she isn’t. If you just want to boss people around, you’re a control freak, but if you can joke about it, then your bossiness is leavened by a yeast that’s all too infrequent in contemporary poetry, that of humor.”—New York Times“Shaughnessy’s voice is smart, sexy, self-aware, hip . . . consistently wry, and ever savvy.”—Harvard Review“Brenda Shaughnessy . . . writes like the love-child of Mina Loy and Frank O’Hara.”—Exquisite Corpse"In its worried acceptance of contradiction, its absolute refusal of sentimentality and its acute awareness of time's 'scarce infinity,' this is a brilliant, beautiful and essential continuation of the metaphysical verse tradition." —Publishers Weekly, starred review“Human Dark with Sugar is both wonderfully inventive (studded with the strangenesses of ‘snownovas’ and ‘flukeprints’) and emotionally precise. Her ‘I’ is madly multidexterous—urgent, comic, mischievous—and the result is a new topography of the debates between heart and head.”—Matthea Harvey, a judge for the Laughlin Award"Seriously playful, sexy, sharp-edged, and absolutely commanding throughout....Here you'll meet an 'I' boldly ready to take on the world and just itching to give 'You' some smart directives. So listen up."—Library JournalIn her second book, winner of the prestigious James Laughlin Award, Brenda Shaughnessy taps into themes that have inspired era after era of poets. Love. Sex. Pain. The heavens. The loss of time. The weird miracle of perception. Part confessional, part New York School, and part just plain lover of the English language, Shaughnessy distills the big questions into sharp rhythms and alluring lyrics. “You’re a tool, moon. / Now, noon. There’s a hero.”Master of diverse dictions, she dwells here on quirky words, mouthfuls of consonance and assonance—anodyne, astrolabe, alizarin—then catches her readers up short with a string of powerful monosyllables. “I’ll take / a year of that. Just give it back to me.” In addition to its verbal play, Human Dark With Sugar demonstrates the poet’s ease in a variety of genres, from “Three Sorries” (in which the speaker concludes, “I’m not sorry. Not sorry at all”), to a sequence of prose poems on a lover’s body, to the discussion of a disturbing dream. In this caffeine jolt of a book, Shaughnessy confirms her status as a poet of intoxicating lines, pointed, poignant comments on love, and compelling abstract images —not the least of which is human dark with sugar.Brenda Shaughnessy was raised in California and is an MFA graduate of Columbia University. She is the poetry editor for Tin House and has taught at several colleges, including Eugene Lang College and Princeton University. She lives in Brooklyn.

    This collection suggests that a person is like a world, full of mysteries and wonders–and equally in need of an encyclopedia, a compendium of everything known. The long title sequence offers entries such as “The Sun” (“There is one mind in all of us, one soul, / who parches the soil in some nations / but in others hides perpetually behind a veil”), “The Elephant” (“How to explain my heroic courtesy?”), “The Pigeon” (“Once startled, you shall feel hours of weird sadness / afterwards”), and “Randall Jarrell” (“If language hurts you, make the damage real”). The mysteriously emotional individual poems coalesce as a group to suggest that our natural world is populated not just by fascinating creatures–who, in any case, are metaphors for the human as Chiasson considers them– but also by literature, by the ghosts of past poetries, by our personal ghosts. Toward the end of the sequence, one poem asks simply, “Which Species on Earth Is Saddest?” a question this book seems poised to answer. But Chiasson is not finally defeated by the sorrows and disappointments that maturity brings. Combining a classic, often heartbreaking musical line with a playful, fresh attack on the standard materials of poetry, he makes even our sadness beguiling and beautiful.

    A daughter tends to aging parents. A woman struggles with infertility—“What if, instead of carrying / a child, I am supposed to carry grief?”—and a body seized by pain and vertigo as well as ecstasy. A nation convulses: “Every song of this country / has an unsung third stanza, something brutal.” And still Limón shows us, as ever, the persistence of hunger, love, and joy, the dizzying fullness of our too-short lives. “Fine then, / I’ll take it,” she writes. “I’ll take it all.”In Bright Dead Things, Limón showed us a heart “giant with power, heavy with blood”—“the huge beating genius machine / that thinks, no, it knows, / it’s going to come in first.” In her follow-up collection, that heart is on full display—even as The Carrying continues further and deeper into the bloodstream, following the hard-won truth of what it means to live in an imperfect world.

    Includes "There's a certain slant of light," "Because I could not stop for death," "It was not death for I stood up."