Set in an apocalyptic and post-apocalyptic world that is disturbing because it is uncannily familiar, National Anthem chronicles the aftermath of the failure of imperial vision. Allowing Rome and America to bleed into one another, Prufer masterfully weaves the threads of history into an anthem that is as intimate as it is far-reaching.

    

    With acute psychological insight, Dávila follows her characters to the limits of desire, paranoia, insomnia, and fear. She is a writer obsessed with obsession, who makes nightmares come to life through the everyday: loneliness sinks in easily like a razor-sharp knife, some sort of evil lurks in every shadow, delusion takes the form of strange and very real creatures. After reading The Houseguest—Dávila’s debut collection in English—you’ll wonder how this secret was kept for so long.

    The resonance of this image grows through each section of the book as Hahn skillfully employs theme and variation, counterpoint and mirroring techniques. The ibis first appears as part of an illusion, the disappearing object in a magician’s trick, which then evokes the greatest disappearing act of all—death—where there are no tricks to bring about a reappearance. The rich complexity multiplies as the second section focuses on a disappearing lady and a dramatic final section brings together the bird and the lady in their common plight—both caged by their mortality, their assigned time and role.  All of the illusions fall away during this brilliant denouement as the two voices share a dialogue on the power of metaphor as the very essence of poetry. bird trick iv It’s all about disappearance. About a bird in a cagewith a mirror, a simple twiston the handle at the sidethat makes it come and go at the magician’s insistence. It’s all about innocence.It’s all about acceptance.It’s all about compliance.It’s all about deference.It’s all about silence. It’s all about disappearance.

    Her arresting, edgy poems about aging and grief are surprising and invigorating: a defiant balm. At the same time, she revels in the quirkiness and whimsy of the natural world: the vision of a fly, the naming of an eggplant, and a woman who — not unhappily — finds that cockroaches are drawn to her.“God draws a life. And then begins to rub it out / with the eraser on his pencil.” Lorna Crozier draws a world in What the Soul Doesn’t Want, and then beckons us in. Crozier’s signature wit and striking imagery are on display as she stretches her wings and reminds us that we haven’t yet seen all that she can do.

    But despite his lack of recognition, Mr. Hennen...has simply gone about his calling with humility and gratitude in a culture whose primary crop has become fame. He just watches, waits and then strikes, delivering heart-buckling lines.” —Dana Jennings, The New York Times"As with Ted Kooser, Tom Hennen is a genius of the common touch. . . . They are amazingly modest men who early accepted poetry as a calling in ancient terms and never let up despite being ignored early on. They return to the readers a thousandfold for their attentions."—Jim Harrison, from the introduction"Many readers will appreciate this evocation of a life not as commonly portrayed in contemporary verse."—Library Journal"There is something of the ancient Chinese poets in Hennen, of Clare and Thoreau, although he is very much a contemporary poet."—Willow Springs"One of the most charming things about Tom Hennen's poems is his strange ability to bring immense amounts of space, often uninhabited space, into his mind and so into the whole poem."—Robert Bly"America is a country that loves its advertising. That loves its boxes we can put people and places into. We love 'Heartland' as opposed to 'Dustbowl.' We also love to be surprised. Rural Minnesota, as written by Tom Hennen in Darkness Sticks to Everything, is a world of realistic loneliness and lessons. It’s a collection of sincere poems about man and the land."—The Rumpus"Hennen is a master of the prose poem [who] can take little details, tiny details and make them universal."—River Falls Journal"What separates Hennen from many of his contemporaries is his willingness to identify with the natural world in a way that feels neither possessive nor self-serving, but simply (once again) sincere."—Basalt Magazine"There is something strong in all Tom Hennen's poems, an awareness and a clear, sure voice... I don't usually want to end by saying 'Buy this book,' but I'm going to say it this time: 'You should buy this book.'"—Fleda Brown, Interlochen Public Radio, "Michigan Writers on the Air"Tom Hennen gives voice to the prairie and to rural communities, celebrating—with sadness, praise, and astute observations—the land, weather, and inhabitants. In short lyrics and prose poems, he reveals the detailed strangeness of ordinary things. Gathered from six chapbooks that were regionally distributed, this volume is Hennen's long-overdue introduction to a national audience. Includes an introduction by Jim Harrison and an afterword by Thomas R. Smith."In Falling Snow at a Farm Auction"Straight pine chairComfortableIn anyone's company,Older than grandmotherIt enters the presentIts arms wide openWanting to hold another young wife.Tom Hennen, author of six books of poetry, was born and raised in rural Minnesota. After abandoning college, he married and began work as a letterpress and offset printer. He helped found the Minnesota Writer's Publishing House, then worked for the Department of Natural Resources wildlife section, and later at the Sand Lake National Wildlife Refuge in South Dakota. Now retired, he lives in Minnesota.

    Exploring how the mind orders experience—and how disorder, or different orders, affect that experience—Szporluk has produced a poetry of alien beauty, limning worlds where the inability to exert control results in a disturbing, overwhelming immediacy.

    Juliana Spahr has lived in many places, including Chillicothe (Ohio), Buffalo (New York), Honolulu (Hawaii), and Brooklyn (New York). She has absorbed, participated in, and been transformed by the politics and ecologies of each. This book is about that process. THE TRANSFORMATION "tells a barely truthful story of the years 1997-2001," a story of flora and fauna, of continents, islands, academies, connective tissue, military and linguistic operations, and of that ever-present "we," to name only a few. At once exhilarating, challenging, and humbling, THE TRANSFORMATION is a hefty book in its honesty and scope, a must-read.

    And images of a fantastic idyll complete with falling stars, the sound of the sea, and beautiful countryside. In the hands of Surrealists, though, love poetry also includes gravediggers and murderers, dice and garbage, snakeskin purses and "the drunken kisses of cyclones." Surrealism, the movement founded in the 1920s on the ashes of Dada's nihilism, embraced absurdity, contradiction, and, to a supreme extent, passion and desire. From André Breton's battle cry of "Mad Love" to the quiet lyricism of Robert Desnos, Surrealist writers and artists obsessively expressed the permutations of that fundamental human state, love, and they did so with the vocabulary of natural and unnatural worlds, the explicit language of sex, and a great deal of humor.Surrealist Love Poems brings together sixty poems by Surrealists who charged their work with all forms of eroticism. Expertly and energetically edited by Mary Ann Caws, this collection seeks to demonstrate the truth of Breton's words, that "the embrace of poetry like that of bodies / As long as it lasts / Shuts out all the woes of the world.""Erotic, impassioned and necrophilic, the sixty works gathered in Surrealist Love Poems celebrate the idea of obsessive and transformative love. 'I want to sleep with you side by side. . . . Stretched out on your shadow / Hammered by your tongue / To die in a rabbit's rotting teeth / Happy' writes Joyce Mansour. . . . Caws places poems by major surrealist writers like André Breton and Paul Eluard, along with the poetry of Picasso, Dalí, and Frida Kahlo, side by side with fourteen lushly printed and alluring black-and-white photos by the likes of Man Ray, Lee Miller, and Claude Cahun."—Publishers Weekly

    Driven by obsession—in particular, obsession with the legendary French poet, Robert Desnos—Muench’s identification with a true self beyond the self’s known truth is startling.—from the introduction by Carol Muske-Dukes“Simone’s poems have a confidence and sophistication of what I like to call intentionality. Also wit, grace, poise, and a relationship to writing beyond self-referential feeling.”—Anne Waldman“Lush, sprouting, sensuous images line-by-line, adopting myth freely, Muench’s poems are volatile explosives, circling beauty.”—James Tate

    Bambrick began writing poems in order to document the forms of violence she witnessed towards the people and the environment of the Columbia River. While working there she found that reservoirs foster a uniquely complex community--from fish biologists to the owners of luxury summer homes--and became interested in the issues and tensions between the people of that place. The idea of power, literal and metaphorical, was present in every action and encounter with bosses and the people using the river. The presence of a young woman on the crew irritated her older, male co-workers who'd logged, built houses, and had to suffer various forms of class discrimination their entire lives. She found throughout this experience that their issues, while not the same, were inherently connected to the suffering of the lands they worked. Introduction by Sharon Olds.

    In acclaimed poet Suzanne Buffam's second collection, her unusual range, formal rigor, and imaginative force are on full display as we are introduced to the wry meditations of a literary "irrationalist" who pursues her own poetic logic beyond the bounds of reason. Throughout the collection, in resolutely modern, rueful and eccentric lyrics, Buffam investigates the shifting grounds of knowledge while refusing to take any philosophical authority too seriously. Together, these poems compose a swift, durable, protean argument for the necessity of interior maps in a world that may be on the eve of extinction, but whose darkness is continually illuminated by a pyrotechnics of curiosity, candor, and wit.

    THEORIES OF FALLING is the winner of the 2007 New Issues Poetry Prize. Judge Marie Howe said of THEORIES OF FALLING, "I kept coming back to these poems--the tough lyric voice that got under my skin. Clear, intent, this poet doesn't want to fool herself or anybody else. Desire pushes defeat against the wall, and the spirit climbs up from underground." "Sandra Beasley slices her way down the page with precision and punch. Her haunting 'Allergy Girl' series will set off such an itch, I doubt you'll ever fully recover...This poet leaves us to smolder and ache in small kingdoms where 'even the tame dogs dream of biting clear to the bone.'"--Aimee Nezhukumatathil.

    Desperate for something solid to believe in, Capps still mistrusts authority, feeling disenchanted with God, family, eros, even her own impulsive self. And yet while the absence of faith hints at despair, these poems often achieve, almost inspite of themselves, an odd buoyancy. Playful, fearless, wary, there's a dazzling resilience in this book. One poem can make a grand and eccentric claim, "I forgive the afterlife," while another takes as its title something humbler and more poisonous, "God Bless Our Crop-Dusted Wedding Cake." No matter how adrift this poet may feel, poetry itself remains her anchor and lifeline.

    The world was 'somewhere inside his skull. And it hurt.' These poems and dramatic sketches, however, delight even when they hurt" -- ROSMARIE WALDROP"BORIS BY THE SEA was born when Aesop was reading Chekhov, and Chekhov was reading Nietzsche, and Nietzsche was watching The Brother From Another Planet. Actually Matvei Yankelevich wrote this book, but 'wrote' is incomplete... he seems more to inhabit this stateless, beautiful being who uses language to move his body or erase the sea: 'Boris looked over himself and realized there were many parts of him that he could not see. And only a small part of these parts was on the surface.' BORIS BY THE SEA could be a children's fable if it weren't so freakin' real, unreal, hyper-real: 'But people need each other to open each other up and see what is inside.' This is Boris--and he, like Pinnochio--has a clever master." -- ROBERT FITTERMANMatvei Yankelevich's first full-length book, BORIS BY THE SEA, is a work of existential theater that destroys the distance between puppeteer and puppet, between ego and id, between what is real and what is absurd. Consisting of prose, poems, and plays, the book creates its own world and then confronts the loneliness of having to exist within one's own creation. Like Daniil Kharms, Yankelevich has written a children's book for only the bravest of adults.