Those exotic womanly curves… She was an enigma I had to unravel. I wasn’t there for the thrill of it. Not really. It was just something to do. But then she picked me out of the crowd. The sultry burlesque dancer. Savannah. Jesus, my c*ck ached as she danced over me. Bending. Contorting. I needed her like fire needs oxygen. I had Savannah that night. And several nights after that. There was no end to the lust she stirred in me... Then it all went to sh*t. Now, Savannah’s pregnant. With my babies. Triplets. This wasn’t the deal. I know who I am— A fucking widow who gave up on emotional bullshit long ago. But I can’t walk away from this. I can’t abandon the mother of my children. I know Savannah doesn’t trust me. And hell, I don’t blame her. However, she needs to understand that she’s mine. Her and our unborn kids. And no one is going to f@*k that up.

     Bound for the West as a Mail Order Bride, Nantucket Murray is carrying a secret that could end her chance for a new life in Benson Creek. Gilbert Snyder had sounded kind enough in his letter, but how kind will he feel when he discovers his new bride can barely speak without stammering? All too familiar with the sting of angry words, Nan has hoped for a gentle man with which to start her new life. One who will not mind her stammer. So when her first sight of her husband-to-be is him in a fight in the dusty street, she’s ready to turn around and run straight back East. But this volatile man also shows moments of great kindness, and she wonders if perhaps he can be trusted after all. Gilbert Snyder has finally gotten the ranch he’s always dreamed of, but his Mail Order Bride has left him confused and dismayed. He may be loud, but he’s not dangerous, yet she seems to shy away from his very words. If he’s not the man for her, then maybe he needs to let her go to find someone who is. Can Gil find a way to calm his temper, and can Nan summon the strength to help him? Find out in this fifth book in the Benson Creek Mail Order Bride series!

    All night & all day. Just like the coffee shop I’d met him at that day luck was on my side. It was one cup of coffee. My last five dollars. And a sign of good faith. Who’d ever known the man I given my last to would be Levee Billion, prominent figure and one of Huffington Mill’s most eligible bachelors. Did I mention he was filthy fxcking rich? Just before he slid into his foreign whip, he’d left my mind in a frenzy and my body on fire. One wink and a thank you note with his number attached. “Call me if you’re ever in need.” Of course I was in need. I had been since the day I smelled his obnoxious cologne. Witnessed his intoxicating smile. Been blessed with his lingering presence. I’d become addicted. His absence was vexatious. Even, now, the thought of our differences keeping us apart had me strung out and stressed out.

    Volumes 1-3 of the Jack Nightingale supernatural thriller series: NIGHTFALL, MIDNIGHT and NIGHTMARE.

    In a country where “money has won everywhere,” but the essential promise of democracy still beckons, these poems uncover our troubled psyches and show us what it might mean to be “Free Again.”

    Yet for all their metaphorical suggestiveness, Dickinson’s and Whitman’s poems about the natural world neither preclude nor erase nature’s relevance as an actual living environment. In their respective poetic projects, the earth matters both figuratively, as a realm of the imagination, and also as the physical ground that is profoundly affected by human action. This double perspective, and the ways in which it intersects with their formal innovations, points beyond their traditional status as curiously disparate icons of American nature poetry. That both of them not only approach nature as an important subject in its own right, but also address human-nature relationships in ethical terms, invests their work with important environmental overtones. Dickinson and Whitman developed their environmentally suggestive poetics at roughly the same historical moment, at a time when a major shift was occurring in American culture’s view and understanding of the natural world. Just as they were achieving poetic maturity, the dominant view of wilderness was beginning to shift from obstacle or exploitable resource to an endangered treasure in need of conservation and preservation.A Place for Humility examines Dickinson’s and Whitman’s poetry in conjunction with this important change in American environmental perception, exploring the links between their poetic projects within the context of developing nineteenth-century environmental thought. Christine Gerhardt argues that each author's poetry participates in this shift in different but related ways, and that their involvement with their culture’s growing environmental sensibilities constitutes an important connection between their disparate poetic projects. There may be few direct links between Dickinson’s “letter to the World” and Whitman’s “language experiment,” but via a web of environmentally-oriented discourses, their poetry engages in a cultural conversation about the natural world and the possibilities and limitations of writing about it—a conversation in which their thematic and formal choices meet on a surprising number of levels.

    Simply one of the most admired and imitated poets of her generation, Lisa Jarnot's third volume of poetry does what only Jarnot can do. Decidedly lyrical, always reliant on repetition and rhythm, what emergies in this book is a catalog of loves and laments: "Just the eldergrass and him, the fog, unpoliced and safe inside the train, the thoughts of rain, Apollo, and the sun..." As Stan Brackage has said of Jarnot, " H]er words are never severed from the means that engendered them; and the consequent meanings are never detached from the meditative drama of each whole poem."

    This matching folio features 11 songs from the 16-year-old country-pop singer's debut album: Cold as You * Mary's Song (Oh My My My) * Our Song * The Outside * Picture to Burn * A Place in This World * Should've Said No * Stay Beautiful * Teardrops on My Guitar * Tied Together with a Smile * Tim McGraw.

    Not to mention the elusive Tom - who she knows she's met before...As she rediscovers the magic in life, will she at last find the happiness that eludes her?

    

    That Wagner is in love with the world and its transactions--perceptions, superficial and otherwise; childbearing, painful and otherwise; gains, financial and otherwise--allows for a poetry that is full of song yet brazenly topical.

    By turns sassy and serious, the poems can seem to sprint in two directions at once, managing to make the reader laugh at the same time they are struck by the emotional strength of the work. "Charming, inviting, beguiling and delightful poems in the language of someone who seems alive speaking refreshing riddles to herself." SHEILA HETI"Uptalk is a book of transcribed whale songs. Some scientists gave a whale a microphone and she took it home and stayed up all night under the covers talking to herself about faces and word-parts. I am delighted that Kimmy took it upon herself to transcribe this unique document of marine biology, and my heart goes out to the brilliant, charming whale author, wherever she may be." SARA WOODS

    But his resilient voice and consistent perspective is neither blaming nor didactic, and ultimately enlightening. From the shadowed corners into which we dare not look clearly, Hicok makes us witness and hero of The Legend of Light.

    As unexpected as it is bold, Alsadir's ambitious tour de force demands we pay new attention to the current conversation about the nature of lyric - and human relationships - in the 21st century.