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."

    The poet trains to hear clearly and, as much as possible, without interruption, the voice of his or her mind, the voice that gathers, packs with meaning, and unpacks the language he or she knows. It can take a long time to learn to let this voice speak without getting in its way. This slow learning, the growth of this habit of inner attentiveness, is poetic development, and it is the substance of the poet’s art. Of course, this growth is rarely steady, never linear, and is sometimes not actually growth but diminishment—that’s all part of the compelling story of a poet’s way forward. —from the Introduction“The staggering thing about a life’s work is it takes a lifetime to complete,” Craig Morgan Teicher writes in these luminous essays. We Begin in Gladness considers how poets start out, how they learn to hear themselves, and how some offer us that rare, glittering thing: lasting work. Teicher traces the poetic development of the works of Sylvia Plath, John Ashbery, Louise Glück, and Francine J. Harris, among others, to illuminate the paths they forged—by dramatic breakthroughs or by slow increments, and always by perseverance. We Begin in Gladness is indispensable for readers curious about the artistic life and for writers wondering how they might light out—or even scale the peak of the mountain.

    In this superb anthology can be found the best of the English-speaking world’s inspirational and reassuring verse, including such classics as Rudyard Kipling’s ‘If’ and W.H. Davies’ ‘Leisure’. This beautifully illustrated collection of over 120 poems is sure to offer solace, hearten the soul and motivate the human spirit.

    Where we don't, we read, we ask, we learn and then, we solve! What happens when there are no answers though? When nobody in the world knows! When we see the need to invent Gods even if we can't discover Him. Through a string of poems, the author narrates such an experience with his non-verbal and autistic daughter, Enya. What started as a week of babysitting for him soon became a seeking to change her into 'normal'. But, that seeking ended up transforming the seeker!The narrative in the form of poetry touches upon the revelation that comes out of desperation of not finding an answer at all and therefore, the thoughts getting tired of themselves and the mind taking a back seat. In that silence, the author says, things become clear and all aspects of life show their inter-relation! The intellect gives way to the intelligence, the body and mind as 'me' gives way to the world as 'me'! The mind map once seen, one starts to see the true nature of the 'me' and that perspective and clarity make everything clear and possible in life...

    Editor Stephen Cope has made a judicious selection of Oppen's extant writings outside of poetry, including the essay "The Mind's Own Place" as well as "Twenty-Six Fragments," which were found on the wall of Oppen's study after his death. Most notable are Oppen's "Daybooks," composed in the decade following his return to poetry in 1958. iSelected Prose, Daybooks, and Papers is an inspiring portrait of this essential writer and a testament to the creative process itself.

     Tragic Secrets Book One: A Holiday Secret Baby Romance It was supposed to be a time of mourning, reflection, and endings. Instead I found love, happiness, and new beginnings… She’d caught my eye right from the start. That little filly was as wild as they come, though. Friends.That was her favorite word. I wanted more, and I always get what I want. But with her, love had to come first. Her virginity meant a lot to her. She meant a lot to me. And just as it started coming together, it all came crashing down. Why, I didn’t know. We were in love. Or had it all just been a crazy game to her? Riding Stick Book Two: A Second Chance Secret Baby Romance I didn’t want any of it. Not the company, the cars, the hassles. I only wanted her. Too bad we don’t always get what we want. It shouldn’t have been that hard to just ask the girl on a date but with a father like mine, every move I made had to be carefully calculated. What was I doing? Waiting around for keys to the kingdom which may never come? Thank God, Aura Cameron didn’t see me as some stuck-up boss’s son who would use and abuse her. She saw a future with us. Too bad fate didn’t. Loving The Don Book Three: A Single Daddy Nanny Romance Daniela: He’s the Don. He’s my boss. He’s all I’ve ever wanted… But he buried his heart with his wife. Dashing, seductive Armand Rossini is the first man I’ve ever felt real desire for. But I’m here to look after his sweet, traumatized daughter, Laura. Not to warm his bed. However, Armand has other plans. And I’ve got no defenses against his charm. The seduction is total. The se* is amazing. But it comes with a limit: His wife, barely even dead two years, has his heart. Not I. And then the unexpected happens: I’m pregnant. Armand has promised to take care of me, but I’m starting to have doubts. You can’t hide a pregnancy forever—especially with his nosy, bossy mother around. Now she’s found us out and forced a wedding. And just like that, I’m married to the Don of New York. I’m now wife to the man who warned me not to love him—and I’m in danger. Will Armand find his heart in time to save me? Three On a Match Book Four: A Reverse Harem Bad Boy Romance Sparks fly on a remote Caribbean island when three hot, desperate ex-convicts rope lonely trauma nurse Alanna into helping save one of their lives. Plucked from her cruise in the middle of the night, she becomes a woman on a mission...but it’s hard to keep her mind on business with so many hunks around. All three men want her, and they’re willing to share. Offered a month of relaxation, seduction, and mind-blowing se*? Virginal Alanna cannot resist. But as everyone’s feelings deepen, an unexpected surprise complicates matters: Alanna is pregnant. When jealousy and violence rear their heads on the island, will their new love last? While You Were Gone Book Five: A Christmas Second Chance Romance I never thought I would feel happy again. Not for one moment. Not after he took my daughter. The man I married wasn’t who I thought he was, and he showed me that in the worst possible way.

    First published in 1962 and long out of print, Selected Poems of Malcolm Lowry is the only comprehensive selection of his poetry to be published, and it remains the perfect introduction to his extensive poetic canon. Edited by Lowry's good friend, renowned Canadian poet Earle Birney, with the assistance of his widow, Margerie Lowry, the selection includes extraordinary poems written during Lowry's stay in Mexico, many of which are closely related to his novel. This new edition includes a "Publisher's Note" from Lawrence Ferlinghetti.

    Plenty of room to fill in website addresses, usernames, passwords, and add notes. Spiral binding allows pages to lie flat. Elastic band closure. Includes pages in the back to record additional useful information, such as your home network configuration, software license numbers, and other notes. Removable band and discreet cover design. Measures 4-1/4" wide x 5-3/4" high.

    Mad Woman, Anchors & Vacancies, Redamancy, and most of Throes are sectioned here to take you on a journey. From madness to love and the heartache in between, it's all here.

    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.

    It tells the story of how Orbis Rex, Young Matt and his Circle of Friends, Queen Dido and the blind Dom'nic did battle with 'a wet and withered bat' from Wuhan.

    Fourteen “Idiot Psalms,” surrounded by dozens of other poems, make this his most challenging collection yet. “Idiot Psalm 1” O God Belovéd if obliquely so,  dimly apprehended in the midst  of this, the fraught obscuring fog  of my insufficiently capacious ken,  Ostensible Lover of our kind—while  apparently aloof—allow  that I might glimpse once more  Your shadow in the land, avail  for me, a second time, the sense  of dire Presence in the pulsing   hollow near the heart. Once more, O Lord, from Your Enormity incline  your Face to shine upon Your servant, shy  of immolation, if You will.

    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.

    For anyone who's been let down by life and love, these poems reveal that the most important person one can fall in love with is oneself.

    “The collection of poems speaks like a journey through each formative moment we’d forgotten we had: the monster under the bed and the intricate rules about how to overcome its powers; the ability to talk to girls or boys we liked; the fear of being bullied; our first experience with real anguish.” – Litlive.ca Please note: This is not a young adult title. Some works include language not suitable for some readers.