In a long preface, "Frame Structures," written especially for this volume, Howe suggests the autobiographical, familial, literary, and historical motifs that suffuse these early works. Taken together, the preface and poems reflect her rediscovered sense of her own beginnings as a poet, her movement from the visual arts into the iconography of the written word.Susan Howe is a professor of English at the State University of New York—Buffalo. Most of her later poetry has been collected in The Nonconformist's Memorial (New Directions, 1993), The Europe of Trusts: Selected Poems (Sun Moon Press, 1990), and Singularities (Wesleyan University Press, 1990). She is also the author of two landmark books of postmodernist criticism, The Birth-mark: unsettling the wilderness in American literary history (Wesleyan University Press, 1993) and My Emily Dickinson (North Atlantic Books, 1985).

    The most intimate verses of nostalgia, of things remembered and things forgotten, of hope and despair, and of life, love, passion, and death, all come together in this touching collection of songs.

    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'.

    A shockingly assured first collection from young poet Jesse Ball, its elegant lines and penetrating voice present a poetic symphony instead of a simple succession of individual, barely-linked poems. Craftsmanship defines this collection; it is full of perfect line-breaks, tenderly selected words, and inventive pairings. Just as impressive is the breadth and ingenuity of its recurring themes, which crescendo as Ball leads us through his fantastic world, quietly opening doors.In five separate sections we meet beekeepers and parsons, a young woman named Anna in a thin, linen dress and an old scribe transferring the eponymous March Book. We witness a Willy Loman-esque worker who "ran out in the noon street / shirt sleeves rolled, and hurried after / that which might have passed" only to be told that there's nothing between him and "the suddenness of age." While these images achingly inform us of our delicate place in the physical world, others remind us why we still yearn to awake in it every day and "make pillows with the down / of stolen geese," "build / rooms in terms of the hours of the day." Like a patient Virgil, insistent and confident, Ball escorts us through his mind, and we're lucky to follow.

    With players Bobby Bonilla, Vince Coleman, Bret Saberhagen, and Howard Johnson, winning another championship seemed a mere formality. The 1992 New York Mets never made it to Cooperstown, however. Veteran newspapermen Bob Klapisch and John Harper reveal the extraordinary inside story of the Mets’ decline and fall—with the sort of detail and uncensored quotes that never run in a family newspaper. From the sex scandals that plagued the club in Florida to the puritanical, no-booze rules of manager Jeff Torborg, from bad behavior on road trips to the downright ornery practical “jokes” that big boys play, The Worst Team Money Could Buy is a grand-slam classic.

    TV nerds have "The Walking Dead." Fiction fans have World War Z. Now, a cross-section of some of the best contemporary poets from the stage and the page rise up and shamble their way through an anthology of post-apocalyptic zombie poetry edited by Write Bloody author and GeekWeek.com personality Rob "Ratpack Slim" Sturma. Funny, creepy, shocking, and even poignant, this collection challenges award winning authors like Scott Woods, Laura Yes Yes, and Khary Jackson to shake the dust off of old conventions, pull the triggers on their imaginations, and...Aim For The Head.

    

    Replacing the slim volume which introduced Stevie Smith to American readers, New Selected Poems is chronologically arranged and contains 165 poems along with many of the author's doodles.

    He collects ordinary oddities and links them together in a conversational stream of consciousness, thus disguising profundity in the everyday (or finding it there?) and only occasionally relying on the sort of portentous phrases to which so much poetry is indebted. Yet there is shape to this apparent arbitrariness, and in reading Ashbery's newest collection, Your Name Here, distinct themes do begin to coalesce and assert themselves.Many of the poems share, for instance, an unmistakably elegiac tone. In a poem like "Strange Occupations," the word "remember" appears four times in the first eight lines. The book is very much the searching-backward gaze of an older man -- Ashbery is in his 70s -- who clings to memories of people and places but is haunted by missed opportunities and unforeseen consequences. Ashbery sifts through the attic of his life, but he intertwines its contents with the colorful stuff of dreams and fictions, and he directs his remembrances to others; the book is full of constant references to "you," invocations of friends, addresses to the absent. One of the book's recurring images is that of a spool -- conjuring up the skein of days, the thread of a life unwinding in memories. Writing becomes a transcript of the aging process, a literal book of days; it preserves a sense of self before time's lens, defying the idea of "life as a sandbar...that the tide is frantically trying to erase." But the danger lies in representation replacing action: "My life at my back now, my discourse/like weeds far out on a lake" wrings its hands at the passive nostalgia of later years. In "telling my adventures to anyone who will listen" (from a poem called "Cinema V�rit�"), the poet's life is reduced to art, not transformed by it. pLooking back at his mistakes, the poet wants to know, "In what way do things get to be wrong?" and he thinks "how heavenly it would have been/if it had all happened later or differently." But an awareness of the gulf between freedom and necessity, expectation and reality, also deepens with age, Ashbery seems to say. One never forgets death, the ultimate end, but getting there can take so many routes, and therein lies the urgency of living: "One can wait on the curb for the rest/of one's life, for all anyone cares, or one can cross/when the light changes to green..." "Escape is never possible" if life is reduced to a labyrinth -- but "there is still time for surprises," for the shock of novelty, adventure, chance. "We know, they say, and keep going," one of the book's final poems declares, supplying the only possible answer for the future to iYour Name Here/i's wistful questioning of the past.p--iJonathan Cook/i

    Through fourteen years of trouble and heartache from a stagnant domestic life, the struggle for civil rights, and the stigma of interracial relationships, a bond forms between the two that changes both of their lives forever.It’s 1958, a time when women and Negroes are deemed second-class and are being second-guessed, from there arises the perfect storm for change, and the perfect time for an unlikely friendship.Beatrice “Beanie” Peterson, forced to marry at fifteen and live with two sister wives, six children, and an abusive husband twenty years her senior, is looking for a way out. Adeline “Liddie” Garrison, friend of Jack Kennedy, wife of a prominent Boston business man, and resident of Beacon Hill has already found her way in.

    Selected poetry and prose from 1986.

    DE VEYRAhas published two books of poetry: Subterranean Thought Parade and Shadowboxing in Headphones. He has won the Don Carlos Palanca Memorial Awards for Literature, the Free Press Literary Awards, and the very first National Commission for Culture and the Arts' Writers' Prize for Poetry. He also fronts the spoken word-jazz-rock band Radioactive Sago Project and currently works as a host and writer for the News and Public Affairs programs of TV5. This is his third collection of poems.

    The book is a compilation of the series of episodes published in tamil magazine 'Chaavi'

    Born in Iran and educated in France, his works were influenced by the sense of alienation and self-destruction that pervaded post-WWI European literary circles. He was also known as a gifted intellectual and essayist in his native country. His interest in Persian culture led him to detest the Arabization of Iran, and so he traveled to India to live among the Parsees, Zoroastrians whose ancestors had chosen to leave Iran rather than submit to conversion to Islam. It was in India, away from Iranian government censors and political pressures, that Hedayat finished the book that is widely considered his masterpiece, "The Blind Owl."This collection of essays and travelogues, the title of which can be translated as "Commentary on the Vohuman Hymn," reflects his experiences in India from 1936 until about 1941. It was written in the Zoroastrian Middle Persian and later translated into Modern Persian by the author.

    . . . Ammons makes you laugh and forces you to think hard about the way humans relate to natural phenomena and to themselves. From such simple, short expression emerge complex, often confounding ideas. New readers of poetry as well as those with an active interest in lyric verse will love this volume.”—Booklist